A SCHOLARLY BOOK REPOSITORY
It All Tastes of Farewell is a frank account of one woman’s life and loves in 1960s East Germany. As a writer, Brigitte Reimann could not help but tell a compelling story, and that is born out here in her diaries, which are gripping as any novel. She recorded only what mattered: telling details, emotional truths, and political realities. Never written for publication and first published in full in German only after the fall of the Berlin Wall, these diaries offer a unique record of what it felt like to live in a country that no longer exists, was represented for years largely through Cold War propaganda, and is still portrayed in fairy-tale Stasi dramas. Here we get a sense of lived experience as if Doris Lessing or Edna O’Brien had been allowed in with their notebooks. This volume continues where her earlier book of diaries, I Have No Regrets, left off, in 1964. It sees Reimann grow wistful and at times bitter, as her love life, her professional life, and her health all suffer. Yet throughout she retains a lively appetite for new experiences and a dedication to writing. Finally, she finds security in a surprising new love, and although she died soon after this volume ends, the novel she was writing was to become a much-read cult hit after her death.
A remarkable document from a time and place that we still struggle to see clearly, It All Tastes of Farewell is unforgettable, a last gift from an essential writer.
Nothing is solved by the end of this book, but much is gained as the quest itself has become a victory of perfectly pitched and furious language. God’s still hidden away, but by now the natural world has evolved to replace the absence Seuss feels. In the book’s erotically charged universe, one paradoxically begins to feel a calm settle over the burned-up panorama of the soul. It Blows You Hollow is a book, rare these days, that feels as if it had to be written. Diane Seuss goes for broke.
“It changed my life.” That’s what Betty Friedan heard over and over from women throughout the United States after the publication of her radical best-seller, The Feminine Mystique, sparked the beginning of contemporary feminism. The first stirring and uncertain years of the women’s movement helped many women put a name to the sense of invisibility, powerlessness, and depression that Friedan famously called “the problem that has no name.”
First published in 1976, “It Changed My Life” is a compellingly readable collection of reports from the front, back in the days less than a generation ago when women were routinely shut out of the professions and higher education, underpaid, condescended to, and harassed without consequences to the harassers. The book describes the political campaigns for equal pay and job opportunities, for the outlawing of sex discrimination, for the Equal Rights Amendment, and for legalized abortion, the creation of National Organization for Women, the National Abortion Rights Action League, and the National Women’s Political Caucus, and analyzes the antifeminist backlashes. Encounters with Simone de Beauvoir and Indira Gandhi are juxtaposed with moving and vivid personal struggles of many ordinary women. Among those women was Friedan herself, who frankly recorded her astonishment, gratification, and anger as the movement she helped create grew beyond all her hopes, and then raced beyond her control into a sexual politics she found disturbing.
A classic of modern feminism, “It Changed My Life” brings back years of struggle for those who were there, and recreates the past for the readers of today who were not yet born during these struggles for the opportunities and respect to which women can now feel entitled. In changing women’s lives, the women’s movement has changed everything.
Proud of her intelligence, Maitreyi Devi's father had provided her with a fine and, for that time, remarkably liberal education — and encouraged his brilliant foreign student, Eliade, to study with her. "We were two good exhibits in his museum," Devi writes. They were also, as it turned out, deeply taken with each other. When their secret romance was discovered, Devi's father banished the young Eliade from their home.
Against a rich backdrop of life in an upper-caste Hindu household, Devi powerfully recreates the confusion of an over-educated child simultaneously confronting sex and the differences, not only between European and Indian cultures, but also between her mother's and father's view of what was right. Amid a tangle of misunderstandings, between a European man and an Indian girl, between student and teacher, husband and wife, father and daughter, she describes a romance unfolding in the face of cultural differences but finally succumbing to cultural constraints. On its own, It Does Not Die is a fascinating story of cultural conflict and thwarted love. Read together with Eliade's Bengal Nights, Devi's "romance" is a powerful study of what happens when the oppositions between innocence and experience, enchantment and disillusion, and cultural difference and colonial arrogance collide.
"In two novels written forty years apart, a man and a woman tell stories of their love. . . . Taken together they provide an unusually touching story of young love unable to prevail against an opposition whose strength was tragically buttressed by the uncertainties of a cultural divide."—Isabel Colegate, New York Times Book Review
"Recreates, with extraordinary vividness, the 16-year-old in love that she had been. . . . Maitreyi is entirely, disarmingly open about her emotions. . . . An impassioned plea for truth."—Anita Desai, New Republic
"Something between a reunion and a duel. Together they detonate the classic bipolarities: East-West, life-art, woman-man."—Richard Eder, New York Newsday
"One good confession deserves another. . . . Both books gracefully trace the authors' doomed love affair and its emotional aftermath."—Nina Mehta, Chicago Tribune
Winner, 2023 Sergio Troncoso Award for Best Book of Fiction, Texas Institute of Letters
Happiness and connection prove fickle in this debut collection of eleven linked stories introducing Babbie and Donnie. She is a thrice-divorced former call girl, and he is a sobriety-challenged trucker turned yogi. Along with their community of exes, in-laws, and coworkers, Babbie and Donnie share a longing to reforge their lives, a task easier said than done in Mobile, Alabama, which bears its own share of tainted history. Despite overwhelming challenges and the ever-looming specters of status, race, and class, the characters in It Falls Gently All Around and Other Stories strive for versions of the American dream through modern and often unconventional means. Told with humor and honesty, these stories remind us not only about the fallibility of being human and the resistance of some to change but also about finding redemption in unlikely places.
Jessica Lee Richardson’s debut collection It Had Been Planned and There Were Guides teems with double magic—families of spiders, monsters in triplicate, and panels of bleacher-sitting grandfathers (who live in a diaphragm!) cohabitate with a starker, more familiar kind of strange in a hyper real and living tapestry of teenage porn stars, lovelorn factory workers, and art world auctioneers. From a woman who awakes from a short kidnapping with an unquenchable need for risk to a concrete boat ride gone off the rails, from Los Angeles to the Bronx, from the Midwest to North Korea, these stories explore the absurd in real spaces and the real in absurd spaces, seeking a way into something else entirely.
Here, environments participate in agency, and voice compels movement forward, through, and in. Richly patterned language refuses singularity and the finger trap of the binary, seeking permeability in its reflection, a soft net to catch collective echoes. The collection begins and ends with stories that literalize descent and ascent, bookending the mirrored shape of the book’s arrangement as a vision of an inverted arc. The shape of story is literalized. We slide down from a mountaintop all the way to the inside of a womb and back, slipping on slopes unmarked by signs, catching stunning glimpses along the way. The journey along the track of desire might be frightening if it weren’t for all the water, if it weren’t for the bounce of the ride.
In this collection of articles describing the people, places, and folkways of southern Illinois, John W. Allen provides entertaining and informative glimpses into the region’s past. Included here are sketches of the early pioneering days when wolves were literally chased from the door, stories about the many Indian artifacts discovered among the rolling hills and valleys of the area, and articles pertaining to the strategic role the region played during the Civil War. Allen also describes the activities of such infamous outlaws as Samuel Mason and the Harpe brothers as well as the famous Illinois-born heroes “Bat” Masterson, “Wild Bill” Hickok, and Wyatt Earp.
In his warm and friendly style, Allen reminisces about the self-sufficient and satisfying rural life of a previous generation with its oxcarts, pie suppers, threshing machines, kerosene lamps, and blacksmith shops. Any reader interested in southern Illinois and its history will delight in this collection of stories from John W. Allen’s popular newspaper column, “It Happened in Southern Illinois.”
This history of Alabama's coal miners documents the struggle not
only between labor and management but also between interracial unionism
and white supremacy.
Much of Alabama's labor history is written in its coal
fields. This book records the critical contribution that District 20 of
the United Mine Workers of America played in the state's labor movement
through its strong stands on such issues as child labor, public education,
and inter-racial unions.
Standing at the cutting edge of social and political
history, these essays cover five periods over a century of union activity:
the emergence of a militant labor force during mining's formative years;
the World War I era, when mine operators tried to divide black and white
labor; the increasing role of the state in labor relations during the interwar
years; rapid changes in the union between 1942 and 1975; and the 1977-79
strike, the largest in the United Mine Workers' history.
Through historic
photographs and depictions of living and working conditions, contributors
Edwin L. Brown, Colin J. Davis, Daniel Letwin, Brian M. Kelly, Peter Alexander,
Glenn Feldman, and Robert H. Woodrum portray the world that miners, both
black and white, made. In a state where racial segregation was the norm,
even the earliest District 20 contract proposals demanded equal pay for
equal work regardless of color. It Is Union and Liberty shows that the
UMW in Alabama stands apart from perceptions of southern trade unionism
as exclusionary and racially fragmented. It sheds light on an important
segment of the state's labor history and is a testament to District 20
on its centennial celebration.
Edwin Brown is Associate
Professor in the Center for Labor Education and Research and Colin Davis is Associate Professor in the Department of History, both at
the University of Alabama at Birmingham.
Houlihan’s sixth collection of lyric poems reflects upon the persistence of what is lost and the accidental ruptures of trauma that allow re-entry into our world. These poems are at once despairing and hopeful.
Ken Koch was one of those people. Married twice, a veteran, and a world traveler, a health scare when he was sixty-three prompted him to acknowledge the feelings that had plagued him since he was a small child. By undergoing a host of procedures, he radically changed his appearance and became Anne Koch. In the process though, Anne lost everything that Ken had accomplished. She had to remake herself from the ground up. Hoping to help other people in her age bracket who may be considering transitioning, Anne describes the step by step procedures that she underwent, and shares the cost to her personal life, in order to show seniors that although it is never too late to become the person you always knew you were, it is better to go into that new life prepared for some serious challenges. Both a fascinating memoir of a well-educated man growing up trans yet repressed in the mid-twentieth century, and a guidebook to navigating the tricky waters of gender reassignment as a senior, It Never Goes Away shows how what we see in the television world of Transparent translates in real life.
2015 PEN Open Book Award Finalist
Angela Jackson’s latest collection of poetry borrows its title from a lyric in Barbara Lewis’s 1963 hit single “Hello Stranger,” recorded at Chess Records in Chicago. Like the song, Jackson’s poems are a melodic ode to the African American experience, informed by both individual lives and community history, from the arrival of the first African slave in Virginia in 1619 to post-Obama America.
It Seems Like a Mighty Long Time reflects the maturity of Jackson’s poetic vision. The Great Migration, the American South, and Chicago all serve as signposts, but it is the complexity of individual lives—both her own and those who have gone before, walk beside, and come after—that invigorate this collection. Upon surveying so vast a landscape, Jackson finds that sorrow meets delight, and joy lifts up anger and despair. And for all this time, love is the agent, the wise and just rule and guide.
William Goyen was a writer of startling originality and deep artistic commitment whose work attracted an international audience and the praise of such luminaries as Northrop Frye, Truman Capote, Gaston Bachelard, and Joyce Carol Oates. His subject was the land and language of his native East Texas; his desire, to preserve the narrative music through which he came to know his world. Goyen sought to transform the cherished details of his lost boyhood landscape into lasting, mythic forms. Cut off from his native soil and considering himself an “orphan,” Goyen brought modernist alienation and experimentation to Texas materials. The result was a body of work both sophisticated and handmade—and a voice at once inimitable and unmistakable.
It Starts with Trouble is the first complete account of Goyen’s life and work. It uncovers the sources of his personal and artistic development, from his early years in Trinity, Texas, through his adolescence and college experience in Houston; his Navy service during World War II; and the subsequent growth of his writing career, which saw the publication of five novels, including The House of Breath, nonfiction works such as A Book of Jesus, several short story collections and plays, and a book of poetry. It explores Goyen’s relationships with such legendary figures as Frieda Lawrence, Katherine Anne Porter, Stephen Spender, Anaïs Nin, and Carson McCullers. No other twentieth-century writer attempted so intimate a connection with his readers, and no other writer of his era worked so passionately to recover the spiritual in an age of disabling irony. Goyen’s life and work are a testament to the redemptive power of storytelling and the absolute necessity of narrative art.
The recent flashpoint of Colin Kaepernick taking a knee renews a long tradition of athlete-activists speaking out against racism, injustice, and oppression. Like Kaepernick, Jackie Robinson, Paul Robeson, Muhammad Ali, Bill Russell, Tommie Smith, and John Carlos—among many others, of all races, male and female, pro and amateur—all made the choice to take a side to command public awareness and attention rather than “shut up and play,” as O. J. Simpson, Michael Jordan, and Tiger Woods did. Using their celebrity to demand change, these activists inspired fans but faced great personal and professional risks in doing so. It Was Always a Choice traces the history and impact of these decisive moments throughout the history of U.S. sports.
David Steele identifies the resonances and antecedents throughout the twentieth century of the choices faced by athletes in the post-Kaepernick era, including the advance of athletes’ political organizing in the era of activism following the death of George Floyd. He shows which athletes chose silence instead of action—“dropping the baton,” as it were—in the movement to end racial inequities and violence against Black Americans. The examples of courageous athletes multiply as LeBron James, Megan Rapinoe and the activist-athletes of the NBA, WNBA, and NFL remain committed to fighting daily and vibrantly for social change.
Over the last six decades, Melvin Grier’s work has vividly portrayed community, humanity, irony, fear, war, elegance, art, and, most notably, the unexpected. It Was Always About the Work includes nearly one hundred black-and-white and color photographs, including photographs from Grier’s most famous exhibitions and news stories. Whether covering local events, Cincinnati life, impoverished villages overseas, young future Marines on their way to their first post, or high fashion, Grier's photos are unmistakable and evocative.
Starting with his early years as a boy growing up in Cincinnati, this book tells the story of a young man who won his first photo contest while in the Air Force. He came home determined to make a career as a photographer, and, despite his lack of formal training and experience, he secured a job as a photographer for the Cincinnati Post. After the closure of the Cincinnati Post in 2007, Grier continued his career as an independent artist, featuring work in exhibitions such as “White People: A Retrospective” and “Clothes Encounters.” In collaboration with one of his journalist partners, reporter Molly Kavanaugh, Grier shares why it was always about the work.
"I find it difficult to overpraise the ease of this writing, which in one act combines succinct physical presentation and explanation of it. . . . It is perhaps here that Jim Powell, not yet forty, most shows his superiority to many of his contemporaries and seniors. He not only understands the way in which opposites are necessary to one another, he achieves his knowledge in the poem, and so we grasp it as we read. . . . he has tapped a subject matter that is endless and important, and by the thoroughgoingness and the subtlety of his exploration shows he has the power to do almost anything."—Thom Gunn, Shelf Life
"His title burns away everywhere in the volume, in the fevers of eros, divination, memory, destruction, and grief. . . . Page for page, there is more sheer fine, clear, yet syntactically subtle and metaphorically gorgeous writing in Powell than I have seen in some time."—Mary Kinzie, Poetry
"Jim Powell's poems, like those of Thomas Hardy, are haunted forms, full of ghosts and mocking gods, shadows and foreshadowings. But Powell is a Hardy whose poems we've never read, a Hardy with his hand in the blaze, not stirring the ash in a cold and wind-torn grate."—Jennifer Clarvoe, The Threepenny Review
Francesca Polletta’s It Was Like a Fever sets out to account for the power of storytelling in mobilizing political and social movements. Drawing on cases ranging from sixteenth-century tax revolts to contemporary debates about the future of the World Trade Center site, Polletta argues that stories are politically effective not when they have clear moral messages, but when they have complex, often ambiguous ones. The openness of stories to interpretation has allowed disadvantaged groups, in particular, to gain a hearing for new needs and to forge surprising political alliances. But popular beliefs in America about storytelling as a genre have also hurt those challenging the status quo.
A rich analysis of storytelling in courtrooms, newsrooms, public forums, and the United States Congress, It Was Like a Fever offers provocative new insights into the dynamics of culture and contention.
With the 11 stories in this long-awaited collectiong, Mary Ward Brown once again offers her devoted fans a palette of new literary pleasures. The hallmarks of her style, so finely wrought in the award-winning Tongues of Flame (1986)—the fully realized characters, her deep sensitivity, a defining sense of place and time—are back in all their richness to involve and enchant the reader.
All but one of the stories are set in Alabama. They deal with dramatic turning points in the lives of characters who happen to be southerners, many jaxtaposed between Old South sensibility and manners and New South modernity and expectations. Among these is a new widow who is not consoled by well-meaning, proselytizing Christians; a middle-aged waitress in love with the town “catch”; a bedridden belle dependent upon her black nurse; a “special” young man in a newspaper shop; a young faculty wife who attempts generosity with a lower-class neighbor; and a lawyer caught in the dilemma of race issues. Through their diverse voices, Brown proves herself a graceful and gifted storyteller who writes with an authoritative pen, inventing and inhabiting the worlds of her set of characters with insight, compassion, and wit.
Most of the stories in It Wasn't All Dancing have appeared previously in prominent national magazines and literary journals, including the Atlantic Monthly, Grand Street, and Threepenny Review. This fine collection should appeal to a wide audience among writers, literature scholars, and general readers alike.
In his plain-spoken lyrics and dramatic monologues, Michael Burns digs at the marrow. His poems—in formal and free verse—are quick, incisive, and always capable of revealing the dark whimsies of fate and the pain of our own actions and inactions.
These poems travel to Casqui mounds in the Arkansas Delta, traffic-clogged urban streets, a wasteland in Oklahoma, and Faulkner’s Rowan Oak. They assume the voices of others so convincingly that we find ourselves face to face with hunters, philanderers, husbands, a Union general, a Snopes, and even a version of God.
Gathering the images of each place, crafting lines in clear, unpretentious language, Burns comes across new knowledge, confronting the ever-present mysteries and the ways the mind loves to lie to itself.
To illuminate the role of these right-wing ideas in contemporary Russian society, Fabrizio Fenghi examines the public pronouncements and aesthetics of this influential movement. He analyzes a diverse range of media, including novels, art exhibitions, performances, seminars, punk rock concerts, and even protest actions. His interviews with key figures reveal an attempt to create an alternative intellectual class, or a “counter-intelligensia.” This volume shows how certain forms of art can transform into political action through the creation of new languages, institutions, and modes of collective participation.
In It Will Return, her most recent volume of poems, Julia Hartwig is in dialogue with other great artists—Keats, Rimbaud, Milosz, Beethoven, Ravel, Van Gogh—considering the implications of greatness. Alongside this expansive perspective, we find attention to the smallest details, composing quotidian moments that open out into unexpected meaning. For Hartwig, close attention to the material world is a kind of spiritual undertaking. Like her Nobel Prize–winning contemporary Wislawa Szymborska, she writes poems that appear simple but are somehow all the more capable of yielding profound insights.
It Will Return reflects Hartwig’s firsthand involvement in Polish history and culture, and its poems are sensitive to the calamities of Poland’s tumultuous twentieth century. But It Will Return is a human collection before it is a national one, and these political motifs form the backdrop for more universal dramas.
Rabbi Thorne composed his memoir under extraordinary conditions, confined to a small underground bunker below a Polish peasant’s pigsty. But, It Will Yet Be Heard is remarkable not only for the story of its composition, but also for its moral clarity and complexity. A deeply religious man, Rabbi Thorne bore witness to forced labor camps, human degradation, and the murders of entire communities. And once he emerged from hiding, he grappled not only with survivor’s guilt, but also with the lingering antisemitism and anti-Jewish violence in Poland even after the war ended. Harrowing, moving, and deeply insightful, Rabbi Thorne’s firsthand account offers a rediscovered perspective on the twentieth century’s greatest tragedy.
Looking at the historic Italian American community of East Harlem in the 1920s and 30s, Simone Cinotto recreates the bustling world of Italian life in New York City and demonstrates how food was at the center of the lives of immigrants and their children. From generational conflicts resolved around the family table to a vibrant food-based economy of ethnic producers, importers, and restaurateurs, food was essential to the creation of an Italian American identity. Italian American foods offered not only sustenance but also powerful narratives of community and difference, tradition and innovation as immigrants made their way through a city divided by class conflict, ethnic hostility, and racialized inequalities.
This anthology gathers fiction, poetry, memoirs, oral histories, and journalistic pieces by some of the best writers to chronicle the Italian American experience in the Garden State. These works focus on ethnic identity and the distinctive culture of New Jersey, which has long been home to a large and vital Italian American community.
Filled with passion, humor, and grace, these writings depict a variety of experiences, including poignant but failed attempts at conformity and the alienation often felt by ethnic Americans. The authors also speak of the strength gained through the preservation of their communities and the realization that it is often the appreciation of their heritage that helps them to succeed. Although presented from the vantage point of only one ethnic group, this book addresses in microcosm the complexities of American identity, depicting situations and conveying emotions that will resonate with people of all immigrant ancestries.
Among the many writers featured are Gay Talese, Bill Ervolino, Tom Perrotta, Louise DeSalvo, Carole Mazo, Diane di Prima, and Maria Laurino. Each of the contributors provides a fresh perspective on the diversity, complexity, and richness of the Italian American experience.
Publication of this book is made possible in part by a grant from the Institute of Italian and Italian American Heritage Studies, State of New Jersey.
“I’ve heard that some volcanic eruptions are soft with oozing streams of lava dancing down the side of the volcano like a Las Vegas chorus line. My father’s eruptions were quick, like bricks being thrown through a window.”
Denise Tolan’s memoir-in-essay traces the legacy of violence in an Italian American family, showing how abuse reverberates both in the body and mind of a family. The book’s first part, “Blood is Not Water,” lays out how the origins of violence can infect the roots of a family tree. The second part, “Good Blood Doesn’t Lie,” shows what grows from those roots. Italian Blood is a raw, heartbreaking series of essays where everything is connected through literal and metaphorical blood. These essays offer a connection to anyone who suffered childhood shame, violence, or fear and provide reassurance that they are not alone.
Nineteenth-century French writer Marie-Henri Beyle, better known by his pen name Stendhal, is one of the earliest leading practitioners of realism, his stories filled with sharp analyses of his characters’ psychology. This translation of Stendhal’s Chroniques italiennes is a collection of nine tales written between 1829 and 1840, many of which were published only after his death. Together these collected tales reveal a great novelist working with highly dramatic subject matter to forge a vision of life lived at its most intense.
The setting for these tales is a romanticized Italy, a place Stendhal viewed as unpolluted by bourgeois inhibitions and conformism. From the hothouse atmosphere of aristocratic convents to the horrors of the Cenci family, the tales in Italian Chronicles all feature passionate, transgressive characters engaged in “la chasse au bonheur”—the quest for happiness. Most of the tragic, violent tales are based on historical events, with Stendhal using history to validate his characters’ extreme behaviors as they battle literal and figurative oppression and try to break through to freedom.
Complete with revenge, bloody daggers, poisonings, and thick-walled nunneries, this new translation of Italian Chronicles includes four never-before-translated stories and a fascinating introduction detailing the origins of the book. It is sure to gratify established Stendhal fans as well as readers new to the writer.
The Italian Fascist Party in Power was first published in 1959. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Although much significant material on the Italian Fascist party became available when the regime collapsed, scholars have not made extensive use of it until now. In this study, which is based on all the available sources, Professor Germino describes the functions of the party, ,explains how it was organized to perform tasks, and discusses conflicts between the party and other power elements in the dictatorship. He reaches a conclusion contrary to that of most other scholars -- that Fascist Italy was a full-fledged totalitarian state resembling Nazi Germany and Soviet Russia in political structure and ideological content.
Professor Carl J. Riedrich of Harvard University writes: "I consider this a major contribution to our knowledge of totalitarian dictatorship. There is nothing in the existing literature that can be compared to it either in terms of depth or analysis, range of documentation or breadth of treatment."
Professor Taylor Cole of Duke University comments: "Professor Germino has presented an excellent case study of the Italian Fascist Party. He has made use of more materials on the Party than any previous writer in English, and has marshalled them effectively to support his contention that the Fascist Party did not differ 'in kind' from [the Nazi and Soviet Communist parties] on the eve of World War II. His conclusion that on most (though not all) basic counts the Italian Fascist system was to be classified as 'totalitarian' is controversial, but it merits the careful attention of all students who are interested in the Italian Fascist period and in totalitarianism."
The lives of immigrants in the West differed greatly from those of their counterparts on the East Coast in many ways. The development of the West—with its cheap land and mining, forestry, and agriculture industries\--created a demand for labor that enabled newcomers to achieve stability and success. Moreover, female immigrants had many more opportunities to contribute materially to their family’s well-being, either by overseeing new revenue streams for their farms and small businesses, or as paid workers outside the home.
Despite this success, Italian immigrants in the West could not escape the era’s xenophobia. Scambray also discusses the ways that Italians, perceived by many as non-White, interacted with other Euro-Americans, other immigrant groups, and Native Americans and African Americans.
By placing the Italian immigrant experience within the context of other immigrant narratives, Italian Immigration in the American West provides rich insights into the lives and contributions of individuals and families who sought to build new lives in the West. This unique study reveals the impact of Italian immigration and the immense diversity of the immigrant experience outside the East’s urban centers.
Italian arts and culture have been a significant influence on Philadelphia dating back to Thomas Jefferson and colonial times. Throughout the ensuing decades, Italian art and architecture styles flourished, and wealthy Philadelphians traveled to Italy and brought back objects to display in emerging institutions of art and culture. New immigration formed neighborhoods—such as South Philly, home to the Italian Market—and Italian business leaders, politicians, artists, musicians and sports figures came to prominence and became part of the social fabric of the city.
This glorious volume, The Italian Legacy in Philadelphia, celebrates the history, impact, and legacy of this vibrant community, tracing four periods of key transformation in the city’s political, economic, and social structures. The editors and contributors chronicle the changing dynamics of the city as Italian immigrants established themselves and as they continue to have lively interactions with people and institutions in Italy.
Interdisciplinary essays, along with nearly 250 gorgeous images, explore the changing perspectives and styles of those who contributed Italian influences. As settlers and their descendants brought everyday cultural practices, memories, and traditions, they created different Italian-American experiences that became important parts of American culture, a legacy that is thriving in contemporary, globalized Philadelphia.
Fascism and the Second World War left Italy indelibly changed, and cinema was arguably the art that most rigorously confronted the devastated nation. In this examination of four Italian filmmakers, Noa Steimatsky brilliantly maps their forceful negotiation of Italy’s identity and posits that the cinematic forms they employ constitute an imaginary reinhabiting of Italy-one that is inextricably linked with the political, physical, and symbolic predicament of reconstruction.
A dynamic intersection of pictorial and photographic, architectural and literary discourses inform Steimatsky’s revisionist interrogation of exemplary works from the 1940s to the mid–1960s. From the earliest documentary work of Michelangelo Antonioni on the River Po to Pier Paolo Pasolini’s re-siting of the Gospel in the arid, peripheral landscape of the Italian south, and from Roberto Rossellini’s tracing of a neorealist project in ruinous Berlin to Luchino Visconti’s wrought grandeur visited upon a humble Sicilian fishing village, Italian Locations probes the historical experience of displacement, anachronism, and a thoroughly contemporary anxiety in the cinematic arena.
For Steimatsky, Antonioni’s modernist achievement, informed by his native landscape, Rossellini’s neorealist image of Italy as a nation of ruins, Visconti’s reaching back to the nineteenth century and even more archaic pasts, and Pasolini’s ambivalence about modernity-all partake in a search for a politically and culturally redeemed Italy.
Noa Steimatsky is associate professor of the history of art and film studies at Yale University.
Authoritative and insightful, The Italian Opera Singers in Mozart's Vienna offers a singular look at a musical milieu and a key to addressing the performance-practice problem of how to cast the Mozart roles today.
An exploration of how film has made legible the Italian long ’68 as a moment of crisis and transition
Traditionally, the definition of political cinema assumes a relationship between cinema and politics. In contrast to this view, author Mauro Resmini sees this relationship as an impasse. To illustrate this theory, Resmini turns to Italian cinema to explore how films have reinvented the link between popular art and radical politics in Italy from 1968 to the early 1980s, a period of intense political and cultural struggles also known as the long ’68.
Italian Political Cinema conjures a multifaceted, complex portrayal of Italian society. Centered on emblematic figures in Italian cinema, it maps the currents of antagonism and repression that defined this period in the country’s history. Resmini explores how film imagined the possibilities, obstacles, and pitfalls that characterized the Italian long ’68 as a moment of crisis and transition. From workerism to autonomist Marxism to feminism, this book further expands the debate on political cinema with a critical interpretation of influential texts, some of which are currently only available in Italian.
A comprehensive and novel redefinition of political film, Italian Political Cinema introduces its audience to lesser-known directors alongside greats such as Pasolini, Bertolucci, Antonioni, and Bellocchio. Resmini offers access to untranslated work in Italian philosophy, political theory, and film theory, and forcefully advocates for the continued artistic and political relevance of these films in our time.
This study surveys the role of state enterprise in Italy over the last fifteen years. Focusing on the history and recent growth of the public sector there, the authors examine the structure, performance, and control of some typical state enterprises, the methods of finance, and the pattern of investment.
Their pioneering work, although it formulates no easy answers about the ideal role of public enterprise, marshals a great many useful facts and arguments concerning the one outstanding national experiment in this direction to date.
The Renaissance was not just a rebirth of the mind. It was also a new dawn for the machine.
When we celebrate the achievements of the Renaissance, we instinctively refer, above all, to its artistic and literary masterpieces. During the fifteenth and sixteenth centuries, however, the Italian peninsula was the stage of a no-less-impressive revival of technical knowledge and practice. In this rich and lavishly illustrated volume, Paolo Galluzzi guides readers through a singularly inventive period, capturing the fusion of artistry and engineering that spurred some of the Renaissance’s greatest technological breakthroughs.
Galluzzi traces the emergence of a new and important historical figure: the artist-engineer. In the medieval world, innovators remained anonymous. By the height of the fifteenth century, artist-engineers like Leonardo da Vinci were sought after by powerful patrons, generously remunerated, and exhibited in royal and noble courts. In an age that witnessed continuous wars, the robust expansion of trade and industry, and intense urbanization, these practitioners—with their multiple skills refined in the laboratory that was the Renaissance workshop—became catalysts for change. Renaissance masters were not only astoundingly creative but also championed a new concept of learning, characterized by observation, technical know-how, growing mathematical competence, and prowess at the draftsman’s table.
The Italian Renaissance of Machines enriches our appreciation for Taccola, Giovanni Fontana, and other masters of the quattrocento and reveals how da Vinci’s ambitious achievements paved the way for Galileo’s revolutionary mathematical science of mechanics.
One of the enduring myths about World War Two is that only the Allies liberated occupied Europe. Many countries had anti-fascist Resistance movements, and Italy's was one of the biggest and most politically radical yet it remains relatively unknown outside of its own homeland.
Within Italy many plaques and streets commemorate the actions of the partisans - a movement from below that grew as Mussolini's dictatorship unravelled. Led by radical left forces, the Resistance trod a thin line between fighting their enemies at home and maintaining an uneasy working relationship with the Allies.
Essential for courses on World War Two and European history, Tom Behan uses unpublished archival material and interviews with surviving partisans to tell an inspiring story of liberation.
Gardaphé draws on Vico’s concept of history, as well as the work of Gramsci, to establish a culture-specific approach to reading Italian American literature. He begins his historical reading with narratives informed by oral traditions, primarily autobiography and autobiographical fiction written by immigrants. From these earliest social–realist narratives, Gardaphé traces the evolution of this literature through tales of “the godfather” and the mafia; the “reinvention of ethnicity” in works by Helen Barolini, Tina DeRosa, and Carole Maso; the move beyond ethnicity in fiction by Don DeLillo and Gilbert Sorrentino; to the short fiction of Mary Caponegro, which points to a new direction in Italian American writing.
The result is both an ethnography of Italian American narrative and a model for reading the signs that mark the “self-fashioning” inherent in literary and cultural production. Italian Signs, American Streets promises to become a landmark in the understanding of literature and culture produced by Italian Americans. It will be of interest not only to students, critics, and scholars of this ethnic experience, but also to those concerned with American literature in general and the place of immigrant and ethnic literatures within that wide framework.
Outside of Italy, the country’s culture and its food appear to be essentially synonymous. And indeed, as The Italian Way makes clear, preparing, cooking, and eating food play a central role in the daily activities of Italians from all walks of life. In this beautifully illustrated book, Douglas Harper and Patrizia Faccioli present a fascinating and colorful look at the Italian table.
The Italian Way focuses on two dozen families in the city of Bologna, elegantly weaving together Harper’s outsider perspective with Faccioli’s intimate knowledge of the local customs. The authors interview and observe these families as they go shopping for ingredients, cook together, and argue over who has to wash the dishes. Throughout, the authors elucidate the guiding principle of the Italian table—a delicate balance between the structure of tradition and the joy of improvisation. With its bite-sized history of food in Italy, including the five-hundred-year-old story of the country’s cookbooks, and Harper’s mouth-watering photographs, The Italian Way is a rich repast—insightful, informative, and inviting.
In Italian Workers of the World, a distinguished roster of contributors examines how the reception of immigrants in their new countries shaped their sense of national identity and shaped the multiethnic states where they settled. Argentina and Brazil welcomed Italian migrants as a civilizing influence, and these immigrant workers played an instrumental part in establishing and leading movements committed to labor internationalism. In the United States, by contrast, the American Federation of Labor's hostility to socialism, internationalism, and unskilled laborers fueled distrust and xenophobia that steered Italian immigrants into ethnically mixed unions like radical Industrial Workers of the World. Essays also focus on specific topics ranging from the work of republican Garibaldians in South America to antifascist currents among Italian migrants in France and the United States, and from a 1912 textile strike in Lawrence, Massachusetts, to Mussolini's invasion of Ethiopia.
Contributors: Antonio Bechelloni, Fernando J. Devoto, Pietro Rinaldo Fanesi, Donna R. Gabaccia, Mirta Zaida Lobato, Fraser M. Ottanelli, Carina Frid de Silberstein, Michael Miller Topp, Angelo Trento, Nadia Venturini, and Elisabetta Vezzosi
For more than 350 years, Italian immigrants have played important roles in the opening and development of the land that is now Michigan, from their participation in the French fur trade up to the present day. Through an emphasis on the family as the essential institution in ethnic group success, Russell M. Magnaghi celebrates the accomplishments of Michigan's famous and not-so-famous Italian sons and daughters as he documents their struggles and achievements. Through the tenacity and hard work of the immigrants and their descendants, Italians in Michigan have progressed from unskilled laborers to some of the highest positions in business, politics, culture, and education.
In the later fifteenth century, the Kingdom of Hungary became the first land outside Italy to embrace the Renaissance, thanks to its king, Matthias Corvinus, and his humanist advisors, János Vitéz and Janus Pannonius. Matthias created one of the most famous libraries in the Western World, the Bibliotheca Corviniana, rivaled in importance only by the Vatican. The court became home to many Italian humanists, and through his friendship with Lorenzo the Magnificent, Matthias obtained the services of such great Florentine artists as Andrea del Verrocchio, Benedetto da Maiano, and Filippino Lippi. After Matthias’s death in 1490, interest in Renaissance art was continued by his widowed Neapolitan queen, Beatrice of Aragon, and by his successors Vladislav I and Louis II Jagiello.
The twenty-two essays collected in this volume provide a window onto recent research on the development of humanism and art in the Hungary of Matthias Corvinus and his successors. Richly illustrated with new photography, this book eloquently documents and explores the unique role played by the Hungarian court in the cultural history of Renaissance Europe.
From the earliest times, successive waves of foreign invaders have left their mark on Italy. Beginning with Germanic invasions that undermined the Roman Empire and culminating with the establishment of the modern nation, Girolamo Arnaldi explores the dynamic exchange between outsider and “native,” liberally illustrated with interpretations of the foreigners drawn from a range of sources. A despairing Saint Jerome wrote, of the Sack of Rome by the Visigoths in 410, “My sobs stop me from dictating these words. Behold, the city that conquered the world has been conquered in its turn.” Other Christian authors, however, concluded that the sinning Romans had drawn the wrath of God upon them.
Arnaldi traces the rise of Christianity, which in the transition from Roman to barbarian rule would provide a social bond that endured through centuries of foreign domination. Incursions cemented the separation between north and south: the Frankish conquerors held sway north of Rome, while the Normans settled in the south. In the ninth century, Sicily entered the orbit of the Muslim world when Arab and Berber forces invaded. During the Renaissance, flourishing cities were ravaged by foreign armies—first the French, who during the siege of Naples introduced an epidemic of syphilis, then the Spanish, whose control preserved the country’s religious unity during the Counter-Reformation but also ensured that Italy would lag behind during the Enlightenment.
Accessible and entertaining, this outside-in history of Italy is a telling reminder of the many interwoven strands that make up the fabric of modern Europe.
Biondo Flavio (1392–1463), humanist and historian, was a pioneering figure in the Renaissance discovery of antiquity; famously, he was the author who popularized the term “Middle Age” to describe the period between the fall of the Roman Empire and the revival of antiquity in his own time. While serving a number of Renaissance popes, he inaugurated an extraordinary program of research into the history, cultural life, and physical remains of the ancient world.
Italy Illuminated (1453), of which this is the second and final volume, is a topographical work describing Italy region by region. Its aim is to explore the Roman roots of modern Italy. As such, it is the quintessential work of Renaissance antiquarianism.
“Italy to Argentina shows meticulous bibliographic work and is attentive to both fundamental and marginal texts in a double task, on the one hand, of textual analysis, and on the other, of rescuing and recovering a corpus forgotten by critics even when it is highly significant. It is, then, a research work that addresses the Italian emigration to Argentina from an original point of view, linking texts that have not been studied or that have not been sufficiently analyzed.” —Fernanda Elisa Bravo Herrera, author of Huellas y recorridos de una utopía: La emigración italiana en la Argentina
"From Boccadasse to La Boca. Tullio Pagano complexifies the relationship between ‘diaspora’ and ‘colonialism’ in the context of Italian migration to South America. In six thematic chapters, Pagano explores the thought of authors on and off the canon. Such diverse voices lead the reader to a new approach to the study of emigrant colonialism and creole studies, towards a deeper, more realistic understanding of the ‘conquest of the desert’ that Italian emigrants wanted to perform in Argentina."—Giuseppe Gazzola, Stony Brook University
In her latest work, Rose returns to these major motifs while exploring a new dimension: using poetry as a tool to delve into the buried secrets of family history—and all of American history as well. Confronting questions of personal history that itch like crazy—the irritations that drive human existence—she acknowledges and pays tribute to her Indian and European ancestors without hiding her anger with American society.
Rose's poems are strong political and social statements that have a distinctly narrative flavor. Here are Europeans who first set foot on America's shores while Taino Indians greeted them as if they were visiting neighbors; Hopi and Miwok "Clan Mothers, grand-daughters, all those the missionaries erased"; and European forebears who as settlers pushed their way relentlessly west. Through her vivid imagery, she speaks to and for these ancestors with a sense of loss and an itching caused by the biases provoked by ethnic chauvinism.
Itch Like Crazy is a finely crafted literary work that is also a manifesto addressing contacts and conflicts in the history of Indian-white relations. By presenting another view of U.S. history and its impact on the Native Americans who are her ancestors, it offers a new appreciation of the issue of "tribal identity" that too often faces Native peoples of the Americas—and is too often misunderstood by Euro-American society.
Combining vivid ethnographic detail, postcolonial theory, and readings of Israeli and Palestinian popular texts, Stein considers a broad range of Israeli leisure cultures of the Oslo period with a focus on the Jewish desires for Arab things, landscapes, and people that regional diplomacy catalyzed. Moving beyond conventional accounts, she situates tourism within a broader field of “discrepant mobility,” foregrounding the relationship between histories of mobility and immobility, leisure and exile, consumption and militarism. She contends that the study of Israeli tourism must open into broader interrogations of the Israeli occupation, the history of Palestinian dispossession, and Israel’s future in the Arab Middle East. Itineraries in Conflict is both a cultural history of the Oslo process and a call to fellow scholars to rethink the contours of the Arab-Israeli conflict by considering the politics of popular culture in everyday Israeli and Palestinian lives.
Movements—of people and groups, through travel, migration, exile, and diaspora—are central to understanding both local and global power relationships. But what of more literary moves: textual techniques such as distinct patterns of narrative flow, abrupt leaps between genres, and poetic figures that flatten geographical distance? This book examines what happens when both types of tropes—literal traversals and literary shifts—coexist.
Itineraries of Power examines prose narratives and poetry of the mid-Heian to medieval eras (900–1400) that conspicuously feature tropes of movement. Kawashima argues that the appearance of a character’s physical motion, alongside literary techniques identified with motion, is a textual signpost in a story, urging readers to focus on how the work conceptualizes relations of power and claims to authority. From the gendered intersection of register shifts in narrative and physical displacement in the Heian period, to a dizzying tale of travel retold multiple times in a single medieval text, the motion in these works gestures toward internal conflicts and alternatives to existing structures of power. The book concludes that texts crucially concerned with such tropes of movement suggest that power is always simultaneously manufactured and dismantled from within.
In 1456 and again in 1458, William Wey (1405/6–76) set out on journeys across a Europe in turmoil from local conflicts and cross-border expansions. Wey, a Devon priest and bursar of Eton College, had been granted special dispensation by Henry VI to undertake pilgrimages, and he was prompted by his friends to write an account of his itinerant adventures. He collected his stories from his travels to the Cathedral of Santiago de Compostela in Spain and later Jerusalem in the fifteen chapters that comprise The Itineraries.
The Itineraries contains practical travel advice for the period on conduct and currency, alongside comparative English, Latin, Greek and Hebrew vocabularies, in addition to a remarkable scrapbook compendium of places, roads, and distances. Originally written in English and Latin, Wey’s fascinating observations of a changing Europe are for for first time available in a modern English edition. The pilgrimage was an idea essential to medieval and early modern Christianity, and Wey’s work adds a new dimension to our understanding of its importance and practice. Wey is at once adventurous and highly observant, and The Itineraries will be of interest to scholars of early modern history and armchair pilgrims alike.
The Tria sunt, named for its opening words, was a widely used and highly ambitious book composed in England in the late fourteenth century during a revival of interest in the art of poetry and prose.
The backbone of this comprehensive guide to writing Latin texts is the wealth of illustrative and instructive sources compiled, including examples from classical authors such as Cicero and Horace as well as from medieval literature, and excerpts from other treatises of the same period by authors from Matthew of Vendôme through Gervase of Melkley. Topics treated at length include methods for beginning and ending a composition, techniques for expanding and abbreviating a text, varieties of figurative language, attributes of persons and actions, and the art of letter writing.
This anonymous treatise, related especially closely to work by Geoffrey of Vinsauf, served as a textbook for rhetorical composition at Oxford. Of all the major Latin arts of poetry and prose, it is the only one not previously edited or translated into English.
“The greenhouse effect is us, and it is specifically us in the Western world.” This is one of the messages at the beginning of Anita Gordon and David Suzuki’s startling view of our future on Earth. More than any other time in history, the 1990s have marked a turning point for human civilization. Not only are we facing ecological disasters that will affect our ability to survive, but the crisis is forcing us to reexamine the entire value system that has governed our lives for the past two thousand years.
Gordon and Suzuki warn us of the transition we will need to make if we are to arrive safely in the next century. More than a book on the environment, this is a book about us as a species: our shortsightedness, our failure to read the warnings, our inability to grasp the significance of our actions-and the tough decisions we have to make in order to save ourselves.
The power of the book lies in the consensus of the many voices, those of scientists and other scholars, that speak through it. The components of our predicament—global warming, soil erosion, acid rain, species depletion, ozone damage, rainforest destruction, overpopulation—are quantified with authority. And never before has such a strong consensus been expressed in a single warning. The message we receive is that our actions are taking place in a political and economic world that demands radical change.
In an effort to counteract this blueprint for disaster, Gordon and Suzuki present a resounding rebuttal of technological optimism and the belief that continued economic growth is a prerequisite for environmental reform. The intellectual fog of sustainable development is incisively dispelled, and in its place the authors suggest practical contributions that individuals as well as governments can make toward creating a “conserver society.”
A much-revered icon of jazz, Dave Brubeck is, as Doug Ramsey calls him, “one of the most celebrated and successful jazz musicians of all time.”
It’s About Time, Fred Hall’s biography, explores the many influences on Brubeck’s life and music: his youth on a cattle ranch in the foothills of the Sierras; a stint in Europe with Patton’s army during World War II; the development of the West Coast jazz scene and the rise of the Dave Brubeck Quartet; musical relationships with Paul Desmond, Eugene Wright, Joe Morello, and many more jazz greats; his phenomenal experiments with polytonality and polyrhythm; his fifty-three-year marriage to Iola, manager, collaborator, and mother of their six children; and important career breakthroughs, such as the first-ever million-selling jazz single, “Take Five.”
Including an annotated discography, It’s About Time is much more than an upbeat examination of the Brubeck phenomenon. It is also a penetrating view of the culture, the music, the musicians, the recording industry, and race relations of the country and the century that gave birth to jazz.
“Rick Dodgson has pored over Kesey’s published and unpublished writings, interviews, and historical records to write a colorful biography of this charismatic American character. The resulting portrayal challenges assumptions about Kesey’s place in the counterculture.”—Journal of American History
“Dodgson’s painstaking research unearths hidden gems of Kesey’s life that marked him as a fascinating figure.”—H-Net
Of the roughly one thousand FSA photographs taken in Arkansas, approximately two hundred have been selected for inclusion in this volume. Portraying workers picking cotton for five cents an hour, families evicted from homes for their connection with the Southern Tenant Farmers Union, and the effects of flood and drought that cruelly exacerbated the impact of economic disaster, these remarkable black-and-white images from Ben Shahn, Arthur Rothstein, Dorothea Lange, Walker Evans, Russell Lee, and other acclaimed photographers illustrate the extreme hardships that so many Arkansans endured throughout this era.
These powerful photographs continue to resonate, providing a glimpse of life in Arkansas that will captivate readers as they connect to a shared past.
Revealing the surprisingly small number of companies that control many of the basic commodities we use in everyday life, It’s All for Sale confirms in specific detail that globalization has been accompanied by an extraordinary concentration of ownership. At the same time, it is about much more than what company has cornered the market in corn or diamonds. Corporations and captains of industry, wars and swindles, oppressors and the oppressed, empires and colonies, military might and commercial power, economic boom and bust—all these come alive in Ridgeway’s canny and arresting reporting about the global scramble for power and profit. It’s All for Sale is an invaluable source for researchers, activists, and all those concerned with globalization, corporate power, and the exploitation of individuals and the environment.
This book offers a word-by-word look at the influence of Greek on everyday words in English, telling the stories behind the etymological developments of each example and tracing their routes into modern English via Latin and European languages. It also explains connections with ancient Greek culture, in particular mythology, politics, and warfare, and includes proverbs and quotations from Greek literature. Revealing how deeply indebted we are to the language spoken in Athens 2,500 years ago, this book is the perfect gift for any logophile.
How changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women’s reproductive roles and rights.
Pregnancy and the politics surrounding it are serious matters, but humor has been a revealing and transformative means of engaging the subject. Victoria Sturtevant examines productions from I Love Lucy to Junior, Jane the Virgin to Murphy Brown, finding that comedic films and television programs have articulated and altered public anxieties, expectations, and hypocrisies concerning reproduction. Evolving—and sometimes stubborn—attitudes toward pregnancy owe much to representational strategies that turn the social discomforts of childbirth into something we can laugh at.
On-screen comedy offers a fascinating lens on the role of pregnancy in defining American womanhood, as studio-era censorship gave way to fetishization of sentimental childbirth in the 1950s; the pill and legalized abortion spiked media interest in nonmarital pregnancy; the patriarchal entrenchment of the 1980s and ’90s turned attention to biological clocks; and more recent film and television shows have moved toward medically and socially candid depictions of pregnancy. It's All in the Delivery argues that representational breakthroughs were enabled by comedy’s capacity to violate restrictive norms, introducing greater candor, courage, and critique into popular notions of the embodiment of pregnancy on-screen.
Taking on leading contemporary theories to explore the claim that “law is politics,” Hutchinson delineates a route toward professional, relevant, and responsible—if radical—judicial practices. After discussing the difference between foundationalist, antifoundationalist, and nonfoundationalist legal critiques, he offers a focused, unequivocal, and positive account of the advantages of operating within a nonfoundationalist framework. Although such an approach centralizes the role of rhetoric in law, Hutchinson claims that this does not necessitate a turn away from politics or, more particularly, from a progressive politics. Driving home the political and jurisprudential impact of his critique and of his account of nonfoundationalist alternatives, he urges judges and jurists to engage in law’s language game of politics.
This engaging book will interest linguistic philosophers, legal theorists, law students, attorneys, judges, and jurists of all stripes.
From the preface by Carmen Kenya Wadley:
“Is it good to be black? To Ruby Berkley Goodwin it was....The black she writes about has nothing to do with skin color, but it does have a great deal to do with self images, values, spiritual strength, and most of all love. Unlike the contradicting definitions of blackness we see reflected in today's crime statistics, movies, television, newspapers, political speeches, advertisements, and sociological reports, Ruby Berkley Goodwin's definition of blackness is simple and to the point: black is good. It's Good to be Black is more than the story (history) of a black family living in Du Quoin, Illinois, during the early 1900s; it is a reaffirmation for all of us who know in our hearts that there is still good in the world and that some of that good is black.”
Ginzburg's marriage to Leone Ginzburg, who met his death at the hands of the Nazis for his anti-Fascists activities, and her work for the Einaudi publishing house placed her squarely in the center of Italian political and cultural life. But whether writing about the Turin of her childhood, the Abruzzi countryside, where her family was interned during World War II, or contemporary Rome, Ginzburg never shied away from the traumas of history-even if she approached them only indirectly, through the mundane details and catastrophes of personal life.
Intensely reserved, Ginzburg said that she "crept toward autobiography stealthily like a wolf." But she did openly discuss her life and her work in an extraordinary series of interviews for Italian radio in 1990. Never before published in English, It's Hard to Talk about Yourself presents a vivid portrait of Ginzburg in her own words on the forces that shaped her remarkable life-politics, publishing, literature, and family. This fluid translation will join Ginzburg's autobiography, Family Sayings, as one of the most important records of her life and, as the editors write in their preface, "the last, unexpected, original book by Natalia Ginzburg."
In It’s Just the Normal Noises, Timothy Gray examines a wide array of writing about roots music from the 1960s to the 2000s. In addition to chapters on the genre-defining work of Guralnick and Marcus, he explores the influential writings of Grant Alden and Peter Blackstock, the editors of No Depression magazine, and the writers who contributed to its pages, Bill Friskicks-Warren, Ed Ward, David Cantwell, and Allison Stewart among them. A host of memoirists and novelists, from Patti Smith and Ann Powers to Eleanor Henderson and Dana Spiotta, shed light on the social effects and personal attachments of the music’s many manifestations, from punk to alt country to hardcore. The ambivalent attitudes of rock musicians toward success and failure, the meaning of soul, the formation of alternative communities through magazine readership, and the obsession of Generation X scenes with DIY production values wend through these works.
Taking a personal approach to the subject matter, Gray reads criticism and listens to music as though rock ‘n’ roll not only explains American culture, but also shores up his life. This book is for everyone who’s heard in roots rock the sound of an individual and a nation singing themselves into being.
This accessible exploration of corporate legitimacy and crime will be important reading for advocates, journalists, students, and anyone interested in the dichotomy between law and legitimacy.
Neva Goodwin is Co-director of the Global Development and Environment Institute at Tufts University.
In order to be confirmed to a lifetime appointment on the federal bench, all district and circuit court nominees must appear before the Senate Judiciary Committee for a confirmation hearing. Despite their relatively low profile, these lower court judges make up 99 percent of permanent federal judgeships and decide cases that relate to a wide variety of policy areas. To uncover why senators hold confirmation hearings for lower federal court nominees and the value of these proceedings more generally, the authors analyzed transcripts for all district and circuit court confirmation hearings between 1993 and 2012, the largest systematic analysis of lower court confirmation hearings to date. The book finds that the time-consuming practice of confirmation hearings for district and circuit court nominees provides an important venue for senators to advocate on behalf of their policy preferences and bolster their chances of being re-elected. The wide variation in lower court nominees’ experiences before the Judiciary Committee exists because senators pursue these goals in different ways, depending on the level of controversy surrounding a nominee. Ultimately, the findings inform a (re)assessment of the role hearings play in ensuring quality judges, providing advice and consent, and advancing the democratic values of transparency and accountability.
The general stereotype regarding interaction between American Sign Language and English is a model of oversimplification: ASL signers are direct and English speakers are indirect. Jack Hoza’s study It’s Not What You Sign, It’s How You Sign It: Politeness in American Sign Language upends this common impression through an in-depth comparison of the communication styles between these two language communities. Hoza investigates relevant social variables in specific contexts and explores the particular linguistic strategies ASL signers and English speakers employ when they interact in these contexts.
It’s Not What You Sign, It’s How You Sign It is framed within politeness theory, an apt model to determine various interpretations of what speakers or signers mean in respect to the form of that which they say or sign. The variations reveal how linguistic and cultural differences intersect in ways that are often misinterpreted or overlooked in cross-cultural communication. To clarify these cross-linguistic differences, this volume explores two primary types of politeness and the linguistic strategies used by English speakers and ASL signers to express politeness concerns in face-to-face interaction. Hoza’s final analysis leads to a better understanding of the rich complexity of the linguistic choices of these language groups.
During the 2017 session, the Arkansas Legislative Assembly expanded the state’s complement of official state symbols. The second edition of this statewide bestseller includes an additional chapter on Arkansas’s newest symbol: the state dinosaur, Arkansaurus fridayi.
In It’s Official!, David Ware makes a case for considering the symbols as useful keys to understanding both the Arkansas that has been and the one it hopes to be.
In the last twenty-five years the U.S. military has seen the abolition of women's separate corps, the appointment of women generals, and an unprecedented increase in the ratio of women to men. Also, women are now permitted to serve on combat planes and ships. Despite these developments, most civilians know very little about women in the military.
This collection includes unusual accounts by women on active duty, retired officers, women who have worked for the armed forces in a civilian capacity, and civilian academics. The book offers insights on a variety of pressing issues including minority women, lesbians, combat, the role of gender in weapons design, and the changing mission of the military.
Through personal accounts and commentaries, this book dispels many of the myths about women and the military and explores the reasons for the persistence of misconceptions in the face of increased female participation. This comprehensive effort will be of interest to anyone who wants to know the truth about women in the armed forces and will be a wake-up call to women who feel that the military is irrelevant to them.
Contributors: Rhonda Cornum, Virginia Solms, Billie Mitchell, Connie L. Reeves, Brenda L. Moore, Nina Richman-Loo, Rachel Weber, Lucinda Joy Peach, M. C. Devilbiss, Carol Burke, Susan Jeffords, Miriam Cooke.
Hollywood was once enamored with everything French and this infatuation blossomed in a wildly popular series of films including An American in Paris, Gigi,and Funny Face. Schwartz here examines the visual appeal of such films, and then broadens her analysis to explore their production and distribution, probing the profitable influences that Hollywood and Paris exerted on each other. This exchange moved beyond individual films with the sensational spectacle of the Cannes Film Festival and the meteoric career of Brigitte Bardot. And in turn, their success led to a new kind of film that celebrated internationalism and cultural hybridity. Ultimately, Schwartz uncovers an intriguing paradox: that the road to globalization was paved with nationalist clichés, and thus, films beloved for being so French were in fact the first signs of a nascent cosmopolitan culture.
Packed with an array of colorful film stills, publicity photographs, paparazzi shots, ads, and never before seen archival images, It’s So French! is an incisive account of the fertile collaboration between France and the United States that expanded the geographic horizons of both filmmaking and filmgoing, forever changing what the world saw and dreamed of when they went to the movies.
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