In the tradition of Annie Dillard, this book is a set of meditations on nature, in this case specifically on the way birds and birding are entangled with life, with work, family, and friends. While it delicately narrates loving engagement with birds, it is not a field guide. Its author is a birder, not a professional ornithologist. Although the book does in fact offer a surprising amount of detail about birds, it is primarily a consideration of the experience and human significance of seeing birds, rather than of the birds in themselves as objects of systematic study. It attempts to convey something of the extraordinary variety and excitement of birding, the complications and subtleties of bird identification, the implication of birding in the imagination and the world against which it is usually defined.
While one doesn’t have to be interested in birds to read it with pleasure, it attempts to seduce the reader into the birding experience through a series of autobiographical memoirs with birds at their center. It is not meant for experts, except as experts might be interested in how a journeyman experiences their more significantly constructed world. In the end the book is about a lot more than birds. It is about “lifebirds,” with all the many meanings that word might seem to imply.
If our oil addiction is so bad for us, why don’t we kick the habit? Looking beyond the usual culprits—Big Oil, petro-states, and the strategists of empire—Lifeblood finds a deeper and more complex explanation in everyday practices of oil consumption in American culture. Those practices, Matthew T. Huber suggests, have in fact been instrumental in shaping the broader cultural politics of American capitalism.
How did gasoline and countless other petroleum products become so central to our notions of the American way of life? Huber traces the answer from the 1930s through the oil shocks of the 1970s to our present predicament, revealing that oil’s role in defining popular culture extends far beyond material connections between oil, suburbia, and automobility. He shows how oil powered a cultural politics of entrepreneurial life—the very American idea that life itself is a product of individual entrepreneurial capacities. In so doing he uses oil to retell American political history from the triumph of New Deal liberalism to the rise of the New Right, from oil’s celebration as the lifeblood of postwar capitalism to increasing anxieties over oil addiction.
Lifeblood rethinks debates surrounding energy and capitalism, neoliberalism and nature, and the importance of suburbanization in the rightward shift in American politics. Today, Huber tells us, as crises attributable to oil intensify, a populist clamoring for cheap energy has less to do with American excess than with the eroding conditions of life under neoliberalism.
Palmer examines the alarming condition of rivers in today's world, reports on the success in restoring some of our most polluted streams and in stopping destructive dams, and builds the case for what must be done to avoid the collapse of riparian ecosystems and to reclaim qualities we cannot do without. He documents the needs for a new level of awareness and suggests ways to avert the plunder of our remaining river legacy.
Lifelines offers a fresh perspective on:
“Our people are very lucky to be here,” says Albert White Hat Sr. He has lived through a time when Indians were sent to boarding schools and were not permitted to practice their own rituals. Although the Lakota people can practice their beliefs openly once again, things have changed and old ways have been forgotten. As a teacher at Sinte Gleska University in South Dakota, White Hat seeks to preserve the link the Lakota people have with their past. In Life’s Journey—Zuya, White Hat has collected and translated the stories of medicine men, retaining the simplicity of their language so as not to interpret their words through a Western lens. This is Zuya, oral history that is lived and handed down over the generations.
White Hat also shares stories from his own experience. Using anecdotes he shows not only how the Lakota lifestyle has been altered but also how Lakota words have begun to take on new meanings that lack their original connotations and generate a different picture of Lakota philosophy. Language, interwoven with history, tells the people where they came from and who they are. By gathering the traditions and ceremonies in a single volume, with the history of how they evolved, he has secured the meaning of these practices for futre generations. Filled with warmth and humor, Life’s Journey—Zuya is an enjoyable and enlightening read.
This comprehensive anthology will be the standard source for the
study of African American public address for years to come.
For Americans of the 19th century, as W. E. B. Du Bois observed, eloquent
speeches were 'the shining lights of civilization' that both expressed
and sought to improve the lives and communities from which they sprang.
Through political speeches, sermons, lectures, oral testimonies, and ceremonial
addresses, African Americans offered diverse responses to the issues and
events of their times, including not only slavery and racial equality but
also women's rights, education, religion, immigration, socialism, war,
Indian policy, and labor organization, among others. The speeches in this
collection are among the most powerful expressions of African American
opinions on these issues and were delivered on occasions and before audiences
where the speakers believed their words might be transformative.
Lift Every Voice is a completely revised, updated, and expanded
version of Philip Foner's 1972 classic Voice of Black America, which Library
Journal hailed as "indispensable.""This well-edited and
richly inclusive work," wrote Benjamin Quarles, "unveils the
full sweep of Black expression as found in platform addresses" by
"men and women who join eloquence with reason in articulating their
grievances and their aspirations and in arousing their listeners with their
ringing and prophetic challenges." This new collection includes over
60 additional texts and revised and expanded introductory essays that provide
historical, biographical, and critical information for each speech.
Containing more than 150 speeches, this anthology represents the most
extensive and diverse collection of African American oratory of the 18th
and 19th centuries ever published. Lift Every Voice makes readily
accessible not only the classic orations of such well-known figures
as Frederick Douglass, Sojourner Truth, and Booker T. Washington but also
dozens of lesser-known but important speeches deserving greater recognition
and study. Many of these speeches are previously unpublished, uncollected,
or long out of print.
One of Time's women of the century, Helen Keller, reveals her mystical side in this best-selling spiritual autobiography. Writing that her first reading of Emanuel Swedenborg at age fourteen gave her truths that were "to my faculties what light, color and music are to the eye and ear," she explains how Swedenborg's works sustained her throughout her life.
This new edition includes a foreword by Dorothy Herrmann, author of the acclaimed Helen Keller: A Life, and a new chapter, "Epilogue: My Luminous Universe."
Marjorie Agosín’s intensely personal long poem The Light of Desire is both a secular and sacred meditation on love and its meanings in the land of Israel. Following the tradition of the Song of Songs and the secular poetry of Sepharad, the beloved in The Light of Desire is both physical and metaphorical. The lovers’ bodies are the paths, the geography, leading not only from desire to sensual pleasure, but to memory and illumination. The light on the pink stones of Jerusalem, the sunlight of Galilee, from hills to the sea, the fragrant air and “mantle of stars,” all become one in this tender, rhapsodic expression of longing and desire. This is not unrequited love, but rather a reciprocal passion that brings exquisite pleasure, pain, a sense of fragility, and the hope and belief in that which is eternal.
The poem was written over a four-year span in Jerusalem’s Mishkenot Sha’ananim neighborhood, overlooking the wall of the Second Temple, and these hallowed surroundings imbued Agosín’s poetic voice. Lori Marie Carlson’s sensitive translation maintains the spirit of the original Spanish in this bilingual edition.
When Louise Wagenknecht’s family arrived in the remote logging town of Happy Camp in 1962, a boundless optimism reigned. Whites and Indians worked together in the woods and the lumber mills of northern California’s Klamath country. Logging and lumber mills, it seemed, would hold communities together forever.
But that booming prosperity would come to an end. Looking back on her teenage years spent along the Klamath River, Louise Wagenknecht recounts a vanishing way of life. She explores the dynamics of family relationships and the contradictions of being female in a western logging town in the 1960s. And she paints an evocative portrait of the landscape and her relationship with it.
Light on the Devils is a captivating memoir of place. It will appeal to general readers interested in the rural West, personal memoir, history, and natural history.
The Light People is a multi-genre novel that includes a series of nested stories about a tribal community in Northern Minnesota. Major themes include Oskinaway’s search for his parents and the legal wrangling over the possession of a leg that has been removed from a tribal elder. Each story is linked to previous and successive stories to form a discourse on identity and cultural appropriation, all told with humor and wisdom.
Taking inspiration from traditional Anishinabe stories and drawing from his own family's storytelling tradition, Gordon Henry, Jr., has woven a tapestry of interlocking narratives in The Light People, a novel of surpassing emotional strength. His characters tell of their experiences, dreams, and visions in a multitude of literary styles and genres. Poetry, drama, legal testimony, letters, and essays combine with more conventional narrative techniques to create a multifaceted, deeply rooted, and vibrant portrait of the author's own tribal culture. Keenly aware of Eurocentric views of that culture, Henry offers a "corrective history" where humor and wisdom transcend the political.
In the contemporary Minnesota village of Four Bears, on the mythical Fineday Reservation, a young Chippewa boy named Oskinaway is trying to learn the whereabouts of his parents. His grandparents turn for help to a tribal elder, one of the light people, Jake Seed. Seed's assistant, a magician who performs at children's birthday parties, tells Oskinaway's family his story, which gives way to the stories of those he encounters. Narratives unfold into earlier narratives, spinning back in time and encompassing the intertwined lives of the Fineday Chippewas, eventually revealing the place of Oskinaway and his parents in a complex web of human relationships.
Between 1972, when he published his first book, The Signing Knives, and 1978, when he died at the age of twenty-nine, Frank Stanford published seven volumes of poetry. Within a year of his death, two posthumous collections were published. At the time of this death, as Leon Stokesbury asserts in his introduction, “Stanford was the best poet in America under the age of thirty-five.”
The Light the Dead See collects the best work from those nine volumes and six previously unpublished poems. In the earlier poems, Stanford creates a world where he could keep childhood alive, deny time and mutability, and place a version of himself at the center of great myth and drama.
Later, the denial of time and mutability gives way to an obsessive and familiar confrontation with death. Although Stanford paid an enormous price for his growing familiarity with Death as a presence, the direct address to that presence is a source of much of the striking originality and stunning power in the poetry.
“I don’t compose pictures, I find them in the colors, patterns, and shadows of the trees in front of me. While I walk, I let my feelings well up in my consciousness. My feelings guide me to find what I’m seeing and feeling and distill it into a picture.”
A beloved and popular Illinois institution, The Morton Arboretum welcomes one million annual visitors to walk its trails and view the 4,200 tree species on the grounds. Peter Vagt has photographed the Arboretum for over twenty years. This collection showcases eighty-five of his favorite works, each one in full color. Vagt's close attention to place and time reflects both his profound connection to the Arboretum and its preeminence as a sanctuary for anyone in search of transcendence in nature.
A celebration of The Morton Arboretum in its centenary year, Light Through the Trees is the perfect keepsake or gift for anyone who admires trees and believes in their restorative power.
In Lighting the Shakespearean Stage, 1567–1642,R. B. Graves examines the lighting of early modern English drama from both historical and aesthetic perspectives. He traces the contrasting traditions of sunlit amphitheaters and candlelit hall playhouses, describes the different lighting techniques, and estimates the effect of these techniques both indoors and outdoors.
Graves discusses the importance of stage lighting in determining the dramatic effect, even in cases where the manipulation of light was not under the direct control of the theater artists. He devotes a chapter to the early modern lighting equipment available to English Renaissance actors and surveys theatrical lighting before the construction of permanent playhouses in London. Elizabethan stage lighting, he argues, drew on both classical and medieval precedents.
The aerosphere is a literal and figurative contact zone for birds and media. Transmission towers become obstacles in birds’ flight paths; radar systems emit signals that reveal the large-scale movements of birds; parabolic microphones directed at the sky detect avian flight calls; and miniature radio transmitters are attached to birds to track their global travels.
Lightning Birds is a multi-media project that consists of a five-episode, podcast-style audiobook, a curatorial essay, and a bibliography. It tells a new story about radio, describes important scientific discoveries about bird migration through interviews with key researchers, and explores a mode of ecocriticism that combines traditional forms of text-based scholarship with sound art, music, and audio storytelling. At a moment when 13% of all bird species are threatened with extinction, Smith writes not only to those working in media studies, environmental studies, and ornithology, but also to a broader public. He argues that by knowing more about how birds use the sky, we might begin to minimize the damage that our buildings, media, and environmental degradation do to the aerosphere.
If a people
Have no poets
And no poetry of their own
For a National Anthology
Then treachery and barking
Will do the trick
With these words, a challenge is laid down in this new volume of Albanian poetry. Albania, however, has a dynamic tradition of literature. Lightning from the Depths is the first English collection to present the full range of Albanian verse. Albanian literature has had many lives. The early Christian traditions disappeared as Islam and the Ottoman Empire took over. Muslim literature, too, withered when the nation strove to become an independent European country. The beginnings of a modern tradition were quashed by the Stalinists. All along this rocky path, poets have turned the political strife, poverty, and isolation their nation has often experienced into culture, both celebrating and questioning the society in which they live. Lightning from the Depths opens readers’ eyes to a new political and cultural world populated artists who can spin despair into poetry.
El Tajín, an ancient Mesoamerican capital in Veracruz, Mexico, has long been admired for its stunning pyramids and ballcourts decorated with extensive sculptural programs. Yet the city's singularity as the only center in the region with such a wealth of sculpture and fine architecture has hindered attempts to place it more firmly in the context of Mesoamerican history. In Lightning Gods and Feathered Serpents, Rex Koontz undertakes the first extensive treatment of El Tajín's iconography in over thirty years, allowing us to view its imagery in the broader Mesoamerican context of rising capitals and new elites during a period of fundamental historical transformations.
Koontz focuses on three major architectural features—the Pyramid of the Niches/Central Plaza ensemble, the South Ballcourt, and the Mound of the Building Columns complex—and investigates the meanings of their sculpture and how these meanings would have been experienced by specific audiences. Koontz finds that the iconography of El Tajín reveals much about how motifs and elite rites growing out of the Classic period were transmitted to later Mesoamerican peoples as the cultures centered on Teotihuacan and the Maya became the myriad city-states of the Early Postclassic period.
By reexamining the iconography of sculptures long in the record, as well as introducing important new monuments and contexts, Lightning Gods and Feathered Serpents clearly demonstrates El Tajín's numerous iconographic connections with other areas of Mesoamerica, while also exploring its roots in an indigenous Gulf lowlands culture whose outlines are only now emerging. At the same time, it begins to uncover a largely ignored regional artistic culture of which Tajín is the crowning achievement.
The Lightning Jar is about lonely children. It may be more about lonely children than any other book. These children are good at making imaginary friends but have trouble keeping them. For instance, there’s the Morra, who plunges the world into eternal winter. But she also teaches Mons the meaning of love and helps him burn down his house after some Gypsies turn it into a middle school.
Then there’s the Gorbel. Amanda invented it to scare the Guest, but it ended up liking him best. A bit like a cat but more like a spider, it turned out a lot cuter than she’d intended.
And the Wisps—they’re pretty unhappy about being dead. Karl accidentally turned his smallest cousin into a Wisp. They were trying to catch some lightning in a jar, but they caught the smallest cousin’s ghost instead. Karl had to drown it for its own good. Something similar happened with his grandma Astrid and a rock named Melisande.
But the loneliest character is probably Christian. He insists on being from Jämtland, where Karl and Amanda live. When his cousin Eskild got married, Christian rewrote their past so it’s like The Little Mermaid, except Eskild drowns and Christian doesn’t earn a soul.
In the spirit of Tove Jansson, William Blake, and Calvin & Hobbes, The Lightning Jar contains a volatile mix of innocence and experience, faith and doubt, nostalgia and a sense of all there is to gain by accepting reality on fresh terms.
More than simply a history of the bow and arrow, The Lightening Stick brings together a broad range of significant people and events, spiritual usages, medicinal treatments, and an unusual array of subject matter related to the weapon itself. Henrietta Stockel conveys a host of information derived from primary documents and provides readers with a fascinating book. Her descriptive storytelling—serious, humorous, and even gory at times—takes the reader from modern uses of bows and arrows (including a previously little-known incident in the atomic city of Los Alamos, New Mexico) to an early era of western history, before guns changed the frontier forever.
Lightning through the Clouds is the first English-language life-and-times biography of ‘Izz al-Din al-Qassam, a preeminent figure who helped to reshape the political and religious landscape of the region. A Syrian-born, Egyptian-educated cleric, he went from the battlefields of World War I to join the anticolonialist fight against the French in Syria. Sentenced to be executed by the French military, he managed to escape to Palestine, where he became an increasingly popular presence, moved by the plight of the poor and disenfranchised. Outraged by British rule and the encroachment of Zionism, he formed a secret society to resist the colonization of Palestine first by the British and then by Jewish immigrants from Europe, once again taking up arms and advocating for a moral, political, and military jihad as the only solution. His death at the hands of Palestine Police in 1935 drew thousands to his funeral and sparked the 1936–1939 Arab Revolt.
His influence continues to be felt in the region; for example, the military wing of the Palestinian Hamas organization is named the ‘Izz al-Din al-Qassam Brigades. Al-Qassam is either revered or reviled, depending on the observers’ perspective, but he is without doubt a fascinating and historically significant individual whose influence on the past, and our present, makes this examination of his life both important and timely.
Lights! Camera! Arkansas! traces the roles played by Arkansans in the first century of Hollywood’s film industry, from the first cowboy star, Broncho Billy Anderson, to Mary Steenburgen, Billy Bob Thornton, and many others. The Arkansas landscape also plays a starring role: North Little Rock’s cameo in Gone with the Wind, Crittenden County as a setting for Hallelujah (1929), and various locations in the state’s southeastern quadrant in 2012’s Mud are all given fascinating exploration.
Robert Cochran and Suzanne McCray screened close to two hundred films—from laughable box-office bombs to laudable examples of filmmaking -- in their research for this book. They’ve enhanced their spirited chronological narrative with an appendix on documentary films, a ratings section, and illustrations chosen by Jo Ellen Maack of the Old State House Museum, where Lights! Camera! Arkansas! debuted as an exhibit curated by the authors in 2013. The result is a book sure to entertain and inform those interested in Arkansas and the movies for years to come.
The full extent of Plutarch’s moral educational program remains largely understudied, at least in those aspects pertaining to women and the gendered other. As a result, scholarship on his views on women have differed significantly in their conclusions, with some scholars suggesting that he is overwhelmingly positive towards women and marriage and perhaps even a “precursor to feminism,” and others arguing that he was rather negative on the issue. Like a Captive Bird: Gender and Virtue in Plutarch is an examination of these educational methods employed in Plutarch’s work to regulate the expression of gender identity in women and men. In six chapters, author Lunette Warren analyzes Plutarch’s ideas about women and gender in Moralia and Lives. The book examines the divergences between real and ideal, the aims and methods of moral philosophy and psychagogic practice as they relate to identity formation, and Plutarch’s theoretical philosophy and metaphysics.
Warren argues that gender is a flexible mode of being that expresses a relation between body and soul, and that gender and virtue are inextricably entwined. Plutarch’s expression of gender is also an expression of a moral condition that signifies relationships of power, Warren claims, especially power relationships between the husband and wife. Uncovered in these texts is evidence of a redistribution of power, which allows some women to dominate other women and, in rare cases, men too. Like a Captive Bird offers a unique and fresh interpretation of Plutarch’s metaphysics which centers gender as one of the organizational principles of nature. It is aimed at scholars of Plutarch, ancient philosophy, and ancient gender studies, especially those who are interested in feminist studies of antiquity.
Joseph F. Smith was born in 1838 to Hyrum Smith and Mary Fielding Smith. Six years later both his father and his uncle, Joseph Smith Jr., the founding prophet of the Church of Jesus Christ of Latter-day Saints, were murdered in Carthage, Illinois. The trauma of that event remained with Joseph F. for the rest of his life, affecting his personal behavior and public tenure in the highest tiers of the LDS Church, including the post of president from 1901 until his death in 1918. Joseph F. Smith laid the theological groundwork for modern Mormonism, especially the emphasis on temple work. This contribution was capped off by his “revelation on the redemption of the dead,” a prophetic glimpse into the afterlife. Taysom’s book traces the roots of this vision, which reach far more deeply into Joseph F. Smith’s life than other scholars have previously identified.
In this first cradle-to-grave biography of Joseph F. Smith, Stephen C. Taysom uses previously unavailable primary source materials to craft a deeply detailed, insightful story of a prominent member of a governing and influential Mormon family. Importantly, Taysom situates Smith within the historical currents of American westward expansion, rapid industrialization, settler colonialism, regional and national politics, changing ideas about family and masculinity, and more. Though some writers tend to view the LDS Church and its leaders through a lens of political and religious separatism, Taysom does the opposite, pushing Joseph F. Smith and the LDS Church closer to the centers of power in Washington, DC, and elsewhere.
Annette Smith and Dominic Thomas’s new translations of Aimé Césaire’s Like a Misunderstood Salvation and Solar Throat Slashed (poems deleted) expose to a new audience a pivotal figure in twentieth-century French literature. This collection presents the early and last stages of a poet’s course, encapsulating in one volume Césaire’s entire literary career and creative evolution as perhaps the only French poet writing simultaneously at the crossroads of the avant-garde and classical movements.
This volume’s inclusion of previously deleted poems from Solar Throat Slashed is politically important; despite their initial exclusion from a French republication of Soleil Cou Coupé in 1961, these thirty-one poems are crucial to understanding Césaire’s legacy and remain of tremendous pertinence today as they provide helpful ways of thinking about and contextualizing discussions on race, identity, global identities, and the links between “black consciousness” and “social consciousness.”
Drawing equally from Wallace Stevens, Gertrude Stein, John Berryman, and Robert Frost, Samuel Amadon’s award-winning Like a Sea is a collection of poems where personality is foregrounded and speech is both bizarre and familiar. Central to this weirdly talky work is “Each H,” a sequence of eleven monologues and dialogues wherein an unknown number of speakers examine their collective and singular identities while simultaneously distorting them. From a sequence of pared-down sonnets to a more traditional lyric to a procedural collage inspired by J. D. Salinger, Ezra Pound, Robert Lowell, Walter Benjamin, Jane Kenyon, Joris-Karl Huysmans, Primo Levi, Eugenio Montale, and Edwin Arlington Robinson, Like a Sea is a book of significant variation and originality.
Amadon’s electric collection begins with the line “I could not sound like anyone but me,” and through a wide range of forms and styles and voices he tests the true limits of that statement. The image of a half-abandoned Hartford, Connecticut, remains in the background of these poems, casting a tone of brokenness and haplessness. Ultimately Amadon’s poems present the confusion and fear of the current moment, of Stevens’s “river that flows nowhere, like a sea,” equally alongside its joyful ridiculousness and possibility. Rather than create worlds, they point out what a strange world already exists.
Florida's Seminole Indians are exerting an ever increasing influence on crucial issues in state politics, economy, and law. From a position of near obscurity less than a century ago, these Native Americans have staged a remarkable comeback to take an active hand in shaping Florida society, present and future. Anthropologists have long been fascinated with the Seminoles and have often remarked upon their ability to adapt to new circumstances while preserving the core features of their traditional culture. Early observers of the Seminoles also commented on the dynamic tension that existed for the individual, clan, and tribe, that drew them together, "like beads on a string," into a resilient and viable society. This study traces the emergence of these qualities in the late prehistoric and early historic period in the Southeast and demonstrates their influence on the course of Seminole culture history.
In these five surrealist collages, waking life continually gives way before the onslaught of dreams. Yuriy Tarnawsky has condensed the vastness of scope typical of novels into shorter fragments—mininovels—that require the reader’s active participation. The tone is a balance of dead-pan comedy and solemn gothic, sometimes a near-parody of wide-eyed candor, sometimes recounting utterly mad or barely conceivable states of affairs.
A candidate for major surgery struggles unsuccessfully to avoid it. Two strangers meet, and eventually marry, after participating in scream therapy. A pianist stops playing because he believes his hand is not there when he sits at the keyboard. A character sees the giant blue and white flowers he has craved his whole life only at the instance of his electrocution. Tyler Pavarotti, a tailor, voluntarily takes a role in a production in which he will be killed.
Tarnawsky’s language is elegant and careful, and his studied concentration of rhythm allows his work to transcend prose, nestling somewhere within the realm of musical composition. Both tragic and beautiful, in these stories life dissolves in time like blood in water.
The series, established by one of the twentieth-century West's most distinguished historians, Leonard Arrington, has become a leading forum for prominent historians to address topics related to Mormon history. The first lecturer was Arrington himself. He was followed by Richard Lyman Bushman, Richard E. Bennett, Howard R. Lamar, Claudia L. Bushman, Kenneth W. Godfrey, Jan Shipps, Donald Worster, Laurel Thatcher Ulrich, and F. Ross Peterson. Utah State University hosts the Leonard J. Arrington Mormon History Lecture Series. The University Libraries' Special Collections and Archives houses the Arrington collection. The state's land grant university began collecting records very early, and in the 1960s became a major depository for Utah and Mormon records. Leonard and his wife Grace joined the USU faculty and family in 1946, and the Arringtons and their colleagues worked to collect original diaries, journals, letters, and photographs.
Although trained as an economist at the University of North Carolina, Arrington became a Mormon historian of international repute. Working with numerous colleagues, the Twin Falls, Idaho, native produced the classic Great Basin Kingdom: An Economic History of the Latter-day Saints in 1958. Utilizing available collections at USU, Arrington embarked on a prolific publishing and editing career. He and his close ally, Dr. S. George Ellsworth helped organize the Western History Association, and they created the Western Historical Quarterly as the scholarly voice of the WHA. While serving with Ellsworth as editor of the new journal, Arr ington also helped both the Mormon History Association and the independent journal Dialogue get established.
More than 140 poems by 120 of America's best poets that focus on the effects of violence in contemporary America.
From Waco to Columbine, from Oklahoma City to New York City, from domestic abuse and drive-by shootings to religious fanaticism and acts of terrorism, the poems in Like Thunder are for those who have perished and those who have survived. More than 140 poems by 120 poets focus, in the editors' words, on “the violence in the news, the violence in our schools, the violence in our homes, as well as the violence in our own minds.”
The poets gathered here articulate terror and suffering but also present images of hope and redemption; they write of individual menaces and individual victims and the melding of the two that potentially exists in everyone. By transforming horrifying details into larger truths, they create a poetry of witness, of survival, and of remembrance.
David Bartholomae has been a prominent figure in the field of composition and rhetoric for almost five decades. This is an end-of-career book, a collection of late essays that reflect on the teaching of reading and writing, on the challenges and value of students’ work, and on the place of English in the university curriculum. The chapters are unified by a thread that connects some of the books and ideas, people and places, students and courses that shaped and sustained his work as a scholar and teacher over time. Several chapters present and discuss extended examples of student writing. The essays trace his formation from the early days of “Basic Writing” to his final engagements with study abroad and travel writing, where he had the chance to think again, and in radically different settings, about the fundamental problems of communication across linguistic and cultural divides.
Anyone who has strolled through the halls of a museum knows that portraits occupy a central place in the history of art. But did portraits, as such, exist in the medieval era? Stephen Perkinson’s The Likeness of the King challenges the canonical account of the invention of modern portrait practices, offering a case against the tendency of recent scholarship to identify likenesses of historical personages as “the first modern portraits.”
Unwilling to accept the anachronistic nature of these claims, Perkinson both resists and complicates grand narratives of portraiture art that ignore historical context. Focusing on the Valois court of France, he argues that local practice prompted shifts in the late medieval understanding of how images could represent individuals and prompted artists and patrons to deploy likeness in a variety of ways. Through an examination of well-known images of the fourteenth- and early fifteenth-century kings of France, as well as largely overlooked objects such as wax votive figures and royal seals, Perkinson demonstrates that the changes evident in these images do not constitute a revolutionary break with the past, but instead were continuous with late medieval representational traditions.
Women’s voices and their desires are in the spotlight in this celebrated ninth-century Prakrit romance, set in modern-day coastal Andhra Pradesh.
The Prakrit romance Lilavai, an early ninth-century poem attributed to Kouhala and set in modern-day coastal Andhra Pradesh, is the most celebrated work in the genre. Complexly narrated in the alternating voices of its heroines and heroes and featuring a cast of semi-divine and magical beings, it centers on three young women: Lilavai, princess of Sinhala (today’s Sri Lanka); her cousin Mahanumai, princess of the mythical city Alaka; and Kuvalaavali, Mahanumai’s adopted sister. Following a prophecy that Lilavai’s husband will rule the earth, the princess happens upon a portrait of King Hala of Pratishthana and immediately falls in love. While journeying to meet him, she hears her cousins’ tales of their lost loves, and then vows not to marry until they are reunited. To win Lilavai’s hand, King Hala journeys to the underworld, faces monsters, and overcomes armies.
Lilavai explores themes of karma and female desire, notably privileging women as storytellers. A new edition of the Prakrit text, presented in the Devanagari script, accompanies a new English prose translation.
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