A SCHOLARLY BOOK REPOSITORY
She reports the catastrophes: losing daytime access during building-wide renovations; assaults from a mockingbird during his mating season. And the joys: a peach tree fruited for fifteen years; the windswept birches lasted for twenty-five. Butterflies and bees pay annual visits. She pampers a buddleia, a honeysuckle, roses, hydrangeas, and more. Her adventures celebrate the tenacity of nature, inviting readers to marvel at her garden’s resilience, and her own.
Enhanced by over thirty color photographs, this passionate account of green life in a gritty, urban environment will appeal to readers and gardeners wherever they dwell.
Combining natural history with political history in a filmic, montage style, Taussig deploys the show-and-tell modality of a museum to engage with the inner life of heat, rain, stone, and swamp, no less than with the life of gold and cocaine.
This effort to find a poetry of words becoming things is brought to a head by the explosive qualities of those sublime fetishes of evil beauty, gold and cocaine. At its core, Taussig's museum is about the lure of forbidden things, charged substances that transgress moral codes, the distinctions we use to make sense of the world, and above all the conventional way we write stories.
In her vibrant ethnography My Culture, My Color, My Self, Toby Jenkins provides engrossing, in-depth interviews and poignant snapshots of young adults talking about their lives and culture. She recounts D'Leon's dream to become a positive example for African American men, and Francheska describing how her late mother inspired her appreciation of her Boricua heritage. In these and other portraits, Jenkins considers the role that cultural education and engagement plays in enhancing educational systems, neighborhood programs, and community structures.
My Culture, My Color, My Self also features critical essays that focus on broader themes such as family bonds, education, and religion. Taken together, Jenkins shows how people of color use their culture as both a politic of social survival and a tool for social change.
We stopped, and we heard the biggest racket you ever heard up in the house.
“What’s the matter, son?”
“Why, Maw and Paw are up there fightin’.”
“Who is your Paw, son?”
“Well, that’s what they are fightin’ over.”
Brimming with ballads, stories, riddles, tall tales, and great good humor, My Curious and Jocular Heroes pays homage to four people who guided and inspired Loyal Jones’s own study of Appalachian culture. His sharp-eyed portraits introduce a new generation to Bascom Lunsford, the pioneer behind the “memory collections” of song and story at Columbia University and the Library of Congress; the Sorbonne-educated collector and performer Josiah H. Combs; Cratis D. Williams, the legendary father of Appalachian studies; and the folklorist and master storyteller Leonard W. Roberts. Throughout, Jones highlights the tales, songs, jokes, and other collected nuggets that define the breadth of each man’s research and repertoire.
The island of Cyprus has been a site of global history and conquest, and its strategic position means it has been coveted by one foreign power after another. The Phoenicians, Greeks, Romans, Byzantines, Venetians, Genoese, Ottomans, and British have all left their mark. Along with the Roman and Byzantine ruins of Salamis, the island holds impressive monuments dating from the Frankish and Venetian times: the Abbey of Bellapais, the fortified harbor of Kyrenia, and the magnificent cathedrals of Nicosia and Famagusta, the setting for Shakespeare’s Othello.
Having lived in Cyprus for three years, Joachim Sartorius returns to the island’s cultures and legends and brings to life the colors and lights of the Levant area of the Middle East. He sifts through the sediments of the island’s history, including its division after the Turkish invasion of 1974 and the difficulties that followed. Rather than focusing solely on historical or political factors, this book is the work of a poet, who, with the help of both Greek and Turkish Cypriot friends, tries to understand this unique place.
In looking at themes such as the relationship between activism and desire or how sexuality can be intimately tied to one’s class identity, Hollibaugh fiercely and fearlessly analyzes her own political development as a response to her unique personal history. She explores the concept of labeling and the associated issues of categories such as butch or femme, transgender, bisexual, top or bottom, drag queen, b-girl, or drag king. The volume includes conversations with other writers, such as Deirdre English, Gayle Rubin, Jewelle Gomez, and Cherríe Moraga. From the groundbreaking article “What We’re Rollin’ Around in Bed With” to the radical “Sex Work Notes: Some Tensions of a Former Whore and a Practicing Feminist,” Hollibaugh charges ahead to describe her reality, never flinching from the truth. Dorothy Allison’s moving foreword pays tribute to a life lived in struggle by a working-class lesbian who, like herself, refuses to suppress her dangerous desires.
Having informed many of the debates that have become central to gay and lesbian activism, Hollibaugh’s work challenges her readers to speak, write, and record their desires—especially, perhaps, the most dangerous of them—“in order for us all to survive.”
In what kinds of spaces do we become most aware of the thoughts in our own heads? In My Dark Room, Julie Park explores places of solitude and enclosure that gave eighteenth-century subjects closer access to their inner worlds: grottos, writing closets, landscape follies, and the camera obscura, that beguiling “dark room” inside which the outside world in all its motion and color is projected. The camera obscura and its dreamlike projections within it served as a paradigm for the everyday spaces, whether in built environments or in imaginative writing, that generated the fleeting states of interiority eighteenth-century subjects were compelled to experience and inhabit.
My Dark Room illuminates the spatial and physical dimensions of inner life in the long eighteenth century by synthesizing material analyses of diverse media, from optical devices and landscape architecture to women’s intimate dress, with close readings of literary texts not traditionally considered together, among them Andrew Marvell’s country house poem Upon Appleton House, Margaret Cavendish’s experimental epistolary work Sociable Letters, Alexander Pope’s heroic verse epistle Eloisa to Abelard, and Samuel Richardson’s novel Pamela. Park also analyzes letters and diaries, architectural plans, prints, drawings, paintings, and more, drawing our attention to the lively interactions between spaces and psyches in private environments. Park’s innovative method of “spatial formalism” reveals how physical settings enable psychic interiors to achieve vitality in lives both real and imagined.
The fourth novel in James T. Farrell’s pentalogy chronicles Danny O’Neill’s coming of age. Recording his reactions to initiation into college life at the University of Chicago and the imminent death of his grandmother, one of his primary caretakers, Danny realizes the value of time and gains confidence in his writing abilities. As he works on his first novel, he prepares to leave his family, his Catholicism, and his neighborhood in Chicago behind for a new life as a writer in New York.
She was the daughter of a circuit judge and state senator. He was the youngest son of Virginia’s Civil War governor and was a state legislator himself at the age of nineteen. Their courtship and marriage stands as a portrait of a bygone way of life unique to the American South during the first half of the twentieth century. My Dearest Angel is their story, told through their faithful correspondence over the course of their fifty years together.
Piecing together the voluminous letters, their granddaughter, noted author Katie Letcher Lyle, has succeeded in giving us an intimate panorama of the full and oftentimes wrenching lives led by Greenlee and Katie Letcher. Domestic life, family secrets, and visiting luminaries are part of their story. But the abiding appeal of My Dearest Angel is the maturation of a lifelong relationship built on the crest of a changing world.
“A wonderfully vivid account of the momentous era they lived through, underscoring the chaotic, often improvisatory circumstances that attended the birth of the fledgling nation and the hardships of daily life.”
—Michiko Kakutani, New York Times
In 1762, John Adams penned a flirtatious note to “Miss Adorable,” the 17-year-old Abigail Smith. In 1801, Abigail wrote to wish her husband John a safe journey as he headed home to Quincy after serving as president of the nation he helped create. The letters that span these nearly forty years form the most significant correspondence—and reveal one of the most intriguing and inspiring partnerships—in American history.
As a pivotal player in the American Revolution and the early republic, John had a front-row seat at critical moments in the creation of the United States, from the drafting of the Declaration of Independence to negotiating peace with Great Britain to serving as the first vice president and second president under the U.S. Constitution. Separated more often than they were together during this founding era, John and Abigail shared their lives through letters that each addressed to “My Dearest Friend,” debating ideas and commenting on current events while attending to the concerns of raising their children (including a future president).
Full of keen observations and articulate commentary on world events, these letters are also remarkably intimate. This new collection—including some letters never before published—invites readers to experience the founding of a nation and the partnership of two strong individuals, in their own words. This is history at its most authentic and most engaging.
Helen Finney Cox (her husband affectionately referred to her as “Lilla”) was a mother of six and the daughter of Oberlin College president Charles Finney. These intimate and insightful wartime letters show both the fondness Cox had for his spouse and his respect for her as an intellectual equal. To Helen, the stoic, introverted statesman revealed—as he did to no one else—his inner thoughts and concerns, presenting observant, lucid, and informative reports and analyses of the war, his changing life, and his ambitions. This collection illustrates the life of a Gilded Age Renaissance man as he made the transition from untested soldier to respected general and statesman.
Cornelia Wadsworth Adair’s ancestors had pioneered in western New York, where they opened and developed large, palatial estates; and the life they lived was elegant and aristocratic. Adair too was discreetly cultured; yet she took great personal pleasure in the rough and primitive land of her famed JA Ranch in north Texas. Because of physical discomfort and noisy passengers, she detested traveling by railroad coach; yet she could ride all day on horseback and lie down to sleep on a makeshift cot by a waterhole or on an Indian’s flea-infested buffalo rug. She was a lady of interesting contradictions.
This little Diary is her lively account of a two-month trip which she and her husband made into the western part of the United States in 1874. The ostensible purpose of the trip was to hunt buffalo; however, these large beasts actually play a very small part in the journal. Rather, the book is an interesting and often amusing account, by an observant woman, of the long journey from her husband’s estate in Ireland to New York, to Chicago and on into upper Michigan, across Lake Superior to Minnesota, down the Mississippi for several days, out to the buffalo-hunting grounds in Nebraska, then to Denver and the wonders of the Rocky Mountains, and finally back to New York and the Europe-bound ship.
Adair writes with an easy fluency; and her eye for picturesque detail, her taste for amusing incongruities, her romanticist’s delight in Nature, and her instinct for a “good tale” combine to make her Diary pleasant and entertaining reading, while her powers of keen observation provide valuable insight into life as it was then in the West. First printed for private circulation in 1918, the original book is now a rare collector’s item of Western Americana. Mrs. Adair said that she was allowing its publication for two reasons. First, she was afraid that her grandchildren and young friends would remember her only as “an old lady who sat in an armchair, and whose stick had to be looked for”; she wanted them to know that she had once been “a very lively person . . . [who] did all sorts of exciting things.” Second, she felt it worthwhile to record her experiences because “the world is changing so quickly, ways of travelling especially so . . . and I think it may be interesting to compare what was done in 1874 with what will be done by the time the children are able to travel. No doubt they will do their journeys by air, and do many, many things that I have not been able to do; but they can never see the prairies of America in their wild uncivilised state, or hunt buffalo over them, nor can they pow-wow with the Red Indians in a camp on the Platte River. So every time has its own special joys, and the great thing is to miss as little as possible, and to share as much.”
These witty and poignant short essays explore reasons for diva-worship as diverse as the writers themselves. My Diva offers both depth and glamour as it pays tribute with joy, intelligence, and fierce, fierce love.
Almost a century and a half went into the making of My Eighty Years in Texas. It began as a diary, kept by fifteen-year-old William Physick Zuber after he joined Sam Houston’s Texas army in 1836, hoping he could emulate the heroism of American Revolutionary patriots. Although his hopes were never realized, Zuber recorded the privations, victories, and defeats of armies on the move during the Texas Revolution, the Indian campaigns, and, as he styled it, the Confederate War.
In 1910, at the age of ninety, Zuber began the enormous task of transcribing his diaries and his memories for publication. After his death in 1913, the handwritten manuscript, 1, was placed in the Texas State Archives, where it was used as a reference source by students and scholars of Texas history. Over a half century after Zuber’s death, Janis Boyle Mayfield finally brought his publication plans to fruition.
Zuber details his early zest for learning and his laborious methods of self-education. He tells of the trials of organizing and teaching schools in the sparsely populated plains. He recalls the day-by-day happenings of a private soldier in the Texas army of 1836, the Texas Militia, and the Confederate army—including the mishaps of army life and the encounters with enemies from San Jacinto to Cape Girardeau. After the Civil War, his interest turns to the politics of Reconstruction, the veterans’ pension, and the founding of the Texas Veterans Association.
This is the story of and by an outspoken Texian, complete with his attitudes, principles, and moralizings, and the nineteenth-century style and flavor of his writing.
Included as an appendix is “An Escape from the Alamo,” the account of Moses Rose for which Zuber, who was a prolific writer, was best known. A historiography of the Rose story, a bibliography of Zuber’s published and unpublished writings, annotation, and an introduction are provided by Llerena Friend.
A girl taking a test for admittance to a selective school finds that what she loves most of all is the ordinary. A lonely young woman, sick of being sick, swaps places with her nurse. A college student deploys her more charming roommate to discover the secret rituals of an all-male club on campus. And in the title story, a woman in a nursing home receives mysterious missives from her longtime lover recalling fragments of their old life together.
The fantasy of a male creator constructing his perfect woman dates back to the Greek myth of Pygmalion and Galatea. Yet as technology has advanced over the past century, the figure of the lifelike manmade woman has become nearly ubiquitous, popping up in everything from Bride of Frankenstein to Weird Science to The Stepford Wives. Now Julie Wosk takes us on a fascinating tour through this bevy of artificial women, revealing the array of cultural fantasies and fears they embody.
How Barbara Jordan used sacred and secular scriptures in her social activism
US Congresswoman Barbara Jordan is well-known as an interpreter and defender of the Constitution, particularly through her landmark speech during Richard Nixon’s 1974 impeachment hearings. However, before she developed faith in the Constitution, Jordan had faith in Christianity. In “My Faith in the Constitution is Whole”: Barbara Jordan and the Politics of Scripture, Robin L. Owens shows how Jordan turned her religious faith and her faith in the Constitution into a powerful civil religious expression of her social activism.
Owens begins by examining the lives and work of the nineteenth-century Black female orator-activists Maria W. Stewart and Anna Julia Cooper. Stewart and Cooper fought for emancipation and women’s rights by “scripturalizing,” or using religious scriptures to engage in political debate. Owens then demonstrates how Jordan built upon this tradition by treating the Constitution as an American “scripture” to advocate for racial justice and gender equality. Case studies of key speeches throughout Jordan’s career show how she quoted the Constitution and other founding documents as sacred texts, used them as sociolinguistic resources, and employed a discursive rhetorical strategy of indirection known as “signifying on scriptures.”
Jordan’s particular use of the Constitution—deeply connected with her background and religious, racial, and gender identity—represents the agency and power reflected in her speeches. Jordan’s strategies also illustrate a broader phenomenon of scripturalization outside of institutional religion and its rhetorical and interpretive possibilities.
A touching, funny, and always affectionate memoir, My Family and Other Saints traces the reverberations of Rahoul's spiritual journey through the entire family. As their beachside Bombay home becomes a crossroads for Westerners seeking Eastern enlightenment, Kirin’s sari-wearing American mother wholeheartedly embraces ashrams and gurus, adopting her son’s spiritual quest as her own. Her Indian father, however, coins the term “urug”—guru spelled backward—to mock these seekers, while young Kirin, surrounded by radiant holy men, parents drifting apart, and a motley of young, often eccentric Westerners, is left to find her own answers. Deftly recreating the turbulent emotional world of her bicultural adolescence, but overlaying it with the hard-won understanding of adulthood, Narayan presents a large, rambunctious cast of quirky characters. Throughout, she brings to life not just a family but also a time when just about everyone, it seemed, was consumed by some sort of spiritual quest.
“A lovely book about the author's youth in Bombay, India. . . . The family home becomes a magnet for truth-seekers, and Narayan is there to affectionately document all of it.”—Body + Soul
During the German occupation of Belgrade, a family—including an alarmist mother, an eternally drunk father, two young aunts who swoon over American movie stars, and a playboy uncle—attempt to find any kind of work they can do at home. When the postwar Socialist society is being ushered in after the war, the narrator becomes the slogan-spouting ideological leader of the household, while his family tries—and often fails miserably—to take part in the "great change."
This volume also includes several Ćosić short stories, and recent essays on the war in the former Yugoslavia.
Jürek Becker (1937–97) is best known for his novel Jacob the Liar, which follows the life of a man, who, like Becker, lived in the Lódz ghetto during the German occupation of Poland in World War II. Throughout his career, Becker also wrote nonfiction, and the essays, lectures, and interviews collected in My Father, the Germans and I share a common thread in that they each speak to Becker’s interactions with and opinions on the social, political, and cultural conditions of twentieth-century Germany.
Becker, who had lived in both German states and in unified Germany, was passionately and humorously active in the political debates of his time. Becker never directly aligned himself with either the political ideology of East Germany or the capitalist market forces of West Germany. The remains of fascism in postwar Germany, and the demise of Socialism, as well as racism and xenophobic violence, were topics that perpetually interested Becker. However, his writings, as evidenced in this collection, were never pedantic, but always entertaining, retaining the sense of humor that made his novels so admired.
My Father, the Germans and I gives expression to an exceptional author’s perception of himself and the world and to his tireless attempt to bring his own unique tone of linguistic brevity, irony, and balance to German relations.
Gaza is the frontline in the conflict between Israel and the Palestinians and rarely out of the news, this book explores the daily lives of the people in the region, giving us an insight into what is at risk in each round of violence.
Ramzy Baroud tells his father's fascinating story. Driven out of his village to a refugee camp, he took up arms and fought the occupation at the same time raising a family and trying to do the best for his children. Baroud's vivid and honest account reveals the complex human beings; revolutionaries, great moms and dads, lovers, and comedians that make Gaza so much more than just a disputed territory.
Widmer brilliantly combines family history and historical events to tell the story of a man more at home in the world of the imagination than in the real world, a father who grows on the reader, just as he grows on his son.
In My Father’s Books, the first volume in Luan Starova’s multivolume Balkan Saga, he explores themes of history, displacement, and identity under three turbulent regimes—Ottoman, Fascist, and Stalinist—in the twentieth century. Weaving a story from the threads of his parents’ lives from 1926 to 1976, he offers a child’s-eye view of personal relationships in shifting political landscapes and an elegiac reminder of the enduring power of books to sustain a literate culture.
Through lyrical waves of memory, Starova reveals his family’s overlapping religious, linguistic, national, and cultural histories. His father left Constantinople as the Ottoman Empire collapsed, and the young family fled from Albania to Yugoslav Macedonia when Luan was a boy. His parents, cosmopolitan and well-traveled in their youth, and steeped in the cultures of both Orient and Occident, find themselves raising their children in yet another stagnant and repressive state. Against this backdrop, Starova remembers the protected spaces of his childhood—his mother’s walled garden, his father’s library, the cupboard holding the rarest and most precious of his father’s books. Preserving a lost heritage, these books also open up a world that seems wide, deep, and boundless.
Thirty years after her father’s death, Karen McClintock sets out to find the gay father she never really knew. As we follow the unraveling family secret, we find ourselves drawn into her story as they stumble into infidelity, grieve heartbreaking losses, and remain loyal in love.
Set in Columbus, Ohio, My Father’s Closet tells the story of how just before the war, McClintock’s parents fell in love and married, while overseas in Germany the man whom she believes became her father’s lover was concealing his Jewish and gay identities in order to escape to America. A set of her father’s journals, letters her parents sent to each other during the Second World War, and a mysterious painting all lead her toward the truth about her gay father. McClintock weaves a complex secret into the fabric of lives we truly care about. And in the process, she leads us out of her father’s closet.
This gripping memoir captures the longing children feel for a distant or hidden parent and taps into the complexity of human connection and abandonment. The characters are resilient and vibrant. The hidden lovers, the nosey neighbors, and surprise lovers all show up. In the end, this extraordinary family finds ways to connect and freedom to love. Anyone who grew up with a family secret will appreciate the dynamics afoot in this fast-paced and compelling story.
Dumm first became acquainted with Barnet and his paintings in 2008. Given his scholarly focus on the lives of ordinary people, he was immediately attracted to the artist's work. When they met, Dumm and Barnet began a friendship and dialogue that lasted until the painter's death in 2012, at the age of 101. This book reflects the many discussions the two had concerning the series of paintings, Barnet's family, his early life in Beverly, and his eighty-year career as a prominent New York artist. Reading the almost gothic paintings in conversation with the writers and thinkers key to both his and Barnet's thinking—Emerson, Spinoza, Dickinson, Benjamin, Cavell, Nietzsche, Melville—Dumm's haunting meditations evoke broader reflections on family, mortality, the uncanny, and the loss that comes with remembrance.
My Father’s Name is a family story full of twists and turns—and one of haunting familiarity to many Americans, who may question whether the promises of emancipation have ever truly been fulfilled. It is also a resolute look at the duties that come with reclaiming and honoring Americans who survived slavery and a thoughtful meditation on its painful and enduring history.
The accelerating Nazi assault on the Jews abruptly shattered Lolek's life. Jews were randomly beaten and arrested, forced out of their homes, deported to slave labor camps, and shot on the streets. During this time, Lolek lost his family, friends, and neighbors, the whole while struggling to hold onto a promise he made to his father before his father was deported. Lolek pledged never to denounce God and to maintain his faith. This covenant proved to be the key to his remarkable survival in several slave labor camps including Auschwitz and several satellite camps of Auschwitz-Birkenau.
My Father's Testament is an intimate portrayal of a teenage boy trying to stay alive without losing his humanity - in hiding, in the camps, and during the death marches at the end of the war.
Embedded in this unique memoir are two other stories of fathers and sons. One lies in the moving Foreword by David R. Gastfriend, Ed's son, now a psychiatrist at Harvard Medical School. The other lies in Bjorn Krondorfer's Afterword. Years after he met Edward Gastfriend, Krondorfer was startled to hear his father mention Blechhammer as one of the places where he was stationed as a young German soldier. Blechhammer was where Lolek was held in a slave labor camp. The coincidence led this German father and son to travel back to the site to confront the Holocaust.
My Father's Testament will engage readers interested in history, the Holocaust, and religion.
With an insightful introduction from translator Dean Krouk, My Father’s War is a contemporary classic of war literature. Committed to genuine understanding without falling into undue sympathizing, this sober and reflective book presents an eye-opening, moving, intense, and necessary account of the allure of fascism in a world at war—and its personal costs.
Winner, Midwest Book Award for Poetry, Midwest Independent Publishers Association
My First Book of Sign, a full-color alphabet book, gives the signs for 150 of the words most frequently used by young children. The vocabulary comes from recognized word list sources such as the Dale List of 769 Easy Words. The proportion of word category choices (nouns, modifiers, and verbs) is based on early language acquisition research.
Readers do not have to know American Sign Language to enjoy My First Book of Sign; the book provides explanations of how to form each sign. This is a very special alphabet book appropriate for all children who are just beginning to read.
“Lots of Romanians, in my day, dreamed of France; not many got there,” writes the author in his introduction. “Fortuitousness, contingency, and sheer good luck made me fall into France, just as one falls into love.” Fifty years after reaching France, by way of school in England, Eugen Weber presents a series of illuminations on the country he loves, and whose civilization he has made the center of his life's work as an interpreter of European history, subspecialty France.
My France focuses on some of the most intriguing aspects of French life: polities, myths, personalities, public problems, actions, conflicts. The topics Weber treats range from sports to religion, and include comments on folklore, peasant politicization, national socialism, the nature of the French right, antisemitism, and famous Frenchmen such as Pierre de Coubertin, Maurice Barres, and Marc Bloch. In every chapter he questions established assumptions, asks if things are quite as they are taken to be, and points out links between apparently unrelated doings (literature and private income, religion and superstition, fairy tales and everyday life). Every essay reflects his unique insight and is enlivened by his witty and graceful style, making My France irresistible not only to students of modern European history, but also to Francophiles and pundits of Europe everywhere.
The memoir reveals a great deal about the influence of Hull-House on the social and political history of the early twentieth century. An introduction by long-time Addams scholar Anne Firor Scott provides a broader account of women's work in voluntary associations.
So a picture of Gertrud Kolmar, a gifted Jewish writer struggling to sustain her art and family, emerges from these eloquent and allusive letters. Written in the stolen moments before her day as a forced laborer in a munitions factory began, the letters tell of Kolmar's move from the family home in Finkenkrug to a three-room flat in Berlin, which she and her father must soon share with other displaced Jews. They describe her factory work as a learning experience and assert, in the face of ever worsening conditions, that true art, never dependent on comfort or peace, is "capable of triumphing over . . . time and place."
These letters are a triumph of art, proclaiming the freedom of the human will amidst oppression. Though prevented by Nazi censorship from saying too much too directly, Kolmar still conveys the intensity and determination of her inner world, as well as the relentlessness of the outer world bent on crushing her. For its insight into the mind and soul of a poet submitting to and denying fate, and for its interior vision of one of history's darkest moments, My Gaze Is Turned Inward is a unique document of literary, historical, and spiritual power.
Haunted by his parents’ horrific suffering and traumatic losses under Nazi rule, Lev Raphael grew up loathing everything German. Those feelings shaped his Jewish identity, his life, and his career. While researching his mother’s war years after her death, he discovers a distant relative living in the very city where she had worked in a slave labor camp, found freedom, and met his father. Soon after, Raphael is launched on book tours in Germany and, in the process, redefines himself as someone unafraid to face the past and let it go.
Bookmarks, “Top Ten Nonfiction Titles of 2009”
In My Girlhood Among Outlaws, Lily recalls her experiences with Billy the Kid and other desperadoes, and sets the record straight on popular misrepresentations of events. Of particular interest to historians is her preservation of the diary of famous cattleman and family friend John Chisum.
Winner of FC2’s Ronald Sukenick Innovative Fiction Prize
The stories in My Haunted Home delve in startling ways into the lives of the obsessed, the grieving, and the truly haunted. Victoria Hood conjures a shifting range of narrators through an unstable range of worlds where mothers might be dead, girls compulsively shove peanuts inside their ears, agoraphobia traps people inside their houses, and cats won’t eat your soup. In “The Teeth, the Way I Smile,” a daughter who looks like her dead mother manifests grief both in her house and her body. In “Smelly Smelly,” a woman slowly comes to realize her boyfriend has been dead for weeks. In “You, Your Fault,” we explore the unfolding love of two women who love every part of each other—including the parts that fixate on arson and murder.
Each story is a bite-size piece of haunting candy on a necklace of obsession holding them together. Hood probes the worlds of what can be haunted, unpacking the ways in which hauntings can be manifested in physical forms, mentally harvested and lived through, and even a change in what is haunting.
My Heart Became a Bomb is the first collection of poetry by Syrian-Palestinian poet Ramy al-Asheq to be translated into English. Poignant and raw, these poems take the reader along a path of forced emigration from Bashar al-Assad’s prisons in Syria to Amsterdam to Auschwitz to Berlin, Germany, where Al-Asheq is now creating a new home. By turns melancholy and reflective, celebratory and hopeful, Al-Asheq’s newly translated poems offer the English-reading audience a contemporary perspective on the experience of exile in a world facing the phenomeno of mass migration, whether for political or environmental reasons. The translations are the result of a long collaboration between Al-Asheq and Thompson (who also edited this collection). Raising questions about the nature of love, identity, and the role of poetry in the face of constant flux and great uncertainty, My Heart Became a Bomb introduces an important new voice to the world of contemporary poetry.
Through his diligent research and transcription of the letters archived in the Carlos Montezuma Collection at Arizona State University Libraries, David Martínez offers a critical new perspective on Montezuma’s biography and legacy. During an attempt to force the Fort McDowell Yavapai community off of their traditional homelands north of Phoenix, the Yavapai community members and leaders wrote to Montezuma pleading for help. It was these letters and personal correspondence from his Yavapai cousins George and Charles Dickens, as well as Mike Burns that sparked Montezuma’s desperate but principled desire to liberate his Yavapai family and community—and all Indigenous people—from the clutches of an oppressive Indian Bureau.
Centering historically neglected Indigenous voices as his primary source material, Martínez elevates Montezuma’s correspondence and interactions with his family and their community and shows how it influenced his advocacy. Martínez argues that Montezuma’s work in Arizona directly contributed to his national projects. For his Yavapai community, Montezuma set an example as a resistance fighter and advocate on behalf of his people and other Indigenous groups. Martínez offers a critical exploration of history, memory, the formation of archival collections, and the art of writing biography.
"I am willing to relate all I can remember, but I wish it clearly understood that it must be in my own way, and at my own time. I will not be hurried or dictated to. It is my history and not yours I propose to tell.”—Mariano Guadelupe Vallejo, on “Recuerdos históricos y personales” (1875)
My History, Not Yours is a landmark study of the autobiographical writings of Mexican Americans in the century following the US-Mexican War of 1846-1848. Some 75,000 inhabitants of what is now Texas, New Mexico, Arizona, Nevada, and California were suddenly foreigners on their own lands. Faced with the deliberate obliteration of their history, culture, language, and personal experiences, these women and men set down the stories of their lives and their communities, as a means of both remembering and resisting.
Genaro M. Padilla and other scholars have begun to uncover the huge store of literary materials forgotten in manuscript archives: memoirs long out of print, others unpublished and unread, diaries, family histories, poetry, correspondence, and texts of corridos (ballads). Padilla writes, “Lives are scattered on broken pages, faded, partially lost at the margins, suspended in language unread until there is a reader who opens the file and begins. It is my intention to initiate a recovery of that autobiographical formation that emerged after a war of conquest.”
In providing an overview of this rich literature, Padilla also points out the power relations embedded in the narratives, showing that the reconstruction of the Mexican past was not merely nostalgic idealization, but often an angry and deeply politicized recovery of a world ruptured by American domination.
Based on decades of living and working in Syria, My House in Damascus offers an inside view of Syria’s cultural and complex religious and ethnic communities. Diana Darke, a fluent Arabic speaker who moved to Damascus in 2004 after decades of regular visits, details the ways that the Assad regime, and its relationship to the people, differs from the regimes in Egypt, Tunisia, and Libya—and why it was thus always less likely to collapse quickly, even in the face of widespread unrest and violence. Through the author’s firsthand experiences of buying and restoring a house in the old city of Damascus, which she later offered as a sanctuary to friends, Darke presents a clear picture of the realities of life on the ground and what hope there is for Syria’s future.
Philip Hubbard's life story begins in 1921 in Macon, a county seat in the Bible Belt of north central Missouri, whose history as a former slave state permeated the culture of his childhood. When he was four his mother moved her family 140 miles north to Des Moines in search of the greater educational opportunity that Iowa offered African American students. In this recounting of the effects of that journey on the rest of his life, Phil Hubbard merges his private and public life and career into an affectionate, powerful, and important story.
Hubbard graduated from the University of Iowa with a degree in electrical engineering in 1946; by 1954 he had received his Ph.D. in hydraulics. The College of Engineering extended a warm academic welcome, but nonacademic matters were totally different: Hubbard was ineligible for the housing and other amenities offered to white students. Intelligent, patient, keenly aware of discrimination yet willing to work from within the university system, he advanced from student to teacher to administrator, retiring in 1991 after decades of leadership in the classroom and the conference room.
Hubbard's major accomplishments included policies that focused on human rights; these policies transformed the makeup of students, faculty, and staff by seeking to eliminate discrimination based on race, religion, or other nonacademic factors and by substituting affirmative action for the traditional old-boy methods of selecting faculty and administrators. At the same time that he was advancing the cause of human rights and cultural diversity in education, his family was growing and thriving, and his descriptions of home life reveal one source of his strength and inspiration.
The decades that Hubbard covers were vital in the evolution of the nation and its educational institutions. His dedication to the agenda of public higher education has always been matched by his sensitivity to the negative effects of discrimination and his gentle perseverance toward his goals of inclusion, acceptance, and fairness. His vivid personal and institutional story will prove valuable at this critical juncture in America's racial history.
Arrested along with her husband (who, she would much later learn, was shot the next day) in the great purges of the thirties, Adamova-Sliozberg decided to record her Gulag experiences a year after her arrest, and she “wrote them down in her head” (paper and pencils were not available to prisoners) every night for years. When she returned to Moscow after the war in 1946, she composed the memoir on paper for the first time and then buried it in the garden of the family dacha. After her re-arrest and seven more years of banishment to Kazakhstan, she returned to the dacha to dig up the buried memoir, but could not find it. She sat down and wrote it all over again.
In her later years she also added a collection of stories about her family. Concluding on a hopeful note—Adamova-Sliozberg’s record is cleared, she re-marries a fellow former-prisoner, and she is reunited with her children—this story is a stunning account of perseverance in the face of injustice and unimaginable hardship. This vital primary source continues to fascinate anyone interesting in the tumultuous history of Russia and the Soviet Union in the twentieth century.
—Scott Bernstein, Founder and Chief Strategy + Innovation Officer, Center for Neighborhood Technology
Hank Dittmar was a globally recognized urban planner, advocate, and policy advisor. He wrote extensively on a wide range of topics, including architectural criticism, community planning, and transportation policy over his long and storied career.
In My Kind of City, Dittmar has organized his selected writings into ten sections with original introductions. His observations range on scale from local ("My Favorite Street: Seven Dials, Covent Garden, London") to national ("Post Truth Architecture in the Age of Trump") and global ("Architects are Critical to Adapting our Cities to Climate Change"). Andrés Duany writes of Hank in the book foreword, "He has continued to search for ways to engage place, community and history in order to avoid the tempting formalism of plans."
The range of topics covered in My Kind of City reflects the breadth of Dittmar's experience in working for better cities for people. Common themes emerge in the engaging prose including Dittmar's belief that improving our cities should not be left to the "experts"; his appreciation for the beautiful and the messy; and his rare combination of deep expertise and modesty. As Lynn Richards, CEO of Congress for the New Urbanism expresses in the preface, "Hank's writing is smart without being elitist, witty and poetic, succinct and often surprising."
My Kind of City captures a visionary planner's spirit, eye for beauty, and love for the places where we live.
An institution at the Chicago Sun-Times, his home paper for more than twenty–five years, Pulitzer Prize-winning editorial cartoonist Jack Higgins gathers for the first time in My Kind of ’Toon (Chicago Is) approximately 250 editorial and political cartoons. Over the years, he has filed syndicated cartoons from the Soviet Union, Hungary, Ireland, and Cuba. From his front-row seat he has lately focused on the highs and lows of the Chicago and Illinois politics that produced both the first African American president and a string of corrupt gubernatorial administrations.
In My Kind of Transit, Darrin Nordahl argues that like life itself, transportation isn't only about the destination, but the journey. Public transit reduces traffic and pollution, yet few of us are willing to get out of our cars and onto subways and buses. But Nordahl demonstrates that when using public transit is an enjoyable experience, tourists and commuters alike willingly hand in their keys.
The trick is creating a system that isn't simply a poor imitation of the automobile, but offers its own pleasures and comforts. While a railway or bus will never achieve the quiet solitude of a personal car, it can provide, much like a well-designed public park, an inviting, communal space.
My Kind of Transit is an animated tour of successful transportation systems, offering smart, commonsense analysis of what makes transit fun. Nordahl draws on examples like the iconic street cars of New Orleans and the picturesque cable cars in San Francisco, illustrating that the best transit systems are uniquely tailored to their individual cities. He also describes universal principles of good transit design.
Nordahl's humanistic treatment will help planners, designers, transportation professionals, and policymakers create transit systems the public actually wants to ride. And it will introduce all readers to delightful ways of getting from point A to point B.
Other stories describe her meeting in Mallorca with the Utah man who would become her husband, her journey to a faraway country, the birth of her children, and her discovery of her artistic impulses and abilities. All are woven with the threads of color and culture of her two homes. Filled with wit and insight, My Kitchen Table reveals foremost the voice of a woman determined to be true to herself and to her art.
Accompanying the narrative are some fifty color reproductions of the paintings and sculptures for which Pilar Pobil has become known. This is a volume that art lovers everywhere will treasure.
"Like her paintings, Pilar’s stories overflow their pages. They fold us into their embrace, so we feel and see her dancing in and out of our minds, a curious and mischievous child, a young woman in love coming to a foreign land with a foreign culture and tongue, the heartbreak of her losses, and the continual renewals that have ripened her art. Pilar’s book, like her house, is a magic kingdom and she is the fairy princess who presides. She paints her shoes for social engagements. The seats of her chairs beam faces. Her electrical wiring metamorphoses into fantastic snakes. The garden that leads to her studio is Salt Lake City’s Giverny. Paintings are everywhere and talk to each other with glittering non sequiturs. At the center of it all is her kitchen table, the place from which she serves the voices and visions of her life. The subtleties of her telling, like the bold clarity of her judgments, are those of an artist whose inspirations are a feast she graciously invites us to share."
— from the Foreword by Robert D. Newman, Dean of the College of Humanities, University of Utah
A finalist for the Utah Book Award in Nonfiction.
My Language Is a Jealous Lover explores the plights and successes of authors who lived and wrote in languages other than their mother tongue, from Samuel Beckett and Vladimir Nabokov to Ágota Kristóf and Joseph Brodsky. Author Adrián N. Bravi weaves their stories in with his own experiences as an Argentinian-Italian, thinking and writing in the language of his new life while recalling that of his childhood. Bravi bears witness to the frustrations, the soul-searching, the pain, and the joys of embracing another language.
In addition to detailed annotations of the autobiography, translator Chia-ning Chang offers a comprehensive introduction to the career and the significance of Yamamoto and his works in the context of Japanese film history. It contextualizes Yamamoto’s life and works in the historical and cultural zeitgeist of prewar, wartime, and postwar Japan before scrutinizing the unique qualities of his narrative voice and social conscience as a film artist.
"Ever since the creators of the animated television show South Park turned their lovingly sardonic gaze on the massively multiplayer online game World of Warcraft for an entire episode, WoW's status as an icon of digital culture has been secure. My Life as a Night Elf Priest digs deep beneath the surface of that icon to explore the rich particulars of the World of Warcraft player's experience."
—Julian Dibbell, Wired
"World of Warcraft is the best representative of a significant new technology, art form, and sector of society: the theme-oriented virtual world. Bonnie Nardi's pioneering transnational ethnography explores this game both sensitively and systematically using the methods of cultural anthropology and aesthetics with intensive personal experience as a guild member, media teacher, and magical quest Elf."
—Lisa Nakamura, University of Illinois
World of Warcraft rapidly became one of the most popular online world games on the planet, amassing 11.5 million subscribers—officially making it an online community of gamers that had more inhabitants than the state of Ohio and was almost twice as populous as Scotland. It's a massively multiplayer online game, or MMO in gamer jargon, where each person controls a single character inside a virtual world, interacting with other people's characters and computer-controlled monsters, quest-givers, and merchants.
In My Life as a Night Elf Priest, Bonnie Nardi, a well-known ethnographer who has published extensively on how theories of what we do intersect with how we adopt and use technology, compiles more than three years of participatory research in Warcraft play and culture in the United States and China into this field study of player behavior and activity. She introduces us to her research strategy and the history, structure, and culture of Warcraft; argues for applying activity theory and theories of aesthetic experience to the study of gaming and play; and educates us on issues of gender, culture, and addiction as part of the play experience. Nardi paints a compelling portrait of what drives online gamers both in this country and in China, where she spent a month studying players in Internet cafes.
Bonnie Nardi has given us a fresh look not only at World of Warcraft but at the field of game studies as a whole. One of the first in-depth studies of a game that has become an icon of digital culture, My Life as a Night Elf Priest will capture the interest of both the gamer and the ethnographer.
Bonnie A. Nardi is an anthropologist by training and a professor in the Department of Informatics in the Donald Bren School of Information and Computer Sciences at the University of California, Irvine. Her research focus is the social implications of digital technologies. She is the author of A Small Matter of Programming: Perspectives on End User Computing and the coauthor of Information Ecologies: Using Technology with Heart and Acting with Technology: Activity Theory and Interaction Design.
Cover art by Jessica Damsky
A woman meets a man and falls in love. She is sixty, a writer and lifelong New Yorker raised by garmentos. She thought this kind of thing wouldn’t happen again. He is English, so who knows what he thinks. He is fifty-six, a professor now living in Arizona, the son of a bespoke tailor. As the first of Laurie Stone’s linked stories begins, the writer contemplates what life would be like in the desert with the professor. As we learn how she became the person she is, we also come to know the artists and politics of the downtown scene of the ’70s, ’80s, and ’90s, a cultural milieu that remains alive in her. In sharply etched prose, Stone presents a woman constantly seduced by strangers, language, the streets— even a wildlife trail. Her characters realize that they feel at home in dislocation—in always living in two places at the same time: east and west, past and present, the bed and the grave (or copper urn). Love may not last, the writer knows. Then again, when has anything you thought about the future turned out right?
Born in Washington, D.C. in 1937, Bryan grew up in Las Vegas. His interest in politics started early, winning school-class elections and expressing a personal goal of one day becoming Governor of Nevada. He was elected student body president at the University of Nevada.
His career in public service began as a deputy district attorney in Clark County. In 1966, he became the first county public defender in state history. Bryan served in the Nevada Legislature in both the Assembly and Senate before winning the statewide office of Attorney General in 1978. He was elected Nevada Governor in 1982, winning re-election in 1986. Bryan was elected to the U.S. Senate in 1988, reelected in 1994, and served on the committees on Commerce, Banking, Taxation, and Intelligence, and chaired the Ethics Committee. He retired from the Senate in 2001 and returned to Nevada.
Bryan’s list of accomplishments is extensive. He was largely responsible for the early call-to-arms in the fight against the Department of Energy’s attempt to create a nuclear waste repository at Yucca Mountain. As governor, he reorganized state economic development programs, improved environmental protections for Lake Tahoe and other threatened areas, and made unprecedented appointments of women. In the Senate, Bryan authored the Southern Nevada Public Lands Management Act and the National Conservation Area for the High Rock Desert country. He had a front-row seat to the historic buildup to the Iraq War and the impeachment of President Bill Clinton. In retirement, Bryan continues to serve the state through his participation on a wide range of committees.
Throughout his political career, Bryan, with wife Bonnie at his side, traversed Nevada from its tiniest hamlets to the metro areas of Reno and Las Vegas with unrivaled zeal in his efforts to represent the state’s citizens. He is famous for knowing thousands of his constituents not only by their first names, but also recalling details of their lives. The simple fact is, while in service to Nevada, Bryan was in his element in the place he loves best.
Kephart’s obsession with paper began in the wake of her father’s death, when she began to handcraft books and make and marble paper in his memory. But it was when she read My Life with Paper, an autobiography by the late renowned paper hunter and historian Dard Hunter, that she felt she had found a kindred spirit, someone to whom she might address a series of one-sided letters about life and how we live it. Remembering and crafting, wanting and loving, doubting and forgetting—the spine and weave of My Life in Paper came into view.
Paper, for Kephart, provides proof of our yearning, proof of our failure, proof of the people who loved us and the people we have lost. It offers, too, a counterweight to the fickle state of memory.
My Life in Paper, illustrated by the author herself, is an intimate and poignant meditation on life’s most pressing questions.
This is the inside story of the Palestine Liberation Organisation (PLO), from its beginnings in 1964 to the signing of the Oslo agreement in 1993.
For over three decades, the main goal of the PLO was to achieve a just peace in the Arab-Israeli conflict, and to build a democratic state in Palestine for all its citizens. Shafiq Al-Hout, a high ranking PLO official until his resignation in 1993, provides previously unavailable details on the key events in its history such as its recognition by the UN and the Oslo peace negotiations. Taking us right to the heart of the decision making processes, this book explains the personalities and internal politics that shaped the PLO's actions and the Palestinian experience of the twentieth century.
Although he was an insider, Al-Hout's book does not shy from analysing and criticising decisions and individuals, including Yasser Arafat. This book is an essential piece of history that sheds new light on the significance of the PLO in the Palestinian struggle for justice.
An entertaining record of a life and a time
Ed Lowry joined the vaudeville circuit in 1910 at the age of fourteen. He never achieved stardom equal to the likes of Fred Allen, Jack Benny, George Burns, Buster Keaton, or Eddie Cantor, and he never considered himself an “artiste.” Instead, he saw himself as a hoofer and comic simply trying to make a living on the vaude scene. My Life in Vaudeville recounts Lowry’s long career in entertainment from the viewpoint of a foot soldier with a big dream.
Lowry’s story begins in the heyday of vaudeville in the early twentieth century and follows its gradual decline. Unlike many of his associates, he recognized that movies and other forms of entertainment were the future, and thus branched out into other venues. He took gigs in radio in Philadelphia, Newark, New York, and Los Angeles; explored revues, cabarets, burlesque, and film; and organized USO road shows. With wit and perception, he reveals his stage roots as an entertainer playing to his audience, and editor Paul M. Levitt’s introduction beautifully sets the stage for Lowry’s gags-to-riches tale, providing much-needed historical perspective.
My Life in Vaudeville is an unpretentious record of a time when thousands of young people went into show business to escape the boredom of daily life, and Lowry’s story is a view of vaudeville not often encountered. Lowry does much more than recall the daily life of a working actor, musician, and comedian. His story brings vaudeville to life and places it within the larger narratives of popular culture and popular entertainment of the twentieth century.
Paul W. Ogden has dedicated his life to educating young deaf and hard of hearing people and raising awareness of what it means to be deaf in a hearing world. He has taught and mentored a generation of teachers, and his classic volume, The Silent Garden, has served as a guide for parents and educators for over thirty years. Now he tells his personal story of challenges faced and lessons learned, revealing that the critical, guiding factors for him have always been language and successful communication.
Born in a time when many deaf children had no access to language, Paul learned spoken and written language skills at a young age through the painstaking efforts of his mother. His tight-knit family, which included one deaf and two hearing older brothers, facilitated open and constant communication using a variety of methods. His father was a pastor who was involved in the civil rights movement. He struggled with depression, an illness that would take the life of one of Paul’s brothers. As a student at a residential deaf school where the use of American Sign Language (ASL) was suppressed, Paul continued to build on the speech and lipreading skills he had learned at home. He returned home for high school and graduated as co-valedictorian—unaware of the standing ovation he received as he walked to the podium.
Following a rewarding experience as an undergraduate at Antioch College, Paul went on to earn a PhD from the University of Illinois, a rare accomplishment for a deaf person at that time. During his graduate studies, he finally had the opportunity to learn ASL. As an award-winning professor of Deaf Studies at California State University, Fresno, he successfully petitioned for the university to recognize ASL as a language, and he established the Silent Garden program, which has grown into a flourishing provider of training and resources to support the Deaf community. In My Life of Language, Paul offers eloquent reflections on both the joyful and difficult periods of his life as he navigated relationships, faced discrimination, questioned his faith, and found great happiness in his marriage.
In 1917, Gilbert Gould achieved his dream to be an engineer, and began running engines for the Denver & Rio Grande and later for the Utah Railway. He was a natural storyteller, and his recollections are entertaining and historically rewarding.
Doris Herrmann was born deaf in 1933 in Basel, Switzerland, and from the age of three, she possessed a mystical attraction to kangaroos. She recalls seeing them at that age for the first time at the Basel Zoo, and spending every spare moment visiting them from then on. Eventually, her fascination grew into passionate study of their behavior. Her dedication caught the attention of the zookeepers who provided her greater access to these extraordinary animals. Despite her challenges with communication, Herrmann wrote a scientific paper about the kangaroo’s pouch hygiene when raising a joey. Soon, experts from around the world came to visit this precocious deaf girl who knew about kangaroos.
Herrmann appreciated the opportunities opening up to her, but her real dream was to travel to Australia to study kangaroos in the wild. For years she worked and yearned, until Dr. Karl H. Winkelsträter a renowned authority on kangaroos, suggested an independent study in Australia at a place called Pebbly Beach. In 1969, at the age of 35, Herrmann finally traveled to the native land of kangaroos. During the next four decades, she would make many more trips to observe and write about kangaroos.
My Life with Kangaroos explores every facet of Herrmann’s connection to these engaging marsupials. Her single-minded devotion not only made her a leading self-made scholar on kangaroos, it transformed her own personality and her relationships with others. As she forged bonds with kangaroos named Dora, Jacqueline, Manuela, and many others, she engendered great affection and respect in the people around her, truly a remarkable story of success.
As its title implies, this book reflects in varying ways the experiences and attitudes of one who came of age in the first half of that now mythical decade, the 1960s. In an unusual combination of history, criticism, and autobiography, one of our best literary and cultural critics explores life and death in the late twentieth century and some of the older worlds that made American culture what it is today.
Sixties survivors, as Christopher Clausen points out, do not necessarily hold more beliefs or tastes in common than any other group. Nevertheless they may be more likely than most people born earlier or later to consider the relations between public and private life—the political and the personal—a problem, sometimes even an unresolvable problem. While this is not primarily a book about the 1960s, most of it occupies the noisy crossroads where public worlds intersect the private, mysterious lives of individuals and families, where ordinary people pursue their own destinies and desires while submitting consciously or unconsciously to the pressures of the public sphere—a set of demands or aspirations common to people in a particular time and place.
In modern America, where most of these essays are set, any individual is likely to live in several worlds at any given moment, as well as to pass through several more over a lifetime. Because of rapid transitions in public life and culture while they were still at an impressionable age, members of the “Kennedy generation” became almost morbidly conscious of the persistence of the past in the present. The often unpredictable effect on individual lives of historical forces is the main subject of Clausen's fascinating account.
Ever wonder what it’s like to interview famous athletes and coaches? For twenty years, sportscaster Jessie Garcia has done just that. In My Life with the Green & Gold she brings fans to the sidelines at Lambeau Field, inside the locker room, aboard the Packers bus, and into the host’s chair at The Mike McCarthy Show.
A self-proclaimed “terrible athlete” born without sports in her blood, Garcia reported on Wisconsin’s beloved Green Bay Packers during the Holmgren, Rhodes, Sherman, and McCarthy years. She’s been a Packers sideline reporter for preseason games and covered the team during their Super Bowl showdowns against the Patriots, Broncos, and Steelers. She’s traveled with the team to Tokyo and the White House and to schools and retirement homes, where the gridiron heroes interacted with their fans. She’s visited the hometowns of players and coaches, she’s met their proud parents and their pets, she’s interviewed the team trainer about their strength exercises. My Life with the Green & Gold also features up-close and personal stories about other teams and athletes she’s covered, from the Badgers and Brewers to Wisconsin Olympians such as Bonnie Blair and Casey FitzRandolph.
Garcia’s expertise is capturing behind-the-scenes, human-interest stories. In My Life with the Green & Gold, she shares a personal and humorous insider’s look at many Wisconsin sports heroes from the perspective of a female sports journalist who has ridden the adrenaline rush to be on the air at 5:00 a.m., 10:00 p.m., and any hour in between, while also juggling the many demands of family life. Not many parents can say they’ve changed their child’s diaper in the tunnel at Lambeau, but Jessie Garcia can.
This edition brings the entirety of this personal and idiosyncratic memoir to English for the first time.
My Lord, What a Morning is a gentle and engrossing memoir, abounding with the tender and inspiring stories of Marian Anderson's life in her own modest words. From her humble but proud beginnings in south Philadelphia to international vocal renown, the legendary contralto writes of triumph and adversity, of being grounded in faith and surrounded by family, and of the music that shaped her career.
Anderson published My Lord, What a Morning in 1956 on the heels of her groundbreaking role as the first African American to perform at the Metropolitan Opera. In it are bittersweet reminiscences of a working-class childhood, from her first job scrubbing the neighbors' steps to the sorrow and upheaval of her father's untimely death. Here are the stories of a young girl with prodigious talent and her warm remembrances of the teachers, managers, friends, accompanists, and fans who worked to foster it. In addition, she provides a veritable travelogue of her concerts across the globe and rare glimpses at the personal life of a woman more concerned with family than celebrity.
With eleven photographs and a touching new foreword by Anderson's nephew, famed conductor and poet James DePreist, this edition of My Lord, What a Morning revives the classic portrait of a musical legend who was resilient in the bullying face of bigotry and gracious in the unfaltering glow of fame.
In his autobiography, My Many Selves, Wayne C. Booth is less concerned with his professional achievements---though the book by no means ignores his distinguished career---than with the personal vision that emerges from a long life lived thoughtfully. For Booth, even the autobiographical process becomes part of a quest to harmonize the diverse, often conflicting aspects of who he was. To see himself clearly and whole, he broke the self down, personified the fragments, uncovered their roots in his experience and background, and engaged those selves and experiences in dialogue. Basic to his story and to its lifelong concern with ethics and rhetoric was his Mormon youth in rural Utah. In adulthood he struggled with that background, abandoning most Mormon doctrines, but he retained the identity, ethical questions, and concern with communication that this upbringing gave him.
The uncommon wisdom and careful attention that empower Wayne Booth's many other books cause My Many Selves to transcend its genre, as the best memoirs always do. The book becomes a window through which we who read it will see our own conflicts, our own ongoing struggle to live honestly and ethically in the world.
Wayne Booth died in October 2005, soon after completing work on this autobiography.
By universal acclaim, Diana Kennedy is the world’s authority on the authentic cuisines of Mexico. For decades, she has traveled the length and breadth of the country, seeking out the home cooks, local ingredients, and traditional recipes that make Mexican cuisines some of the most varied and flavorful in the world. Kennedy has published eight classic Mexican cookbooks, including the James Beard Award-winning Oaxaca al Gusto. But her most personal book is My Mexico, a labor of love filled with more than three hundred recipes and stories that capture the essence of Mexican food culture as Kennedy has discovered and lived it. First published in 1998, My Mexico is now back in print with a fresh design and photographs—ready to lead a new generation of gastronomes on an unforgettable journey through the foods of this fascinating and complex country.
Andrade first came to Washington as ambassador in 1944, representing a young revolutionary government determined to check the power of the Bolivian tin barons who had dominated the country for decades. After his government was overthrown, he spent six years in exile, and returned to Washington when the Movimiento Nacionalista Revolucionario resumed power in 1952. His deep understanding of Washington's massive political and bureaucratic establishment, combined with his renowned charm, resourcefulness, and perseverance, gave him the ability to negotiate massive economic and military aid for the development of the country. It also allows him to present a candid, knowledgeable inside view of U.S.-Bolivian relations through these years which will at times make U.S. readers proud and at times ashamed.
Bryan K. Eldredge seeks to more precisely understand the relationship between ASL use and Deaf identity using the tools of linguistic anthropology. In this work, he presents research resulting from fieldwork with the Deaf community of Utah Valley. Through informal interactions and formal interviews, he explores the role of discourse in the projection and construction of Deaf identities and, conversely, considers how ideas about language affect the discourse that shapes identities. He finds that specific linguistic ideologies exist that valorize some forms of language over others and that certain forms of ASL serve to establish a culturally Deaf identity. My Mother Made Me Deaf demonstrates that the DEAF-WORLD consists of a multitude of experiences and ways of being even as it is bound together by certain essential elements that are common to Deaf people.
My Mother Was a Computer explores how the impact of code on everyday life has become comparable to that of speech and writing: language and code have grown more entangled, the lines that once separated humans from machines, analog from digital, and old technologies from new ones have become blurred. My Mother Was a Computer gives us the tools necessary to make sense of these complex relationships. Hayles argues that we live in an age of intermediation that challenges our ideas about language, subjectivity, literary objects, and textuality. This process of intermediation takes place where digital media interact with cultural practices associated with older media, and here Hayles sharply portrays such interactions: how code differs from speech; how electronic text differs from print; the effects of digital media on the idea of the self; the effects of digitality on printed books; our conceptions of computers as living beings; the possibility that human consciousness itself might be computational; and the subjective cosmology wherein humans see the universe through the lens of their own digital age.
We are the children of computers in more than one sense, and no critic has done more than N. Katherine Hayles to explain how these technologies define us and our culture. Heady and provocative, My Mother Was a Computer will be judged as her best work yet.
Based on a real-life affair, My Mother’s Lover is the story of a lifelong and unspoken love for a man—recorded by the woman’s son, who begins this novel on the day his mother’s lover dies. Set against the backdrop of the Depression and World War II, it is a story of sacrifice and betrayal, passionate devotion, and inevitable suffering. Yet in Widmer’s hands, it is always entertaining and surprisingly comic—a unique kind of fairy tale.
As a teenager, Lake joins her grandparents in Missouri and spends her youth seeking answers to her questions about the past, trying to understand the complex pattern of betrayals that shaped it. Only when she herself becomes party to a betrayal as devastating as any committed by her mother does Lake begin to understand.
Passanante writes with a keen eye for the details of behavior that reveal the yearnings and fears beneath the surface. She shows us that the path to understanding is never a smooth one, and that love is often far more complex than we can imagine. Western Literature Series.
The adult narrator of My Mother’s Tears has returned to clean out his childhood home after his mother’s death. In thirty short chapters, each focused on a talismanic object or resonant episode from his childhood, the narrator tries to solve the mystery behind the flood of tears with which his strikingly beautiful, intelligent, and inscrutable mother greeted his birth. Like insects preserved in amber, these objects—an artificial orchid, a statue, a pair of green pumps, a steak knife, a fishing rod and reel, among others—are surrounded by an aura that permeates the narrator’s life. Interspersed with these chapters are fragments from the narrator’s conversation with his present lover, a woman who demands that he verbally confront his past. This difficult conversation charts his gradual liberation from the psychological wounds he suffered growing up.
Not only an account of a son’s attempt to understand his enigmatic mother, My Mother’s Tears is also a moving novel about language and memory that explores the ambivalent power of words to hurt and to heal, to revive the past and to put childhood demons to rest.
My Name is LaMoosh is the life story of Warm Springs Tribal elder Linda Meanus. She grew up with her grandma Flora Thompson and grandpa Chief Tommy Thompson near Celilo Falls, a mighty fishery on the Columbia that was flooded in 1957 by the construction of The Dalles Dam. Linda persevered through this historic trauma and life’s challenges to teach young people about the Indigenous ways of the Columbia River.
Intended for early readers to learn more about Native American history through a first-hand account, the book is also a reminder that Indigenous people continue to maintain a cultural connection to the land and river that gave them their identity.
My Name is LaMoosh includes fact boxes that provide historical, cultural, and environmental context for Linda’s personal story. Hundreds of books exist about Lewis and Clark and their journey of “discovery.” This book balances our understanding of American history with the long-neglected voices of Indigenous people. Linda’s story is not just about historic trauma but also about resilience, perseverance, and reciprocity.
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This autobiography of prominent American archaeologist William G. Dever is unabashedly his story, in which he offers candid, often brutally honest, reflections on his life and sixty-five-year career. Dever places himself in the midst of a remarkable generation of giants in archaeology in Israel during a period when the fields of biblical and Israeli archaeology were evolving. With technical expertise developed over a lifetime of working alongside four generations of Israeli and foreign excavators, he recalls their exploits and shares numerous personal stories that few others would know. His memoir concludes with a postscript on the likely future of biblical archaeology and an annotated bibliography for serious readers who wish to explore some of the scholarly literature to flesh out Dever’s narrative.
Showing both the drama of familial intimacy and the ups and downs of the everyday, My Old Faithful introduces readers to a close-knit Chinese family. These ten interconnected short stories, which take place in China and the United States over a thirty-year period, merge to paint a nuanced portrait of family life, full of pain, surprises, and subtle acts of courage. Richly textured narratives from the mother, the father, the son, and the daughters play out against the backdrop of China's social and economic change.
With quiet humor and sharp insight into the ordinary, Yang Huang writes of a father who spanks his son out of love, a brother who betrays his sister, and a woman who returns to China after many years to find her country changed in ways both expected and startling.
Mohammad Tarbush was born in British Mandate Palestine. As an infant, he and his family were forced to evacuate their village together with its entire population, after the Zionist victory that led to the establishment of the State of Israel. Then as landless refugees in the West Bank, the family sank into poverty. When, as a teenager, Tarbush left home one day under the pretext of visiting relatives in Jordan, he in fact set off on a year-long hitchhiking journey to Europe, where he would eventually become a highly successful international banker and a key behind-the-scenes promoter of the Palestinian cause. In My Palestine, Mohammad Tarbush combines poignant personal memoir with incisive political and economic commentary on the tumultuous events that shaped the history of Israel, Palestine, and the modern Middle East.
In My Poetics, Maureen N. McLane writes as a poet, critic, theorist, and scholar—but above all as an impassioned reader. Written in an innovative, conversable style, McLane’s essays illuminate her own poetics and suggest more generally all that poetics can encompass. Ranging widely from romantic-era odes and hymns to anonymous ballads to haikus and haibuns to modernist and contemporary poetries in English, My Poetics explores poems as speculative instruments and as ways of registering our very sense of being alive. McLane pursues a number of open questions: How do poems generate modes for thinking? How does rhyme help us measure out thought? What is the relation of poetry to its surroundings, and how do specific poems activate that relation?
If, as Wallace Stevens wrote, “poetry is the scholar’s art,” My Poetics flies under a slightly different banner: study and criticism are also the poet’s art. Punctuated with McLane’s poems and drawing variously on Hannah Arendt, Percy Bysshe Shelley, Roland Barthes, Bruno Latour, and other writers and poets, My Poetics is a formally as well as intellectually adventurous work. Its artful arrangement of readings and divagations shows us a way to be with poems and poetics.
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