A SCHOLARLY BOOK REPOSITORY
That experience, along with the guidance of leaders in systems thinking and racial justice, convinced her that the world’s thorniest problems may be easier to tackle together than one by one. That’s multisolving: using a single investment of time or money to solve many problems at the same time. (Reduced fossil fuel use = improvements in climate, health, equity, economics, and more.) While the idea of killing two birds with one stone (or “filling two needs with one deed”) is age-old, and the notion of co-benefits in policy-making has been around for years, Multisolving addresses the current mismatch between complex, deeply intertwined societal issues and our siloed approach to them.
This unique resource is for local school boards that need revenue for their students but don’t want to overtax low-income seniors. It is for nonprofits working to reduce food waste and combat the root causes of hunger while increasing racial justice. It is for seaside communities that can protect themselves from flooding while also improving biodiversity with a living coastline. It may also be for you: doing the work you know is imperative but that is sometimes overwhelming, a tiny a drop in a swirling ocean.
Multisolving can’t promise a list of “fifty simple things to make everything OK.” What it does offer are strategies to build solidarity between diverse groups, overcome powerful interests, and create last change that benefits us all.
Delectable mushrooms flourishing in the aftermath of ecological disaster, microbial cultures enlivening the politics and value of food, and nascent life forms running wild in the age of biotechnology all figure in this curated collection of essays and artifacts. Recipes provide instructions on how to cook acorn mush, make cheese out of human milk, and enliven forests after they have been clear-cut. The Multispecies Salon investigates messianic dreams, environmental nightmares, and modest sites of biocultural hope.
For additional materials see the companion website: www.multispecies-salon.org/
Contributors. Karen Barad, Caitlin Berrigan, Karin Bolender, Maria Brodine, Brandon Costelloe-Kuehn, David S. Edmunds, Christine Hamilton, Donna J. Haraway, Stefan Helmreich, Angela James, Lindsay Kelley, Eben Kirksey, Linda Noel, Heather Paxson, Nathan Rich, Anna Rodriguez, Dorion Sagan, Craig Schuetze, Nicholas Shapiro, Miriam Simun, Kim TallBear, Anna Lowenhaupt Tsing
The emerging field of multispecies studies, grounded in passionate immersion in the lives of fungi, microorganisms, animals, plants, and others, is opening up novel ways of engaging with worlds around us. This issue brings together some of the leading scholars in this field to explore what is at stake—epistemologically, politically, ethically—for different forms of life caught up in diverse relationships of knowing and living together. The collection takes us into the worlds of sheep and shepherds; of stones, worms, salmon, and forest-devouring beetles; of viruses and their elephants; of seals, crows, and lava flows in Hawaii; and finally of frogs-as-pregnancy-tests and possible agents of pathogenic fungal spread. Each of the contributors explores what difference curious and careful attention to others might make in our efforts to inhabit and coconstitute flourishing worlds in these difficult times.
This issue is freely available online at environmentalhumanities.org; a print version is available for purchase.
Graeme D. Bird examines a small group of early papyrus manuscripts of Homer’s Iliad, known as the Ptolemaic papyri, which, although fragmentary, are the oldest surviving physical evidence of the text of the Iliad, dating from the third to the first centuries BCE.
These papyri have been described as “eccentric” or even “wild” by some scholars. They differ significantly from the usual text of the Iliad, sometimes showing lines with different wording, at other times including so-called “interpolated” lines that are completely absent from our more familiar version.
Whereas some scholars denigrate these papyri because of their “eccentricity,” this book analyzes their unusual readings and shows that in fact they present authentic variations on the Homeric text, based on the variability characteristic of oral performance.
Covering people and events from 1854 to the present day, this definitive history of Multnomah County provides compelling details about public works triumphs and political scandals.
This book presents Ilija Trojanow’s journey from Mumbai to Mecca in the tradition of the rihla, one of the oldest genres of classical Arabic literature, describing the Hajj, the pilgrimage to the holy sites of Islam. Every Muslim, regardless of geographical location, is implored by tradition to undertake the Hajj at least once in their life if they are able. Trojanow, with the help of his friends, donned the ihram, the traditional garb of the pilgrim, and joined the hundreds of thousands of Muslims who each year go on the Hajj. Over the course of a mere three weeks he experienced a tradition dating back over a thousand years. This personal and enlightening account will provide insights not only for Muslims who have yet to embark on the Hajj, but for those who have already made the journey and want to see a different perspective on it. Mumbai to Mecca also presents a unique glimpse into this pivotal tradition for those non-Muslims who remain barred from the most holy Muslim sites.
the pilgrimage to the holy sites of Islam, through the eyes of a Westener, but with the heart of a Muslim.
Since prehistoric times, Andean societies have been organized around the ayllu, a grouping of real or ceremonial kinspeople who share labor, resources, and ritual obligations. Many Andean scholars believe that the ayllu is as ancient as Andean culture itself, possibly dating back as far as 6000 B.C., and that it arose to alleviate the hardships of farming in the mountainous Andean environment.
In this boldly revisionist book, however, William Isbell persuasively argues that the ayllu developed during the latter half of the Early Intermediate Period (around A.D. 200) as a means of resistance to the process of state formation. Drawing on archaeological evidence, as well as records of Inca life taken from the chroniclers, Isbell asserts that prehistoric ayllus were organized around the veneration of deceased ancestors, whose mummified bodies were housed in open sepulchers, or challups, where they could be visited by descendants seeking approval and favors. By charting the temporal and spatial distribution of chullpa ruins, Isbell offers a convincing new explanation of where, when, and why the ayllu developed.
Once interred with mummified remains, nearly a thousand funerary portraits from Roman Egypt survive today in museums around the world, bringing viewers face-to-face with people who lived two thousand years ago. Until recently, few of these paintings had undergone in-depth study to determine by whom they were made and how.
An international collaboration known as APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research) was launched in 2013 to promote the study of these objects and to gather scientific and historical findings into a shared database. The first phase of the project was marked with a two-day conference at the Getty Villa. Conservators, scientists, and curators presented new research on topics such as provenance and collecting, comparisons of works across institutions, and scientific studies of pigments, binders, and supports. The papers and posters from the conference are collected in this publication, which offers the most up-to-date information available about these fascinating remnants of the ancient world.
The free online edition of this open-access publication is available at www.getty.edu/publications/mummyportraits/ and includes zoomable illustrations and graphs. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book.
The Mummy’s Foot and the Big Toe explores the innumerable appearances of the foot in literature, photography, art, sports, and film. Walk with Krell as he discovers gothic tales by French writer Théophile Gautier, disturbing photographs by François Boiffard, and religious paintings by Giotto, Tintoretto, and Caravaggio that all exalt the foot. Marvel with him at the sporting exploits of elite barefoot runners such as Abebe Bikila and Zola Budd, and the surprising representation of the foot in films such as The Adventures of Huckleberry Finn and Kill Bill. Blending insights from the humanities, language studies, the social sciences, and anthropology, and presenting a wealth of tantalizing new images and ideas of the foot, The Mummy’s Foot and the Big Toe will help us all to be better acquainted with the soul and sole of our bottom-most appendage.
In her approach to the telling of this cultural phenomenon, Knox draws on historical analysis and original research. She discusses such subjects as the continuing existence of capital punishment, the “sensational” American murderers Martha Beck and Ray Fernandez (aka the Honeymoon Killers), the connection between true crime books and romance narratives, and pulp murder novels of the 1930s and 1940s. Analyzing widespread interest in forensic psychiatry, sexuality, mortality, and the relation of gender to society’s reactions to murder, Knox refers to the early work of David Brion Davis, Bill Ellis, and Joel Black. While demonstrating how society’s focus has shifted from the act itself to the psychology of the murderer to the broader social forces at work, she discusses the writings of Willard Motley, William March, Curtis Bok, James Baldwin, and Kate Millett, among others.
Full of anecdotes and insights, Murder is a lively meditation on American culture that includes not only close critical readings of individual texts but also everyday matters of murder’s meaning. It will interest those involved with American studies, cultural studies, and true crime accounts.
The essays in Murder and Its Consequences span several periods in the history of capital punishment in America and the professional career of Leigh Bienen, a leading researcher on the death penalty. “A Good Murder” describes the subtle relationship between high-profile murders and the death penalty, while “The Proportionality Review of Capital Cases” places the well-known study of proportionality in New Jersey within a nationwide context.
“Anomalies” suggests that the arcane protocols written for lethal injection have little to do with insuring humane executions, but rather are concerned with protecting the sensibilities of witnesses and the liability of corrections officials. Other essays address the groundbreaking developments surrounding the death penalty in Illinois, and take a retrospective look at the evolution of her own and the country’s thinking about this complex, divisive topic.
In the seventeenth century, Governor John Winthrop and the Massachusetts General Court understood murder to be a sin and a threat to the colony's well-being, but the Puritans also drastically reduced the crimes for which death was the prescribed penalty and expanded a capital defendant's rights. Following the Revolution, Americans denounced the death penalty as "British and brutish" and the state's Supreme Judicial Court embraced its role as protector of the rights extended to all men by the Massachusetts Constitution. In the 1830s popular opposition nearly stopped the machinery of death and a vote in the Massachusetts House fell just short of abolishing capital punishment.
A post–Civil War effort extending civil rights to all men also stimulated significant changes in criminal procedure. A "monster petition" begging the governor to spare the life of a murderer convicted on slight circumstantial evidence and the grim prospect of executing nine Chinese men found guilty of murder fueled a passionate debate about the death penalty in the decade before World War I.
The trials and executions of Sacco and Vanzetti focused unwanted international and national attention on Massachusetts. This was a turning point. Sara Ehrmann took charge of the newly formed Massachusetts Council Against the Death Penalty, relentlessly lobbied the legislature, and convinced a string of governors not to sign death warrants. In the 1970s the focus shifted to the courts, and eventually, in 1980, the Supreme Judicial Court abolished the death penalty on the grounds that it violated the Massachusetts Constitution.
Over fifty years ago, it became unfashionable—even forbidden—for students of literature to talk about an author’s intentions for a given work. In Murder by Accident, Jody Enders boldly resurrects the long-disgraced concept of intentionality, especially as it relates to the theater.
Drawing on four fascinating medieval events in which a theatrical performance precipitated deadly consequences, Enders contends that the marginalization of intention in critical discourse is a mirror for the marginalization—and misunderstanding—of theater. Murder by Accident revisits the legal, moral, ethical, and aesthetic limits of the living arts of the past, pairing them with examples from the present, whether they be reality television, snuff films, the “accidental” live broadcast of a suicide on a Los Angeles freeway, or an actor who jokingly fired a stage revolver at his temple, causing his eventual death. This book will force scholars and students to rethink their assumptions about theory, intention, and performance, both past and present.
This book unfolds the gripping history of weaponized mail, offering the first-ever comprehensive exploration of this sinister phenomenon. Spanning two centuries, Murder by Mail unveils the history of postal bombs, describing the evolution of both explosives and the postal services that facilitated their deadly use. From an eighteenth-century incident involving Jonathan Swift to modern acts of terror by groups like the IRA, Suffragettes, and lone actors such as the Unabomber, it uncovers the surprising ubiquity of mail bombs.
This chronological account meticulously covers each decade, from early anarchists and world wars through the Cold War to the rise of the serial bomber. Astounding in scope, this book sheds light on the psychopathy, motivations, and political implications behind murder by mail.
Taggart is annoyed at having to navigate the political structure of the bureaucracy, but he cannot bring himself to leave. He is able to teach, and he likes his proximity to Church archives, local bookstores, and the woman who, according to fate, is still seeing the policeman from The Angel Acronym. All the major characters are back, and Taggart’s romantic rival is given the new murder case, meaning that he has to rely once again on Taggart for his knowledge of the Church’s secrets. This gives both men a reason to keep an eye on the other, making for entertaining situations in a funny, insider send-up of the RLDS community.
When murder is the crime, the clash in the courts is likely to be between two constitutionally enshrined rights—freedom of speech and the right to a fair trial.
Peter E. Kane shows what happened in seven famous court cases when First Amendment rights (concerning freedom of speech) conflicted with Sixth Amendment rights (concerning fair trial). He reports the circumstances of each crime, the court proceedings, and the conduct of the press in the trials of Sam Sheppard, Charles Manson and his followers, John Paul Stevenson, Claus von Bülow, and Arthur Shawcross and the cases involving the Kellie family and the Wayne Clapp murders. Kane’s narrative and analytical approach illuminates legal principles and shows the roles of actual human beings underlying the abstractions of court opinions.
In this revised and expanded edition, Kane considers two new topics stemming from recent court cases: cameras in the courtroom and a code of ethics for crime reporting. Kane explores the issue of cameras through the famous Claus von Bülow retrial, which featured live television broadcasts; regarding a journalistic code, Kane examines the massive pretrial reporting of the serial murders of Arthur Shawcross. Kane notes that sensational crime stories serve the interests of many people: the public wants to read them; journalists want to write them because they can make a reporter’s fortune and reputation; and editors and publishers want to sell papers. The sensational crime story serves everyone’s purpose except that of the accused.
In addition to exploring journalistic ethics and the proper procedures for trial judges in guaranteeing a fair trial, these cases also provide an introduction to the operation of the courts in criminal justice. "The trial court is the arena in which the conflicts between a free press and a fair trial are played out," Kane writes. "This play is described here as are the subsequent evaluations of that play by the appellate courts. Thus the legal process is considered from its beginning with the original crime to the final resolution of the case in the United States Supreme Court."
Written by a Dutch diplomat and scholar during the 1950s and 1960s, these lively and historically accurate mysteries have entertained a devoted following for decades. Set during the T'ang dynasty, they feature Judge Dee, a brilliant and cultured Confucian magistrate disdainful of personal luxury and corruption, who cleverly selects allies to help him navigate the royal courts, politics, and ethnic tensions in imperial China. Robert van Gulik modeled Judge Dee on a magistrate of that name who lived in the seventh century, and he drew on stories and literary conventions of Chinese mystery writing dating back to the Sung dynasty to construct his ingenious plots.
Murder in Canton takes place in the year 680, as Judge Dee, recently promoted to lord chief justice, is sent incognito to Canton to investigate the disappearance of a court censor. With the help of his trusted lieutenants Chiao Tai and Tao Gan, and that of a clever blind girl who collects crickets, Dee solves a complex puzzle of political intrigue and murder through the three separate subplots "the vanished censor," "the Smaragdine dancer," and "the Golden Bell."
An expert on the art and erotica as well as the literature, religion, and politics of China, van Gulik also provides charming illustrations to accompany his engaging and entertaining mysteries.
When it was discovered that a famous star of the day had probably killed Taylor, a massive cover-up began—from the removal of crucial evidence to the naming of innocent people as killers—which has continued until now to protect the truth. Murder in Hollywood goes beyond the killing to unearth unknown details about the life of Taylor before his arrival in Hollywood, as well as the stories and histories buried by the crooked authorities and criminals involved the case. The author’s exclusive interviews with the culpable star, his unique possession of long-vanished police records, and the support of the present-day Los Angeles county coroner—who examined the evidence as if the murder had taken place now—have ensured a hair-raising thriller.
Charles Higham successfully presents the most plausible and convincing solution yet to the mystery. In the process he paints a vivid portrait of Hollywood in the 1920s—from its major stars to its bisexual subculture. The result is a compelling answer to a long-standing mystery and a fascinating study of a place, and an industry that, as today, let people reinvent themselves. Murder in Hollywood is more extraordinary than any crime of fiction and more exciting than any action adventure movie.
The cave of Lascaux may be closed to the public, but five scholars a day are allowed inside, and Nora Barnes has finagled an appointment. True, she may have fudged a bit in her letter to the authorities, but she does teach art history, and she isn’t about to miss her chance to see the world’s most famous prehistoric paintings. Nora and her high-spirited husband, Toby, are visiting the Dordogne, in the southern French region of the Aquitaine. Aware that the Dordogne’s renown for cave art is matched only by its reputation for delicious cuisine, the couple has also signed up for a cooking class at a nearby château, but they soon find that more than food is on their minds.
During their tour of the cave, another visitor is murdered. When the local inspector pegs Nora and Toby as suspects, they embark on a mission to solve the crime, tracing strange links between a Cro-Magnon symbol and a thirteenth-century religious cult. As they match wits with the crusty inspector, Nora finds herself immersed in the notebooks of a forgotten artist who once lived in the château. In sifting through the artist’s papers and uncovering old secrets, she begins to piece together the motives for the murder. But has she cooked up more trouble than she can handle?
Best Books for General Audiences, selected by the Public Library Reviewers
The MICHIGAN Reading Plus Readers are original fiction written for students who wish to improve their reading skills. The MICHIGAN Reading Plus Readers support the need for extensive reading on topics of interest to today's students. The Readers offer students books in the genres of mystery, science-fiction, and romance. Activities that practice vocabulary and reading skills are provided on the companion website.
New Orleans in the 1920s and 1930s was a deadly place. In 1925, the city’s homicide rate was six times that of New York City and twelve times that of Boston. Jeffrey S. Adler has explored every homicide recorded in New Orleans between 1925 and 1940—over two thousand in all—scouring police and autopsy reports, old interviews, and crumbling newspapers. More than simply quantifying these cases, Adler places them in larger contexts—legal, political, cultural, and demographic—and emerges with a tale of racism, urban violence, and vicious policing that has startling relevance for today.
Murder in New Orleans shows that whites were convicted of homicide at far higher rates than blacks leading up to the mid-1920s. But by the end of the following decade, this pattern had reversed completely, despite an overall drop in municipal crime rates. The injustice of this sharp rise in arrests was compounded by increasingly brutal treatment of black subjects by the New Orleans police department. Adler explores other counterintuitive trends in violence, particularly how murder soared during the flush times of the Roaring Twenties, how it plummeted during the Great Depression, and how the vicious response to African American crime occurred even as such violence plunged in frequency—revealing that the city’s cycle of racial policing and punishment was connected less to actual patterns of wrongdoing than to the national enshrinement of Jim Crow. Rather than some hyperviolent outlier, this Louisiana city was a harbinger of the endemic racism at the center of today’s criminal justice state. Murder in New Orleans lays bare how decades-old crimes, and the racially motivated cruelty of the official response, have baleful resonance in the age of Black Lives Matter.
Confronting murder in the newspaper, on screen, and in sensational trials, we often feel the killer is fundamentally incomprehensible and morally alien. But this was not always the popular response to murder. In Murder Most Foul, Karen Halttunen explores the changing view of murder from early New England sermons read at the public execution of murderers, through the nineteenth century, when secular and sensational accounts replaced the sacred treatment of the crime, to today's true crime literature and tabloid reports.
The early narratives were shaped by a strong belief in original sin and spiritual redemption, by the idea that all murders were natural manifestations of the innate depravity of humankind. In a dramatic departure from that view, the Gothic imagination--with its central conventions of the fundamental horror and mystery of the crime--seized upon the murderer as a moral monster, separated from the normal majority by an impassable gulf. Halttunen shows how this perception helped shape the modern response to criminal transgression, mandating criminal incarceration, and informing a social-scientific model of criminal deviance.
The Gothic expression of horror and inhumanity is the predominant response to radical evil today; it has provided a set of conventions surrounding tales of murder that appear to be natural and instinctive, when in fact they are rooted in the nineteenth century. Halttunen's penetrating insight into her extraordinary treasure trove of creepy popular crime literature reveals how our stories have failed to make sense of the killer and how that failure has constrained our understanding and treatment of criminality today.
The quintessential international genre, detective fiction often works under the guise of popular entertainment to expose its extensive readership to complex moral questions and timely ethical dilemmas. The first book-length study of interwar Japanese detective fiction, Murder Most Modern considers the important role of detective fiction in defining the country’s emergence as a modern nation-state.
Kawana explores the interactions between the popular genre and broader discourses of modernity, nation, and ethics that circulated at this pivotal moment in Japanese history. The author contrasts Japanese works by Edogawa Ranpo, Unno Juza, Oguri Mushitaro, and others with English-language works by Edgar Allan Poe, Dashiell Hammett, and Agatha Christie to show how Japanese writers of detective fiction used the genre to disseminate their ideas on some of the most startling aspects of modern life: the growth of urbanization, the protection and violation of privacy, the criminalization of abnormal sexuality, the dehumanization of scientific research, and the horrors of total war.
Kawana’s comparative approach reveals how Japanese authors of the genre emphasized the vital social issues that captured the attention of thrill-seeking readers-while eluding the eyes of government censors.
Sari Kawana is assistant professor of Japanese at the University of Massachusetts, Boston.
From an acclaimed author comes a fascinating story of the life, marriage, and death of an all but forgotten Roman woman. Born to an illustrious Roman family in 125 CE, Regilla was married at the age of fifteen to Herodes, a wealthy Greek who championed his country's values at a time when Rome ruled.
Twenty years later--and eight months pregnant with her sixth child--Regilla died under mysterious circumstances, after a blow to the abdomen delivered by Herodes' freedman. Regilla's brother charged Herodes with murder, but a Roman court (at the urging of Marcus Aurelius) acquitted him. Sarah Pomeroy's investigation suggests that despite Herodes' erection of numerous monuments to his deceased wife, he was in fact guilty of the crime.
A pioneer in the study of ancient women, Pomeroy gathers a broad, unique array of evidence, from political and family history to Greco-Roman writings and archaeology, to re-create the life and death of Regilla. Teasing out the tensions of class, gender, and ethnicity that gird this story of marriage and murder, Pomeroy exposes the intimate life and tragedy of an elite Roman couple. Part archaeological investigation, part historical re-creation, and part detective story, The Murder of Regilla will appeal to all those interested in the private lives of the classical world and in a universal and compelling story of women and family in the distant past.
In Murder on Shades Mountain Melanie S. Morrison tells the gripping and tragic story of the attack and its aftermath—events that shook Birmingham to its core. Having first heard the story from her father—who dated Nell's youngest sister when he was a teenager—Morrison scoured the historical archives and documented the black-led campaigns that sought to overturn Peterson's unjust conviction, spearheaded by the NAACP and the Communist Party. The travesty of justice suffered by Peterson reveals how the judicial system could function as a lynch mob in the Jim Crow South. Murder on Shades Mountain also sheds new light on the struggle for justice in Depression-era Birmingham. This riveting narrative is a testament to the courageous predecessors of present-day movements that demand an end to racial profiling, police brutality, and the criminalization of black men.
Was Margaret the calculating murderess and adulteress portrayed by the press? Or was she a battered wife pushed to the edge? Or was she, as she claimed to the end, innocent? Murder on the Mountain considers all sides of this fascinating and mysterious true crime story. In turn, it examines why this murder trial became front-page news, as it resonated with public discussions about capital punishment, mental health, anti-immigrant sentiment, domestic violence, and women’s independence. This is a gripping and thought-provoking study of a murder that shocked the nation.
---Kenneth Ledford, Case Western Reserve University
This book explores the inter-relationships between Agatha Christie and her works to seek the wholeness in the Christie experience. The authors perceive an integration in personal experience and moral and aesthetic values between the woman and her art.
Earlier scholars offered rich cultural analysis of violence in low-income Black communities, and yet this literature has mostly conceptualized violence through frameworks of personal responsibility or individual accountability. And even if acknowledging the pressure of structural inequality, most earlier researchers describe violence as the ultimate result of some moral failing, a propensity for crime, and the notion of helplessness. Instead, in Murder Town USA, Payne, Hitchens, and Chamber, along with their collaborative team of street ethnographers, instead offer a radical re-conceptualization of violence in low-income Black communities by describing the penchant for violence and involvement in crime overall to be a logical, "resilient" response to the perverse context of structural inequality.
Thornton Price, one of the defense attorneys, now tells how Farmer and Small became cannon fodder in this war to reclaim Arizona’s prisons from rival gangs. These gangs—the Aryan Brotherhood, the Mau Maus, and the Mexican Mafia—were suspected of committing more than a dozen murders over the previous two years, motivating politicians to crack down after the violence could no longer be ignored or contained. To reconstruct the case, Price reviewed 16,000 pages of court records and conducted interviews with key participants to piece together an insider’s account of the crime and the politics behind its investigation. Prison murders should be easy to solve, but investigators quickly learned that the convicts’ code of silence makes these cases often impossible to win in court.
Price focuses on the special problems posed by prison crime by getting inside the skins of men like murderer Terry "Crazy" Farmer and William "Red Dog" Howard, one of the Florence Eleven and a founder of the Aryan Brotherhood. He also presents the perspectives of state investigators and reveals how they calculated to pit black witnesses against white killers until one black would break the code of silence and provoke feuding within the Brotherhood.
Murder Unpunished tells how society’s most outrageous criminals ran the prison through gang violence as outside the walls Arizona struggled to outgrow its Wild West past. Like few other books, it reveals how prisons incubate predatory criminals and gangs, and it exposes the unique difficulties of prosecuting prison crimes. It is a gripping account that cuts to the heart of our penal system and a cautionary tale for citizens who prefer to keep prisons out of sight, out of mind.
Embarking on a unique study of Roman criminal law, Judy Gaughan has developed a novel understanding of the nature of social and political power dynamics in republican government. Revealing the significant relationship between political power and attitudes toward homicide in the Roman republic, Murder Was Not a Crime describes a legal system through which families (rather than the government) were given the power to mete out punishment for murder.
With implications that could modify the most fundamental beliefs about the Roman republic, Gaughan's research maintains that Roman criminal law did not contain a specific enactment against murder, although it had done so prior to the overthrow of the monarchy. While kings felt an imperative to hold monopoly over the power to kill, Gaughan argues, the republic phase ushered in a form of decentralized government that did not see itself as vulnerable to challenge by an act of murder. And the power possessed by individual families ensured that the government would not attain the responsibility for punishing homicidal violence.
Drawing on surviving Roman laws and literary sources, Murder Was Not a Crime also explores the dictator Sulla's "murder law," arguing that it lacked any government concept of murder and was instead simply a collection of earlier statutes repressing poisoning, arson, and the carrying of weapons. Reinterpreting a spectrum of scenarios, Gaughan makes new distinctions between the paternal head of household and his power over life and death, versus the power of consuls and praetors to command and kill.
The Murderer’s Mother takes readers to the late 1970s in the Indian state of West Bengal, where the Communist Party–led Left Front has just been voted into power. It tells the story of Tapan, who has been installed as a gang leader by the most powerful man in the locality in order to kill “unwanted obstacles,” which he does, one after another. Tapan knows there is no other way he can earn a living, but at the same time, he is desperate to protect his family. He tries to stop petty crime and assaults on women, even as he protects his patron’s interests. Through the dissonance, he becomes both a feared and revered figure, but his patron’s game becomes clear: now the murderer, too, must be eliminated.
Rupert Murdoch's News Corporation is the most powerful media organisation in the world. Murdoch's commercial success is obvious, but less well understood is his successful pursuit of political goals, using News Corporation as his vehicle.
In Murdoch's Politics David McKnight tracks Murdoch's influence, from his support for Reagan and Thatcher, his deal with Tony Blair and attacks on Barack Obama. He examines the secretive corporate culture of News Corporation: its private political seminars for editors, its support for think tanks and its global campaigns on issues like Iraq and climate change.
Including analysis of the phone hacking crisis, possible bribery charges and Murdoch's appearance at the Leveson enquiry, this book is a highly topical study of one of the most influential and controversial figures of the modern age.
Spark achieved international celebrity with The Prime of Miss Jean Brodie (1961), later adapted into a successful play and film. John Updike, Tennessee Williams, Evelyn Waugh, and Graham Greene, among others, applauded her work. She lived part-time in New York City, had an office at the New Yorker, and became friends with Shirley Hazzard and W. H. Auden. Spark ultimately settled in Italy, where for more than thirty years—until her death in 2006—she shared a house with the artist Penelope Jardine. Spark gave Martin Stannard full access to her papers. He interviewed her many times as well as speaking to her colleagues, friends, and family members. The result is an indelible portrait of one of the most significant and emotionally complicated writers of the twentieth century, full of strong feeling, sharp wit, and unabashed ambition.
The second book by NAACP Image Award finalist Cameron Barnett, Murmur considers the question of how we become who we are. The answers Barnett offers in these poems are neither safe nor easy, as he traces a Black man’s lineage through time and space in contemporary America, navigating personal experiences, political hypocrisies, pop culture, social history, astronomy, and language. Barnett synthesizes unexpected connections and contradictions, exploring the Tulsa Race Massacre of 1921 and the death of Terence Crutcher in 2016 and searching both the stars of Andromeda and a plantation in South Carolina. A diagnosis from the poet’s infancy haunts the poet as he wonders, “like too many Black men,” if “a heart is not enough to keep me alive.”
A Murmuration of Starlings elegizes the martyrs of the civil rights movement, whose names are inscribed on the stone table of the Civil Rights Memorial in Montgomery, Alabama. Individually, Jake Adam York’s poems are elegies for individuals; collectively, they consider the violence of a racist culture and the determination to resist that racism.
York follows Sun Ra, a Birmingham jazz musician whose response to racial violence was to secede from planet Earth, considers the testimony in the trial of J. W. Milam and Roy Bryant for the murder of Emmet Till in 1955, and recreates events of Selma, Alabama, in 1965. Throughout the collection, an invasion of starlings imagesthe racial hatred and bloodshed. While the 1950s spawned violence, the movement in the early 1960s transformed the language of brutality and turned the violence against the violent, says York. So, the starlings, first produced by violence, become instruments of resistance.
York’s collection responds to and participates inrecent movements to find and punish the perpetrators of the crimes that defined the civil rights movement. A Murmuration of Starlings participates in the search for justice, satisfaction, and closure.
“Murphy Station is a well-told coming-of-age story. It conveys a deep sense of place, and articulates the everyday ways in which the etiquette of Jim Crow was learned and enacted, and eventually questioned and even challenged.”
—Jason Sokol, author of There Goes My Everything: White Southerners in the Age of Civil Rights, 1945–1975
In the southern Georgia of 1950, Murphy Station is a community marked only by two country stores, two Baptist churches, and a graveyard. Farming is the way of life, and segregation is in full force. Welcome to Deep Dixie.
David Donovan is a young white boy growing up in Murphy Station where even the best farmers are cash poor, and those who work for them, usually blacks, are poorer still. In adult conversation, the main topics are weather, crops, and politics. Within the last category, it’s agreed that the main threats facing America are two: communism and integration. So far as young Dave knows, this isn’t unusual, but already there are changes afoot. In this richly detailed memoir, laced with both humor and tragedy, we see how those changes affect Dave in subtle but ultimately profound ways.
Coming of age in a world with the axiom “no boy a chicken, no man a coward,” Dave has the sorts of boyhood adventures common to the rural South: exploits with firearms, encounters with angry animals, challenges from friends, and a growing interest in girls. As he has these adventures, he also works in the field alongside black farmhands, some of whom teach him vital lessons about the realities of their lives—lessons that begin to challenge the prejudices and preconceptions of his time and place.
By the late 1950s the civil rights movement has become a major force in the South; yet, as David enters high school in 1960 the customs of segregation still hold sway, persisting even when he leaves for college. In his first year away from home, he witnesses the national trauma of the Kennedy assassination, which blunts the promises of Camelot. In Vietnam a few years later, he sees those promises collapse entirely. Returning in 1970 to a Murphy Station much changed from what it was twenty years earlier, David Donovan finds himself transformed as well.
David Donovan is the pseudonym of Terry Turner, professor emeritus of urology at the University of Virginia. He is the author of more than 120 basic science articles on male reproductive biology and of a previous book, Once a Warrior King: Memoirs of an Officer in Vietnam.
This book recounts the story of fitness culture from its beginnings as spectacles of strongmen, weightlifters, acrobats, and wrestlers to its legitimization in the twentieth-century in the form of competitive sports and health and wellness practices. Broderick D. V. Chow shows how these modes of display contribute to the construction and deconstruction of definitions of masculinity.
Attending to its theatrical origins, Chow argues for a more nuanced understanding of fitness culture, one informed by the legacies of self-described Strongest Man in the World Eugen Sandow and the history of fakery in strongman performance; the philosophy of weightlifter George Hackenschmidt and the performances of martial artist Bruce Lee; and the intersections of fatigue, resistance training, and whiteness. Muscle Works: Physical Culture and the Performance of Masculinity moves beyond the gym and across the archive, working out techniques, poses, and performances to consider how, as gendered subjects, we inhabit and make worlds through our bodies.
Muse, the first full-length collection from poet Susan Aizenberg, brings together poems of personal history, elegy, and the complex lives of artists, writers, and “ordinary” people, in an exploration of the relationship between art and life, esthetics and ethics. She is sharp-eyed in purpose, trying to understand “what love is” in a continual shifting between loss and knowledge. While “there is no other world than this one” for Aizenberg, nevertheless she finds a world of affirmation. Aizenberg sings elegant blues, keeps a perfect balance between elaboration and restraint with formal skill that is both impressive and consoling, reminding us that poetry is a form of intelligence in which music creates a world full of mystery and depth.
In the book's eponymous poem, Yesenia Montilla writes, “How do you not love yourself when you / constantly survive your undoing just by being precious?" Muse Found in a Colonized Body answers this rhetorical question by populating itself with poems that range far and wide in content — observing pop culture, interrogating history, resisting contemporary injustice — but that share the spinal cord of unflinching love. As Rachel Eliza Griffiths notes, Montilla’s “powers orbit and intuit the lives of Philando Castile, Captain America, Christian Cooper, Karl Marx, Ahmaud Arbery, Eartha Kitt, and many more while stitching our wounded identities, memories, and histories in defiant poems of revision and joyous reclamation.” The vertebral odes of this collection at turns uplift desire, affirm life, celebrate protest, and condemn the violent greed of imperial usurpation that has produced the U.S. as we know it. Both in its criticism and its admiration, Muse Found in a Colonized Body calls upon its readers to rise to the occasion of these lyrics’ profound care.
The Muse in Bronzeville, a dynamic reappraisal of a neglected period in African American cultural history, is the first comprehensive critical study of the creative awakening that occurred on Chicago's South Side from the early 1930s to the cold war. Coming of age during the hard Depression years and in the wake of the Great Migration, this generation of Black creative artists produced works of literature, music, and visual art fully comparable in distinction and scope to the achievements of the Harlem Renaissance.
This highly informative and accessible work, enhanced with reproductions of paintings of the same period, examines Black Chicago's "Renaissance" through richly anecdotal profiles of such figures as Richard Wright, Gwendolyn Brooks, Margaret Walker, Charles White, Gordon Parks, Horace Cayton, Muddy Waters, Mahalia Jackson, and Katherine Dunham. Robert Bone and Richard A. Courage make a powerful case for moving Chicago's Bronzeville, long overshadowed by New York's Harlem, from a peripheral to a central position within African American and American studies.
This wide-ranging, ambitiously interdisciplinary study traces jazz's influence on African American poetry from the Harlem Renaissance to contemporary spoken word poetry. Examining established poets such as Langston Hughes, Ntozake Shange, and Nathaniel Mackey as well as a generation of up-and-coming contemporary writers and performers, Meta DuEwa Jones highlights the intersections of race, gender, and sexuality within the jazz tradition and its representation in poetry. Applying prosodic analysis to emphasize the musicality of African American poetic performance, she examines the gendered meanings evident in collaborative performances and in the criticism, images, and sounds circulating within jazz cultures.
How the modern world understood the ancient Greeks and why they matter today.
The study of ancient Greece has been central to Western conceptions of history since the Renaissance. The Muse of History traces the shifting patterns of this preoccupation in the last three centuries, in which successive generations have reinterpreted the Greeks in the light of their contemporary worlds. Thus, in the eighteenth century, the conflict between Athens and Sparta became a touchstone in the development of republicanism, and in the nineteenth, Athens came to represent the democratic ideal. Amid the ideological conflicts of the twentieth century, the Greeks were imagined in an age of suffering, inspiring defenses against nationalism, Nazism, communism, and capitalism.
Oswyn Murray draws powerful conclusions from this historiography, using the ever-changing narrative of ancient Greece to illuminate grand theories of human society. Analyzing the influence of historians and philosophers including Hegel, Burckhardt, Nietzsche, and Braudel, Murray also considers how coming generations might perceive the Greeks. Along the way, The Muse of History offers rare behind-the-scenes glimpses of figures who shaped the study of ancient Greece, some devotedly cited to this day and others forgotten. We sit in on a class with Arnaldo Momigliano; meet Moses Finley after his arrival in England; eavesdrop on Paul Veyne, Jean-Pierre Vernant, and Pierre Vidal-Naquet; and rediscover Michel Foucault.
A thrilling work that rewrites established scholarly traditions and locates important ideas in unexpected places, The Muse of History reminds us that the meaning of the past is always made in and for the present.
As more historic sites and museums seek to surmount social, cultural, and economic barriers between themselves and their communities in their exhibitions and programming, the Museums Connect program provides important lessons on how to overcome entrenched hierarchies of power in public history.
Whether contrasting the transformation of Africa’s oldest museum, the South Africa Museum, with one of its newest, the Lwandle Migrant Labor Museum; offering an interpretation of the audio guide at the Guggenheim Bilbao; reflecting on the relative paucity of art museums in Peru and Cambodia; considering representations of slavery in the United States and Ghana; or meditating on the ramifications of an exhibition of Australian aboriginal art at the Asia Society in New York City, the contributors highlight the frictions, contradictions, and collaborations emerging in museums and heritage sites around the world. The volume opens with an extensive introductory essay by Ivan Karp and Corinne A. Kratz, leading scholars in museum and heritage studies.
Contributors. Tony Bennett, David Bunn, Gustavo Buntinx, Cuauhtémoc Camarena, Andrea Fraser, Martin Hall, Ivan Karp, Barbara Kirshenblatt-Gimblett, Corinne A. Kratz, Christine Mullen Kreamer, Joseph Masco, Teresa Morales, Howard Morphy, Ingrid Muan, Fred Myers, Ciraj Rassool, Vicente Razo, Fath Davis Ruffins, Lynn Szwaja, Krista A. Thompson, Leslie Witz, Tomás Ybarra-Frausto
The Museum in the Cultural Sciences offers the first full English translations of these articles, which remain influential in conversations about the implications of art, historical, and ethnographic museums. They show how sophisticated the discussion of museums and museum display was in the early twentieth century and how much could be gained from revisiting these reflections today. Accompanied by short commentaries from museum professionals, these articles offer an intervention into and intensification of the current debate about the function and purpose of museums.
With analyses of the effects of light on visibility and deterioration, Museum Lighting provides practical information to assist curators, conservators, and other museum professionals in making critical decisions about the display and preservation of objects in their collections.
Museum Matters traces the emergence, consolidation, and dispersal of this national museum complex by telling the stories of its objects. Objects that have been separated over time are brought back together in this book in order to shed light on the interactions and processes that have forged things into symbols of science, aesthetics, and politics. The contributors to this volume illuminate how collections came into being or ceased to exist over time, or how objects moved in and out of collections and museum spaces. They explore what it means to move things physically and spatially, as well as conceptually and symbolically.
Museum Matters unravels the concept of the national museum. By unmaking the spaces, frameworks, and structures that form the complicated landscape of national museums, this volume brings a new way to understand the storage, displays, and claims about the Mexican nation’s collections today.
Contributors
Miruna Achim, Christina Bueno, Laura Cházaro, Susan Deans-Smith, Frida Gorbach, Haydeé López Hernández, Carlos Mondragón, Bertina Olmedo Vera, Sandra Rozental, Mario Rufer
A Museum Miscellany celebrates the intriguing world of galleries and museums, from national institutions such as the Louvre, the British Museum, and the Metropolitan Museum of Art to niche collections such as the Lawnmower Museum and the Museum of Barbed Wire. Here you will find a cornucopia of museum-related facts, statistics, and lists, covering everything from museum ghosts, dangerous museum objects, and conservation beetles to treasure troves, museum heists and the Museum of London’s fatberg.
Bursting with quirky facts, intriguing statistics, and legendary curators, this book is the perfect gift for museum aficionados and collectors alike.
Museum Object Lessons for the Digital Age urges readers to question their assumptions through four wide-ranging chapters, each focused on a single object—a box, a pen, an effigy, and a cloak. The book begins with an introduction exploring the legacies of older forms of media and earlier museum practices of collection and then offers a critical analysis of contending theories of knowledge production in museums as it relates to digital projects. From there, Haidy Geismar guides readers in lively, accessible prose through a range of objects, from ethnographic and decorative arts collections, bespoke digital experiments, and even the Google Art Project, revealing what these objects can tell us about both the past and the future of digital collection and display.
Winner of FC2’s American Book Review/Ronald Sukenick Innovative Fiction Prize
A stunning collection of stories that reveal wondrous play and surreal humor
A monogrammed cube appears in your town. Your landlord cheats you out of first place in the annual Christmas decorating contest. You need to learn how to love and care for your mate—a paring knife. These situations and more reveal the wondrous play and surreal humor that make up the stories in Amelia Gray’s stunning collection of stories: Museum of the Weird.
Acerbic wit and luminous prose mark these shorts, while sickness and death lurk amidst the humor. Characters find their footing in these bizarre scenarios and manage to fall into redemption and rebirth. Museum of the Weird invites you into its hallways, then beguiles, bewitches, and reveals a writer who has discovered a manner of storytelling all her own.
In the first book ever to explore this museum, James Heffernan argues that ekphrasis stages a battle for mastery between the image and the word. Moving from the epics of Homer, Virgil, and Dante to contemporary American poetry, this book treats the history of struggle between rival systems of representation. Readable and well illustrated, this study of how poets have represented painting and sculpture is a major contribution to our understanding of the relation between the arts.
Carrier illuminates the public role of art museums by describing the ways they influence how art is seen: through their architecture, their collections, the narratives they offer museum visitors. He insists that an understanding of the art museum must take into account the roles of collectors, curators, and museum architects. Toward that end, he offers a series of case studies, showing how particular museums and their collections evolved. Among those who figure prominently are Baron Dominique Vivant Denon, the first director of the Louvre; Bernard Berenson, whose connoisseurship helped Isabella Stewart Gardner found her museum in Boston; Ernest Fenollosa, who assembled much of the Asian art collection now in the Museum of Fine Arts, Boston; Albert Barnes, the distinguished collector of modernist painting; and Richard Meier, architect of the J. Paul Getty Center in Los Angeles. Carrier’s learned consideration of what the art museum is and has been provides the basis for understanding the radical transformation of its public role now under way.
"Conn is an enthusiastic advocate for his subject, an appealing thinker, an imaginative researcher, a scholar at ease with theory and with empirical evidence." —Ann Fabian, Reviews in American History
"Steven Conn's masterly study of late-nineteenth century American museums transports the reader to a strange and wonderful intellectual universe. . . . At the end of the day, Conn reminds us, objects still have the power to fascinate, attract, evoke, and, in the right context, explain." —Christopher Clarke-Hazlett, Journal of American History
This volume brings together contributions from a variety of anthropologists working in a variety of fields, including archaeology, cultural anthropology, linguistics, and ethnohistory, in order to reflect on the importance of memory and its public presentation. The intense interest surrounding the 400th anniversary of Jamestown in 2007 was the immediate occasion for this theme, and the volume has several chapters on issues devoted to memory in the U.S. South. While museums often present themselves as neutral settings for the interpretation of artifacts, they are deeply embedded in cultural, political, and social situations that anthropologists are in a unique position to evaluate. Moreover, the volume is noteworthy for including analyses of more informal sites of memory, including oral history, that connect local pasts and futures. A sophisticated, multilayered examination of a now trendy topic in anthropology, this work seeks to question widely held notions about collective memory, always reminding us that museums and monuments inform each of us of the past in some particular way and insist that we add it to our consciousness—that we remember it.
Margaret Williamson Huber is Professor Emerita of Anthropology at the University of Mary Washington. She is the author of Powhatan Lord of Life and Death: Command and Consent in Seventeenth-Century Virginia.
Southern Anthropological Society Proceedings, no. 39
The concept of an encyclopedic museum was born of the Enlightenment, a manifestation of society’s growing belief that the spread of knowledge and the promotion of intellectual inquiry were crucial to human development and the future of a rational society. But in recent years, museums have been under attack, with critics arguing that they are little more than relics and promoters of imperialism. Could it be that the encyclopedic museum has outlived its usefulness?
With Museums Matter, James Cuno, president and director of the Art Institute of Chicago, replies with a resounding “No!” He takes us on a brief tour of the modern museum, from the creation of the British Museum—the archetypal encyclopedic collection—to the present, when major museums host millions of visitors annually and play a major role in the cultural lives of their cities. Along the way, Cuno acknowledges the legitimate questions about the role of museums in nation-building and imperialism, but he argues strenuously that even a truly national museum like the Louvre can’t help but open visitors’ eyes and minds to the wide diversity of world cultures and the stunning art that is our common heritage. Engaging with thinkers such as Edward Said and Martha Nussbaum, and drawing on examples from the politics of India to the destruction of the Bramiyan Buddhas to the history of trade and travel, Cuno makes a case for the encyclopedic museum as a truly cosmopolitan institution, promoting tolerance, understanding, and a shared sense of history—values that are essential in our ever more globalized age.
Powerful, passionate, and to the point, Museums Matter is the product of a lifetime of working in and thinking about museums; no museumgoer should miss it.
All of these developments included interpretive activities that shaped public understanding of the past. Yet it was not until the emergence of the education-oriented National Park Service history program in the 1920s and 1930s that public history found an institutional home that grounded professional practice simultaneously in the values of the emerging discipline and in government service. Even thereafter, tensions between administrators in Washington and practitioners on the ground at National Parks, monuments, and museums continued to define and redefine the scope and substance of the field. The process of definition persists to this day, according to Meringolo, as public historians establish a growing presence in major universities throughout the United States and abroad.
Mushrooms hold a peculiar place in our culture: we love them and despise them, fear them and misunderstand them. They can be downright delicious or deadly poisonous, cute as buttons, or utterly grotesque. These strange organisms hold great symbolism in our myths and legends. In this book, Nicholas P. Money tells the utterly fascinating story of mushrooms and the ways we have interacted with these fungi throughout history. Whether they have populated the landscapes of fairytales, lent splendid umami to our dishes, or steered us into deep hallucinations, mushrooms have affected humanity from the earliest beginnings of our species.
As Money explains, mushrooms are not self-contained organisms like animals and plants. Rather, they are the fruiting bodies of large—sometimes extremely large—colonies of mycelial threads that spread underground and permeate rotting vegetation. Because these colonies decompose organic matter, they are of extraordinary ecological value and have a huge effect on the health of the environment. From sustaining plant growth and spinning the carbon cycle to causing hay fever and affecting the weather, mushrooms affect just about everything we do. Money tells the stories of the eccentric pioneers of mycology, delights in culinary powerhouses like porcini and morels, and considers the value of medicinal mushrooms. This book takes us on a tour of the cultural and scientific importance of mushrooms, from the enchanted forests of folklore to the role of these fungi in sustaining life on earth.
The first edition has been improved in significant ways. The authors have updated scientific names, added photos where there were none and replaced poor photos with better ones, improved the keys, added some species and deleted others, added a section on truffles, and annotated the bibliography. There were originally 224 species; now there are 248. Some of the new photos—125 in all—serve as a second photo for a species, where it is helpful to show details that cannot be viewed in a single photo.
The authors describe each species’ cap, gills, stalk, annulus, and season when it is most likely to be seen as well as such characteristics as edibility and toxicity. In their detailed and lively introduction they discuss the economic and environmental aspects of fungi, basic mushroom biology, nomenclature, edibility and toxicity, and habitats and time of fruiting. Most important are the keys, which lead the dedicated reader to the major groups of fungi included in this guide. The section on mushrooms includes keys to their genera in addition to the species within each family discussed, and each of the subsequent sections has a key to the genera and species except where so few species are discussed that a key is not necessary. The volume also includes a glossary and two bibliographies, one with general and one with technical references.
Through their detailed technical descriptions and captivating color photos the authors convey their passionate fondness for these diverse and colorful organisms, whose mysterious appearances and disappearances have long made them objects of fascination.
In addition to crocuses and robins, springtime in Iowa brings out another harbinger of warmer weather: mushrooms. Melting snow and warmer temperatures provide optimal opportunity for mushroom enthusiasts; people of all ages can be found wandering the woods, clutching bags and hoping to spot a clump of elusive morels. Now, for budding naturalists, beginning mushroom hunters, and professionals outside of the area of mycology, Donald Huffman and Lois Tiffany have provided this laminated guide to the most common mushrooms of Iowa.
The guide illustrates forty-three species of Iowa mushrooms using color photos that show the fungi in the wild, from the yellow morel to the destroying angel to the pear-shaped puffball. Huffman and Tiffany give common and scientific names, descriptions of caps and stalks, descriptions of where the mushrooms can be found (on the ground in woods, in clusters on fallen logs, etc.), the season when they are most likely to be seen, plus information on edibility from the “choice edible” yellow morel, much coveted by generations of mushroom hunters, to the poisonous false morel.
Mushrooms’ diverse forms and variety of colors, along with their seemingly mysterious appearances and disappearances, have long made them objects of fascination. Mushrooms in Your Pocket will be an invaluable companion for finding and identifying these unusual and interesting organisms.
The weather patterns and topography of America's Gulf Coast create favorable growing conditions for thousands of species of mushrooms, but the complete region has generally gone uncharted when it comes to mycology. Mushrooms of the Gulf Coast States at last delivers an in-depth, high-quality, user-friendly field guide, featuring more than 1,000 common and lesser-known species—some of which are being illustrated in color for the first time.
Using easily identifiable characteristics and a color key, the authors enable anyone, whether amateur mushroom hunter or professional mycologist, to discern and learn about the numerous species of mushrooms encountered in Texas, Louisiana, Mississippi, Alabama, and Florida. Wild-food enthusiasts will appreciate the information on edibility or toxicity that accompanies each description, and they will also find the book’s detailed instructions for collecting, cleaning, testing, preserving, and cooking wild mushrooms to be of great interest. Providing encyclopedic knowledge in a handy format that fits in a backpack, Mushrooms of the Gulf Coast States is a must-have for any mushroom lover.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press