A SCHOLARLY BOOK REPOSITORY
Samuel Pepys, the seventeenth century's best-known diarist, walked around London for miles, chronicling these walks in his diary. He made the two-and-a-half-mile trek to Whitehall from his house near the Tower of London on an almost daily basis. These streets, where many of his professional conversations took place while walking, became for him an alternative to his office.
With Walking Pepys’s London, we come to know life in London from the pavement up and see its streets from the perspective of this renowned diarist. The city was a key character in Pepys’s life, and this book draws parallels between his experience of seventeenth-century London and the lives of Londoners today. Bringing together geography, biography, and history, Jacky Colliss Harvey reconstructs the sensory and emotional experience of Pepys’s time. Full of fascinating details, Walking Pepys’s London is a sensitive exploration into the places that made the greatest English diarist of all time.
Citizen Kane portrayed the ruthless career of an all-powerful magnate bearing (not accidentally) a striking resemblance to Hearst, who immediately tried to kill the picture. John Evangelist Walsh here illuminates the conflict between these two outsize personalities and for the first time brings Hearst’s vengeful anti-Kane campaign to the fore. Walsh provides thorough documentation, supplemental notes, and an extended bibliography.
In this first-ever anthology of Indigenous science fiction Grace Dillon collects some of the finest examples of the craft with contributions by Native American, First Nations, Aboriginal Australian, and New Zealand Maori authors. The collection includes seminal authors such as Gerald Vizenor, historically important contributions often categorized as "magical realism" by authors like Leslie Marmon Silko and Sherman Alexie, and authors more recognizable to science fiction fans like William Sanders and Stephen Graham Jones. Dillon's engaging introduction situates the pieces in the larger context of science fiction and its conventions.
Organized by sub-genre, the book starts with Native slipstream, stories infused with time travel, alternate realities and alternative history like Vizenor's "Custer on the Slipstream." Next up are stories about contact with other beings featuring, among others, an excerpt from Gerry William's The Black Ship. Dillon includes stories that highlight Indigenous science like a piece from Archie Weller's Land of the Golden Clouds, asserting that one of the roles of Native science fiction is to disentangle that science from notions of "primitive" knowledge and myth. The fourth section calls out stories of apocalypse like William Sanders' "When This World Is All on Fire" and a piece from Zainab Amadahy's The Moons of Palmares. The anthology closes with examples of biskaabiiyang, or "returning to ourselves," bringing together stories like Eden Robinson's "Terminal Avenue" and a piece from Robert Sullivan's Star Waka.
An essential book for readers and students of both Native literature and science fiction, Walking the Clouds is an invaluable collection. It brings together not only great examples of Native science fiction from an internationally-known cast of authors, but Dillon's insightful scholarship sheds new light on the traditions of imagining an Indigenous future.
A close associate of Chico Mendes, Gomercindo Rodrigues witnessed the struggle between Brazil's rubber tappers and local ranchers—a struggle that led to the murder of Mendes. Rodrigues's memoir of his years with Mendes has never before been translated into English from the Portuguese. Now, Walking the Forest with Chico Mendes makes this important work available to new audiences, capturing the events and trends that shaped the lives of both men and the fragile system of public security and justice within which they lived and worked.
In a rare primary account of the celebrated labor organizer, Rodrigues chronicles Mendes's innovative proposals as the Amazon faced wholesale deforestation. As a labor unionist and an environmentalist, Mendes believed that rain forests could be preserved without ruining the lives of workers, and that destroying forests to make way for cattle pastures threatened humanity in the long run. Walking the Forest with Chico Mendes also brings to light the unexplained and uninvestigated events surrounding Mendes's murder.
Although many historians have written about the plantation systems of nineteenth-century Brazil, few eyewitnesses have captured the rich rural history of the twentieth century with such an intricate knowledge of history and folklore as Rodrigues.
In the Dene worldview, relationships form the foundation of a distinct way of knowing. For the Tlicho Dene, indigenous peoples of Canada's Northwest Territories, as stories from the past unfold as experiences in the present, so unfolds a philosophy for the future. Walking the Land, Feeding the Fire vividly shows how—through stories and relationships with all beings—Tlicho knowledge is produced and rooted in the land.
Tlicho-speaking people are part of the more widespread Athapaskan-speaking community, which spans the western sub-arctic and includes pockets in British Columbia, Alberta, California, and Arizona. Anthropologist Allice Legat undertook this work at the request of Tlicho Dene community elders, who wanted to provide younger Tlicho with narratives that originated in the past but provide a way of thinking through current critical land-use issues. Legat illustrates that, for the Tlicho Dene, being knowledgeable and being of the land are one and the same.
Walking the Land, Feeding the Fire marks the beginning of a new era of understanding, drawing both connections to and unique aspects of ways of knowing among other Dene peoples, such as the Western Apache. As Keith Basso did with his studies among the Western Apache in earlier decades, Legat sets a new standard for research by presenting Dene perceptions of the environment and the personal truths of the storytellers without forcing them into scientific or public-policy frameworks. Legat approaches her work as a community partner—providing a powerful methodology that will impact the way research is conducted for decades to come—and provides unique insights and understandings available only through traditional knowledge.
Walking the Steps of Cincinnati: A Guide to the Queen City’s Scenic and Historic Secrets is a revised and updated version of Mary Anna DuSablon’s original guidebook, first published in 1998. This new edition describes and maps thirty-four walks of varying lengths and levels of difficulty around the neighborhoods of Cincinnati, following scenic or historic routes and taking in many of the city’s more than four hundred sets of steps. Some of these walks follow the same routes laid out by DuSablon in the first edition of the guide; others have been revised to reflect changes in the city and its neighborhoods, the physical condition of the steps, and the scenic views of Cincinnati that they afford; and still others are altogether new.
In writing their descriptions of the walks, authors Connie J. Harrell and John Cicmanec have retraced each path and taken all new photographs of the steps as well as architectural and natural landmarks along the way. Cartographer Brian Balsley has drawn a fresh set of maps, and Roxanne Qualls, vice-mayor of Cincinnati, has graciously written a new foreword.
Migrants in transit form several types of social networks, develop trust, and engage in acts of solidarity. The need to be recognized and grieved, compounded by the practical use of pooling information and resources, leads migrants to form small, strong groups called road families. Through the generalized sharing of information and small items such as food and blankets, migrants also form a transient community that includes everyone on the road at the same time. Sociologist Alejandra Díaz de León shows the trajectories of families that left together, showing, surprisingly, that families might not be the best social arrangement in transit.
Drawing on multisited research, this work contributes to debates on the role of social networks in clandestine migration processes and to discussions on how people create social networks and trust under violent and stressful situations. The detailed ethnographic narratives and accessible writing weave together theory with empirical observations to highlight and humanize the migrant experience.
Sitting at the intersection of border studies, immigration studies, and Latinx studies, this concise volume shows how Central American migrants in transit through Mexico survive the precarious and unpredictable road by forming different types of social ties.
A companion to the popular Walking Trails of Southern Wisconsin, this book describes more than 200 trails in 72 locations throughout five of the state's major regions. Bob Crawford provides maps and detailed instructions to make the trails easy to locate.
With each trail description you'll find:
* details about the route and terrain, as well as geographical, biological, or historical features of interest;
* regulations including open days and hours, and rules regarding dogs, trail bikes, cross-country skiing, and other activities;
* information about available restrooms, drinking water, nature centers, and other facilities at the site;
* a description assessing degree of difficulty—slope, width, maintenance, and other such factors—and a helpful rating of "walkability" on a scale from 1 to 5.
The only comprehensive guide to hiking locations in the eastern part of the state, this book also provides lists of trail locations that include playground equipment for kids and picnic facilities for those who want to make a day trip of their hiking outing. Appendices spotlight trails that boast historical significance, ice age features, picnic areas, and cross-country skiing opportunities.
Take a walk on the wild side with the completely updated version of this popular guide.
This edition now includes coverage of Lafayette and Vernon counties, plus new information on more trails, including ones at Avoca Prairie Savanna State Natural Area, Wildcat Mountain State Park, and Blackhawk Lake Recreational Area. Author Bob Crawford has also revised eleven trail maps in nine counties and updated material throughout the book, which now describes more than 150 trails at more than sixty locations.
These trails wind across southern Wisconsin—into forests and along shores, over glacial formations and around Native American earthworks—and showcase some of the most beautiful and interesting walking trails in the nation. Walking Trails of Southern Wisconsin retains its handy, pocket-sized format plus all the other features that made the first edition so successful:
• details about routes and terrain plus geographical, biological, or historical features of interest
• regulations including open days and hours, and rules regarding dogs, trail bikes, cross-country skiing, and other activities
• information about available restrooms, drinking water, nature centers, and other facilities at the site
• a description assessing degree of difficulty—slope, width, maintenance, and other such factors—and a helpful rating of “walkability” on a scale from 1 to 5
Crawford also provides information about nearby parks, preserves, glacial formations, historical sites, tourist attractions, and other points of interest for those who want to turn a hike into a day trip or weekend outing. Staying fit was never so easy nor so much fun.
Finalist, 2018 Miller Williams Poetry Prize
Walking with Eve in the Loved City is an ambitious collection. Using a variety of male figures—Jeff Goldblum, Ringo Starr, the poet’s uncle Billy, to name a few—these poems skillfully interrogate masculinity and its cultural artifacts, searching for a way to reconcile reverence for the father figure with a crisis of faith about the world as run by men. And yet, despite the gravity of the subjects these poems engage, this is a hopeful, frequently funny book that encourages the reader to look deeply at the world, and then to laugh if she can.
Roy Bentley often accomplishes this work through a careful balancing of honesty and misdirection, as when in the poem “Can’t Help Falling in Love” the real drama of the narrative—the appearance of an affair between the speaker’s father and a drive-in restaurant carhop—operates as a backdrop for the eight-year-old speaker’s puerile attraction to the woman; or when the vampire Nosferatu (a frequent figure in the poems) materializes in a trailer park, his immortality becoming a lens through which to process the speaker’s righteous anger about wealth and poverty.
God too features prominently—as does doubt. Drawing from the vernacular of his childhood, Bentley accesses the simultaneous austerity and lyrical opulence of the King James Bible to invent stories in which the last note struck is often a call to pay kinder attention. More than anything, these poems serve as humanistic advocates, using the power of narrative—film, interview, imagination, memoir—to highlight how people matter.
Walking with Eve in the Loved City invites the reader to join in this watching and witnessing, to take part in renewing how we see.
Illustrated with drawings by John Muir and drawings and photos by the Vales, Walking with Muir across Yosemite emphasizes that current visitors to Yosemite—indeed to any national park—can still experience the solitude, wildness, and romanticism of nature. They believe, however, that this modern exploration would benefit from a national parks policy that actively promotes nature study and encourages a more profound interaction between humans and the natural world.
This bilingual edition of recent verse by the celebrated Iranian filmmaker Abbas Kiarostami (award-winning director of such films as Close-Up and Taste of Cherry) includes English translations of more than two hundred crystalline, haiku-like poems, together with their Persian originals. The translators, noted Persian literature scholars Ahmad Karimi-Hakkak and Michael Beard, contribute an illuminating introduction to Kiarostami's poetic enterprise, examining its relationship to his unique cinematic corpus and to the traditions of classic and contemporary Persian poetry.
Of interest to enthusiasts of cinema and literature alike, Walking with the Wind—the second volume in Harvard Film Archive's series "Voices and Visions in Film"—sheds light on a contemporary master who transforms simple fragments of reality into evocative narrative landscapes.
This collection charts three projects by performers who generate autobiographical writing by walking through inspirational landscapes. Included in the book are the full texts of The Crab Walks and Crab Steps Aside by Phil Smith, Mourning Walk by Carl Lavery, and Tree by Deirdre Heddon, each accompanied by photographs and contextual essays. Taken together or separately, the work of all three artist-scholars raises important issues about memory, the ethics of autobiographical performance, ritual, life writing, and site-specific performance.
The Wall and the Garden was first published in 1968. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The election day sermon in colonial New England was an annual, formal address by a minister of the gospel to the newly assembled legislature of the colony. The tradition began in the Massachusetts Bay colony in 1634, and it continued, in Boston, for 250 years. In this volume, Professor Plumstead presents a collection of nine of the Massachusetts election sermons, chosen from among the surviving Massachusetts sermons which were printed between 1661 and 1775. They are not chosen as representative but, rather, as the best, judged on a basis of literary excellence and ideas and points of style relevant to later developments in American literature and history. There are changes in style and theme in the 105 years between the first and the last selection, and, in his brief introduction to each of the sermons, the editor discusses these changes and the sermon's relationship to the tradition as a whole.
In a general introduction, Professor Plumstead provides background information about the history and significance of the election sermons. As he makes clear, the election sermon tradition offers a vantage point for seeing both continuity and change in colonial intellectual history. The sermons in this collection will complement colonial studies by bringing the reader close to the spirit of the times.
The title of the volume, The Wall and the Garden, derives from the frequent use by colonial preachers of the metaphors of the garden and the wall to describe the colonies and their spiritual enemies.
In 1954, Anne and Carl Braden bought a house in an all-white neighborhood in Louisville, Kentucky, on behalf of a black couple, Andrew and Charlotte Wade. The Wall Between is Anne Braden's account of what resulted from this act of friendship: mob violence against the Wades, the bombing of the house, and imprisonment for her husband on charges of sedition.
A nonfiction finalist for the 1958 National Book Award, The Wall Between is one of only a few first-person accounts from civil rights movement activists—even rarer for its author being white. Offering an insider's view of movement history, it is as readable for its drama as for its sociological importance. It contains no heroes or villains, according to Braden—only people urged on by forces of history that they often did not understand.
In an epilogue written for this edition, the author traces the lives of the Bradens and Wades subsequent to events in the original book and reports on her and her husband's continuing activities in the Civil Rights movement, including reminiscences of their friendship with Martin Luther King. Looking back on that history, she warns readers that the entire nation still must do what white Southerners did in the 1950s to ensure equal rights: turn its values, assumptions, and policies upside down.
In his foreword to this edition, Julian Bond reflects on the significance of the events Anne describes and the importance of the work the Bradens and others like them undertook. What's missing today, he observes, is not Wades who want a home but Bradens who will help them fight for one. Anne and Carl Braden showed that integrated groups fight best for an integrated world, and The Wall Between is a lasting testament to that dedication.
The Author: Ann Braden was born in Louisville, Kentucky, and worked as a newspaper reporter and a public relations agent for trade unions. She served as a delegate to the 1984 and 1988 Democratic National Conventions and has been a visiting professor at Northern Kentucky University, where she teaches civil rights history. She continues to work with the Kentucky Alliance against Racial and Political Repression.
[Gene: edit for book cover by deleting last sentences of second and third paragraphs, last two of fourth.
The Bond foreword isn't exactly bristling with quotes. The only drawback to the one I selected is that the reference to 1999 might tend to date the book if you use it on the back cover. Do you think you could legitimately edit it to read "even more today"?]
When the Berlin Wall was still the most tangible representation of the Cold War, Peter Schneider made this political and ideological symbol into something personal, that could be perceived on a human level, from more than one side. In Schneider's Berlin, real people cross the Wall not to defect but to quarrel with their lovers, see Hollywood movies, and sometimes just because they can't help themselves—the Wall has divided their emotions as much as it has their country.
"An honest, rich book. . . . It is one those rare books that come back at odd moments to intrude on your comfortable conclusions and easy images."—Robert Houston, Nation
The Wall of Respect received national critical acclaim when it was unveiled on the side of a building at Forty-Third and Langley in Chicago’s Bronzeville neighborhood. Painters and photographers worked side by side on the mural's seven themed sections, which featured portraits of Black heroes and sheroes, among them John Coltrane, Nina Simone, Billie Holiday, Malcolm X, Muhammad Ali, and W. E. B. Du Bois. The Wall became a platform for music, poetry, and political rallies. Over time it changed, reflecting painful controversies among the artists as well as broader shifts in the Civil Rights and Black Liberation Movements.
At the intersection of African American culture, politics, and Chicago art history, The Wall of Respect offers, in one keepsake-quality work, an unsurpassed collection of images and essays that illuminate a powerful monument that continues to fascinate artists, scholars, and readers in Chicago and across the United States.
Fisher charts the evolution of the women's careers, the growth of their political and economic clout, changes in their perspectives and the cultural climate on Wall Street, and their experiences of the 2008 financial collapse. While most of the pioneering subjects of Wall Street Women did not participate in the women's movement as it was happening in the 1960s and 1970s, Fisher argues that they did produce a "market feminism" which aligned liberal feminist ideals about meritocracy and gender equity with the logic of the market.
People have been drawing on walls since ancient times. They do it to create beauty, to tell a story, to make a statement, or just to say, “I was here.” You can find wall art in a remote cave in Patagonia and a desert castle in Jordan, a kingly palace in the Republic of Benin and the National Palace of Mexico, a miles-long flood channel in Los Angeles and a sky-high rooftop in Norway.
In Wall to Wall, award-winning author, illustrator, and muralist Mary Ann Fraser takes readers on a worldwide journey through time, stopping to see amazing mural art along the way. Stunning color illustrations and fascinating photographs illuminate both famous and little-known examples, and lighthearted text tells engaging stories about the people who inspired or created them. A glossary, selected bibliography, and section about the preservation of murals conclude the book. No reader will ever again pass by a mural—whether in a historic building, a museum, or out on the street—without stopping to take a closer look.
Ages ten to fourteen
Charles Darwin is often credited with discovering evolution through natural selection, but the idea was not his alone. The naturalist Alfred Russel Wallace, working independently, saw the same process at work in the natural world and elaborated much the same theory. Their important scientific contributions made both men famous in their lifetimes, but Wallace slipped into obscurity after his death, while Darwin’s renown grew. Dispelling the misperceptions that continue to paint Wallace as a secondary figure, James Costa reveals the two naturalists as true equals in advancing one of the greatest scientific discoveries of all time.
Analyzing Wallace’s “Species Notebook,” Costa shows how Wallace’s methods and thought processes paralleled Darwin’s, yet inspired insights uniquely his own. Kept during his Southeast Asian expeditions of the 1850s, the notebook is a window into Wallace’s early evolutionary ideas. It records his evidence-gathering, critiques of anti-evolutionary arguments, and plans for a book on “transmutation.” Most important, it demonstrates conclusively that natural selection was not some idea Wallace stumbled upon, as is sometimes assumed, but was the culmination of a decade-long quest to solve the mystery of the origin of species.
Wallace, Darwin, and the Origin of Species also reexamines the pivotal episode in 1858 when Wallace sent Darwin a manuscript announcing his discovery of natural selection, prompting a joint public reading of the two men’s papers on the subject. Costa’s analysis of the “Species Notebook” shines a new light on these readings, further illuminating the independent nature of Wallace’s discoveries.
Wallace Stevens - American Writers 11 was first published in 1961. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This study begins with an examination of the textual and generic issues surrounding apocalypse, culminating in the idea of apocalyptic language as a form of “discursive mastery” over the mayhem of events. Woodland provides an informative religious/historical discussion of apocalypse and, engaging with such critics as Parker, Derrida, and Fowler, sets forth the paradoxes and complexities that eventually challenge any clear dualities between apocalyptic and antiapocalyptic thinking.
Woodland then examines some of Stevens’s wartime essays and poems and describes Stevens’s efforts to salvage a sense of self and poetic vitality in a time of war, as well as his resistance to the possibility of cultural collapse. Woodland discusses the major postwar poems “Credences of Summer” and “The Auroras of Autumn” in separate chapters, examining the interaction of (anti)apocalyptic modes with, respectively, pastoral and elegy.
The final chapter offers a perspective on Stevens’s place in literary history by examining the work of a contemporary poet, Jorie Graham, whose poetry quotes from Stevens’s oeuvre and shows other marks of his influence. Woodland focuses on Graham's 1997 collection The Errancy and shows that her antiapocalyptic poetry involves a very different attitude toward the possibility of a radical break with a particular cultural or aesthetic stance.
Wallace Stevens and the Apocalyptic Mode, offering a new understanding of Stevens’s position in literary history, will greatly interest literary scholars and students.
Wallace Stevens and the Critical Schools reveals a field marked by conflict and contradiction, both within and among critical works in their attempts to explicate and appropriate this major American poet. Stevens’ changing reception among the critical schools reveals much about the shifting nature of American literature and criticism in this century and illuminates the often polemical process of literary canon formation. Each chapter of this book examines a particular aspect of the 20th-century critical involvement with Wallace Stevens’ poetry, introduced by a discussion of the poet’s work as an arena for the convergence of modern critical tendencies and concerns.
First, the author examines the avant-garde milieu of early 20th-century modernism, which implicated Stevens in its melee of affiliations and enmities and which influenced critics’ ambivalent responses to his early work. She traces the critical controversies of the poet’s emergence before and during the 1920s, specifically the clash between New Humanism and aestheticism, and demonstrates how the quality of irony in Stevens’ work became a part of the critics’ general repertoire in their assessment of this poet.
The 1930s, 1940s, and 1950s were decades during which Stevens criticism became dominated by the New Critical ideology. The turn toward deconstruction in Stevens criticism stands in part as a response to the New Critical dilemma, seen in the manner in which such critics as J. Hillis Miller and Joseph Riddel appropriated the concept of “decreation” to explain the sense of rupture in Stevens’ late poetry yet brought that concept to its logical end in a deconstructive paradigm.
Finally, Schaum identifies four major theoretical approaches to Stevens in the past two decades that continue to inform and direct the field of critical dissent and exploration in the 1980s. Such theories as Bloomian misprision, versions of hermeneutic criticism, redefinitions of the deconstructive enterprise, and the contemporary call for a new historicism continue the battle to appropriate Stevens as the “hard prize” of critical aims and investigations.
Wallace Stevens was not only one of America's outstanding modernist poets but also a successful insurance lawyer--a fact that continues to intrigue many readers. Though Stevens tried hard to separate his poetry from his profession, legal theorist Thomas Grey shows that he did not ultimately succeed. After stressing how little connection appears on the surface between the two parts of Stevens's life, Grey argues that in its pragmatic account of human reasoning, the poetry distinctively illuminates the workings of the law.
In this important extension of the recent law-and-literature movement, Grey reveals Stevens as a philosophical poet and implicitly a pragmatist legal theorist, who illustrates how human thought proceeds through "assertion, qualification, and qualified reassertion," and how reason and passion fuse together in the act of interpretation. Above all, Stevens's poetry proves a liberating antidote to the binary logic that is characteristic of legal theory: one side of a case is right, the other wrong; conduct is either lawful or unlawful.
At the same time as he discovers in Stevens a pragmatist philosopher of law, Grey offers a strikingly new perspective on the poetry itself. In the poems that develop Stevens's "reality-imagination complex"--poems often criticized as remote, apolitical, and hermetic--Grey finds a body of work that not only captivates the reader but also provides a unique instrument for scrutinizing the thought processes of lawyers and judges in their exercise of social power.
Anthropologist Susan Phillips enters the lives of the African-American and Chicano gang members to write a comprehensive guide to their symbolic and visual expression. She not only decodes the graffiti—explaining how, for instance, gang boundaries are visually delimited and how "memorial" graffiti functions—but she also places it in the context of the changing urban landscapes within the city. Graffiti, she argues, is inextricably linked to political change, to race, and to art, and she demonstrates how those connections are played out in contemporary L.A. Wallbangin' is, on this level, an iconography of street imagery. But it is also a very personal narrative about entering the world of L.A. street gangs—a world of pride, enemies, affirmation, and humanity where gang members use graffiti to redefine their social and political position in society.
To many outsiders, graffiti is cryptic, senseless scribbling. But Phillips explains it as an ingenious and creative solution to the disenfranchisement felt by those who produce it. With personal narratives, provocative photography, and contemporary voices, Wallbangin' unlocks the mysteries behind street-level ideologies and their visual manifestations.
For centuries, many Indo-European peoples have sung a poignant ballad about the tragic sacrifice of a female victim to ensure the successful completion of an important undertaking, such as the construction of a building, bridge, or well. The legend, and its many regional and stylistic variations throughout Eastern Europe and India, provides material for an original and engaging casebook of interpretations by folklorists, anthropologists, scholars of comparative religion, and literary critics.
Alan Dundes brings together eighteen essays on this classic ballad, each introduced by his headnotes. Some contributors offer competing nationalistic claims concerning the ballad’s origin, claims now in dispute because of previously overlooked South Asian versions; Ruth Mandel examines gender and power issues in the ballad; Lyubomira Parpulova-Gribble presents a structuralist reading; Krstivoj Kotur proposes a Christian interpretation; Mircea Eliade advocates a myth-ritual reading of blood sacrifices with cosmogonic connections in the Romanian text; and other readings explore female victimization and heroism by seeing the ballad’s theme as a metaphor for marriage, a male-constructed trap seriously restricting women’s freedom and mobility. Dundes concludes the collection with his own feminist and psychoanalytic interpretations of the ballad, followed by suggestions for further reading.
By emphasizing the ballad’s variant forms in diverse cultural contexts, analyzed from different disciplinary perspectives, this volume asks students of folklore to be aware of the multiplicity of approaches available to them in researching folk narrative.
The facts: reviled by the British as a social-climbing seductress even as Time magazine named her its 1936 Woman of the Year, Simpson was the American socialite whose affair with King Edward VIII led him to abdicate the throne on the eve of WWII. In this fanciful novel written in the form of a fictional memoir, Auspitz imagines an alternative history in which Simpson was encouraged by Allied statesmen to remove defeatist, pro-German Edward from the throne, forever altering the course of the war. A comically unreliable narrator who knows more than she realizes, and reveals more than she knows, Simpson leads us from historic treaties and military campaigns to dinner parties and cruises as she describes encounters with everyone from Duff and Diana Cooper to Charles Lindbergh, Coco Chanel, and Hitler—all the while acting as a willing but seemingly oblivious pawn of international intrigue.
A rare blend of diplomacy and dalliance, fashion and fascists, this meticulously researched satire offers witty and erudite entertainment and leaves us speculating: who really brought about the abdication and—always—what were they wearing?
Wallowing in Sex is a lively analysis of the key role of commercial television in the new sexual culture of the 1970s. Elana Levine explores sex-themed made-for-TV movies; female sex symbols such as the stars of Charlie’s Angels and Wonder Woman; the innuendo-driven humor of variety shows (The Sonny and Cher Comedy Hour, Laugh-In), sitcoms (M*A*S*H, Three’s Company), and game shows (Match Game); and the proliferation of rape plots in daytime soap operas. She also uncovers those sexual topics that were barred from the airwaves. Along with program content, Levine examines the economic motivations of the television industry, the television production process, regulation by the government and the tv industry, and audience responses. She demonstrates that the new sexual culture of 1970s television was a product of negotiation between producers, executives, advertisers, censors, audiences, performers, activists, and many others. Ultimately, 1970s television legitimized some of the sexual revolution’s most significant gains while minimizing its more radical impulses.
"Philipson gives us a very believable portrait of a marriage. He also gives us no easy answers . . . and best of all, real storytelling." —Publishers Weekly
"This solid and serious novel emerges as not just an expose of what really goes on behind the well-groomed facades of the affluent, but a thoughtful exploration of character and the efficacy of moral action in forming and reforming it." —Jane Larkin Crain, New York Times Book Review
"A swift, no-fudging narrative by a writer it is always rewarding to rediscover." —Sophie Wilkins, National Review
"An extraordinary novel, fascinating, compelling, and totally disconcerting." —Fort Worth Star-Telegram
"Has the drama, intelligence and moral force of an American Howards End."-Cynthia Ozick
For the first time, The Walls Behind the Curtain presents a collection of works from East European novelists, poets, playwrights, and essayists who wrote during or after their captivity under communism. Harold B. Segel paints a backdrop of the political culture and prison and labor camp systems of each country, detailing the onerous conditions that writers faced. Segel then offers biographical information on each writer and presents excerpts of their writing. Notable literary figures included are Václav Havel, Eva Kanturková, Milan Šimecka, Adam Michnik, Milovan Djilas, Paul Goma, Tibor Déry, and Visar Zhiti, as well as many other writers.
This anthology recovers many of the most important yet overlooked literary voices from the era of Communist occupation. Although translated from numerous languages, and across varied cultures, there is a distinct commonality in the experiences documented by these works. The Walls Behind the Curtain serves as a testament to the perseverance of the human spirit and a quest for individual liberty that many writers forfeited their lives for.
In Walls, Oles shows how our minds and our politics are shaped by–and shape–our divisions in the landscape. He traces the rich array of practices and meanings connected to the making and marking of boundaries across history and prehistory, and he describes how these practices have declined in recent centuries. The consequence, he argues, is all around us in the contemporary landscape, riven by walls shoddy in material and mean in spirit. Yet even today, Oles demonstrates, every wall remains potentially an opening, a stage, that critical place in the landscape where people present themselves and define their obligations to one another. In an evocative epilogue, Oles brings to life a society of productive, intentional, and ethical enclosure—one that will leave readers more hopeful about the divided landscapes of the future.
The contributors' wide-ranging but intersecting essays span the disciplines of art history, social and cultural history, urban studies, and film history. Walls of Algiers presents a multifaceted look at the social use of urban space in a North African city. Its contributors' innovative methodologies allow important insights into often overlooked aspects of life in a city whose name even today conjures up enchantment as well as incomprehensible violence.
Exploring three major hubs of muralist activity in California, where indigenist imagery is prevalent, Walls of Empowerment celebrates an aesthetic that seeks to firmly establish Chicana/o sociopolitical identity in U.S. territory. Providing readers with a history and genealogy of key muralists' productions, Guisela Latorre also showcases new material and original research on works and artists never before examined in print.
An art form often associated with male creative endeavors, muralism in fact reflects significant contributions by Chicana artists. Encompassing these and other aspects of contemporary dialogues, including the often tense relationship between graffiti and muralism, Walls of Empowerment is a comprehensive study that, unlike many previous endeavors, does not privilege non-public Latina/o art. In addition, Latorre introduces readers to the role of new media, including performance, sculpture, and digital technology, in shaping the muralist's "canvas."
Drawing on nearly a decade of fieldwork, this timely endeavor highlights the ways in which California's Mexican American communities have used images of indigenous peoples to raise awareness of the region's original citizens. Latorre also casts murals as a radical force for decolonization and liberation, and she provides a stirring description of the decades, particularly the late 1960s through 1980s, that saw California's rise as the epicenter of mural production. Blending the perspectives of art history and sociology with firsthand accounts drawn from artists' interviews, Walls of Empowerment represents a crucial turning point in the study of these iconographic artifacts.
Though his art could not have been more public, Walker maintained a low profile during his working life and virtually withdrew from the public eye after his retirement in 1989. Author Jeff W. Huebner met Walker in 1990 and embarked on a series of insightful interviews that stretched over the next two decades. Those meetings and years of research form the basis of Walls of Prophecy and Protest, the story of Walker’s remarkable life and the movement that he inspired.
Featuring forty-three color images of Walker’s work, most long since destroyed or painted over, this handsome edition reveals the artist who was the primary figure behind Chicago’s famed Wall of Respect and who created numerous murals that depicted African American historical figures, protested social injustice, and promoted love, respect, racial unity, and community change.
Teachers are often taught that young children are incapable of logical thought. Prone to fantasy and unruffled by inconsistency, preschool children are frequently baffled by the first lessons of early schooling. Trained to gently resist the child’s illogic, teachers sometimes create just the incomprehension and anxiety they mean to avoid. In Wally’s Stories, Vivian Paley shows that none of this need be so.
Wally’s Stories is itself a story: the story of the evolution of a kindergarten classroom in which Paley learned to stop fighting childish fantasy and instead make use of it to stimulate the very best brand of thinking her five-year-olds can muster. Stories also lie at the heart of her classroom: stories that are first told by one of the children, then transcribed by the teacher, and then acted out by the class in dramatic productions of their own design. Paley shows that in the course of creating their own dramatic world, five-year-olds are capable of thought and language far in advance of what they accomplish in traditional classroom exercises. The children’s stories also become a vehicle that they can use to explain themselves to their teacher and to one another. Together, teacher and children develop an unusual environment, one that is logical and literate, based on rules of fairness, friendship, and fantasy.
Vivian Paley’s book is as refreshing as her teaching method—a new kind of book about a new kind of classroom.
As the largest private employer in the world, Walmart dominates media and academic debate about the global expansion of transnational retail corporations and the working conditions in retail operations and across the supply chain. Yet far from being a monolithic force conquering the world, Walmart must confront and adapt to diverse policies and practices pertaining to regulation, economy, history, union organization, preexisting labor cultures, and civil society in every country into which it enters. This transnational aspect of the Walmart story, including the diversity and flexibility of its strategies and practices outside the United States, is mostly unreported.
Walmart in the Global South presents empirical case studies of Walmart’s labor practices and supply chain operations in a number of countries, including Chile, Brazil, Argentina, Nicaragua, Mexico, South Africa, and Thailand. It assesses the similarities and differences in Walmart’s acceptance into varying national contexts, which reveals when and how state regulation and politics have served to redirect company practice and to what effect. Regulatory context, state politics, trade unions, local cultures, and global labor solidarity emerge as vectors with very different force around the world. The volume’s contributors show how and why foreign workers have successfully, though not uniformly, driven changes in Walmart’s corporate culture. This makes Walmart in the Global South a practical guide for organizations that promote social justice and engage in worker struggles, including unions, worker centers, and other nonprofit entities.
"The description of the gas attack on the Russian front in 1915 will never be forgotten by anyone who has read it. . . . [Malraux] writes with the precision, the certitude and the authority of an obsessed person who knows that he has found the essence of what he has been looking for."—Conor Cruise O'Brien, from the Foreword
Malraux's greatest novel, Man's Fate, gave a grim, lurid picture of human suffering. [The Walnut Trees of Altenburg], written by a life-long observer of violent upheaval and within the shadows of World War II, gives a calm, thoughtful vision of humanistic endeavor that can transcend the absurdity of existence. Mature readers will find this a rewarding visit to one of the most accomplished writers of our time."—Choice
Combining natural, cultural, and environmental history, Walrus explores the intriguing story of an animal that today is on the front lines of conservation debates. John Miller and Louise Miller describe the problems facing walruses even after the twentieth-century bans on nonindigenous walrus hunting—shrinking pack-ice caused by global warming and the exploitation of Arctic oil and gas resources are destroying the animal’s habitat. Wonderfully illustrated with images of walruses in the wild and from art and popular culture, Walrus offers a refreshing account of these large-flippered mammals while also illustrating the ethical dilemmas they embody, from the intensifying conflict between the developed world and indigenous interests to the impact of global warming on arctic animals.
Walt Whitman - American Writers 9 was first published in 1961. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Sherry Ceniza argues that Whitman's editions of Leaves became progressively more radically 'feminist' as he followed the women's rights movement during the 1850s and that he was influenced by what he called the 'true woman of the new aggressive type . . . woman under the new dispensation.' Ceniza documents the progression of the National Woman's Rights movement through the lives and writings of three of its leaders- Abby Hills Price, Paulina Wright Davis, and Ernestine L. Rose. By juxtaposing the texts written by these women with Leaves, Ceniza shows that Whitman used many of the same arguments and rhetorical gestures as his female activist friends.
It grows such sweet things out of such corruptions,
It turns harmless and stainless on its axis, with such endless successions of diseas’d corpses,
It distills such exquisite winds out of such infused fetor,
It renews with such unwitting looks its prodigal, annual, sumptuous crops,
It gives such divine materials to men, and accepts such leavings from them at last.
—Walt Whitman, from “This Compost”
Dara Barnat presents a genealogy of Jewish American poets in dialogue with Whitman, and with each other, and reveals how the lineage of Jewish American poets responding to Whitman extends far beyond the likes of Allen Ginsberg. From Emma Lazarus and Adah Isaacs Menken, through twentieth-century poets such as Charles Reznikoff, Karl Shapiro, Kenneth Koch, Muriel Rukeyser, Adrienne Rich, Marge Piercy, Alicia Suskin Ostriker, and Gerald Stern, this book demonstrates that Whitman has been adopted by Jewish American poets as a liberal symbol against exclusionary and anti-Semitic elements in high modernist literary culture. The turn to Whitman serves as a mode of exploring Jewish and American identity.
"When Wagoner looks at something, he brings it to vivid and immediate life through an extraordinary power with a simple name: love. He is as formally various as Thomas Hardy, as playful as Dickinson, as wry as Frost." -- Dave Smith
"A sharp-eyed, even gutsy nature poet, the deftest and tenderest of love poets, Wagoner is a verbal magician capable of surprising, sometimes crazy tours de force."-- X. J. Kennedy
In 1992, the year of the hundredth anniversary of Walt Whitman's death, a major gathering of international scholars took place at the University of Iowa. Over 150 participants heard papers by 20 of the world's most eminent critics of Whitman. Three generations of scholars offered new essays that brilliantly tracked the course of past and present Whitman scholarship. So significant was this historic celebration of the great American poet that the opening session was covered by CBS “Sunday Morning,” National Public Radio's “Morning Edition,” the New York Times, and other newspapers across the country. Musical and theatrical performances, art exhibitions, slide shows, readings, songs, and even a recently discovered recording of Whitman's voice were presented during the three days of the conference.
But the heart of the conference was this series of original essays by some of the most innovative scholars working in the field of American literature. There has ever been a more important collection of Whitman criticism. In these essays, readers will find the most suggestive recent approaches to Whitman alongside the most reliable traditional approaches. Walt Whitman: The Centennial Essays captures Whitman's energy and vitality, which have only increased in the century after his death.
Now, more than forty years after the inaugural volume’s original publication, Ted Genoways brings scholars the latest volume in Walt Whitman: The Correspondence. Incorporating all of the letters Miller had collected before his death in 2001 and combining them with more than a hundred previously unknown letters he himself gathered, Genoways’s volume is a perfect accompaniment to Miller’s original work.
Among the more than one hundred fifty letters collected in this volume are numerous correspondences concerning Whitman’s Civil War years, including a letter sending John Hay, the personal secretary to Abraham Lincoln, a manuscript copy of “O Captain, My Captain!” Additional letters address various aspects of the production of Leaves of Grass, the most notable being an extensive correspondence surrounding the Deathbed Edition, gathered by Whitman’s friend Horace Traubel, and reproduced here for the first time. Most significantly, this volume at last incorporates Whitman’s early letters to Abraham Paul Leech, first published by Arthur Golden in American Literature in 1986. The revelations contained in these letters must be considered among the most important discoveries about Whitman’s life made during the last half of the twentieth century.
Regardless of whether their significance is great or small, immediate or long-term, each new piece of Whitman’s correspondence returns us to a particular moment in his life and suggests the limitless directions that remain for Whitman scholarship.
Walt Whitman, Where the Future Becomes Present invigorates Whitman studies by garnering insights from a diverse group of writers and intellectuals. Writing from the perspectives of art history, political theory, creative writing, and literary criticism, the contributors place Whitman in the center of both world literature and American public life. The volume is especially notable for being the best example yet published of what the editors call the New Textuality in Whitman studies, an emergent mode of criticism that focuses on the different editions of Whitman’s poems as independent works of art.
Written one hundred fifty years after the book’s publication, these timely, innovative responses to Leaves of Grass confirm that the future of Whitman’s poems is vital to our present.
For Walt Whitman, living and working in Washington, D.C., after the Civil War, Reconstruction meant not only navigating these tumultuous years alongside his fellow citizens but also coming to terms with his own memories of the war. Just as the work of national reconstruction would continue long past its official end in 1877, Whitman’s own reconstruction would continue throughout the remainder of his life as he worked to revise his poetic project—and his public image—to incorporate the disasters that had befallen the Union. In this innovative and insightful analysis of the considerable poetic and personal reimagining that is the hallmark of these postwar years, Martin Buinicki reveals the ways that Whitman reconstructed and read the war.
Walt Whitman’s Selected Journalism covers Whitman’s early years as a part-time editorialist and ambivalent schoolteacher between 1838 and 1841. After 1841, it follows his work as a dedicated full-time newspaperman and editor, most prominently at the New York Aurora and the Brooklyn Daily Eagle between 1842 and 1848. After 1848 and up to the Civil War, Whitman’s journalism shows his slow transformation from daily newspaper editor to poet. This volume gathers journalism from throughout these early years in his career, focusing on reporting, reviews, and editorials on politics and democratic culture, the arts, and the social debates of his day. It also includes some of Whitman’s best early reportage, in the form of the short, personal pieces he wrote that aimed to give his readers a sense of immediacy of experience as he guided them through various aspects of daily life in America’s largest metropolis.
Over time, journalism’s limitations pushed Whitman to seek another medium to capture and describe the world and the experience of America with words. In this light, today’s readers of Whitman are doubly indebted to his career in journalism. In presenting Whitman-the-journalist in his own words here, and with useful context and annotations by renowned scholars, Walt Whitman’s Selected Journalism illuminates for readers the future poet’s earliest attempts to speak on behalf of and to the entire American republic.
In his 1859 “Live Oak, with Moss,” Walt Whitman’s unpublished sheaf of twelve poems on manly passion, the poet dreams of a city where men who love men can live and love openly. The revised “Live Oak, with Moss” poems became “Calamus,” Whitman’s cluster of poems on “adhesive” and manly love, comradeship, and democracy, in Leaves of Grass. Commemorating both the first publication of the “Calamus” poems and the little-known manuscript of notebook poems out of which the “Calamus” cluster grew, Whitman scholar Betsy Erkkila brings together in a single edition for the first time the “Live Oak, with Moss” poems, the 1860 “Calamus” poems, and the final 1881 “Calamus” poems. In addition to honoring the sesquicentennial of the “Calamus” cluster, she celebrates the ongoing legacy of Whitman’s songs of manly passion, sex, and love.
The volume begins with Whitman’s elegantly handwritten manuscript of the “Live Oak, with Moss” poems, printed side by side with a typeset transcription and followed by a facsimile of the 1860 version of the “Calamus” poems. The concluding section reprints the final version of the “Calamus” poems from the 1881 edition of Leaves of Grass. In an afterword, Erkkila discusses the radical nature of these poems in literary, sexual, and social history; the changes Whitman made in the “Live Oak” and “Calamus” poems in the post–Civil War and Reconstruction years; the literary, political, and other contests surrounding the poems; and the constitutive role the poems have played in the emergence of modern heterosexual and homosexual identity in the United States and worldwide. The volume closes with a selected bibliography of works that have contributed to the critical and interpretive struggles around Whitman’s man-loving life.
One hundred and fifty years after Whitman’s brave decision to speak publicly about a fully realized democracy, his country is still locked in a struggle over the rights of homosexuals. These public battles have been at the very center of controversies over the life, work, and legacy of Walt Whitman, America’s (and the world’s) major poet of democracy and its major singer of what he called “manly love” in all its moods. Together the poems in this omnibus volume affirm his creation of a radical new language designed to convey and affirm the poet’s man love.
This second volume completes the story begun in Walter B. Cannon: The Life and Times of a Young Scientist (Belknap Press, 1987), tracing the middle and late years of one of America’s most distinguished medical scientists.
It resumes during World War II with Cannon’s battlefield work on traumatic shock in England and France, and follows him to Harvard Medical School as he investigated the workings of the sympathetic division of the autonomic nervous system, reaffirmed his emergency theory of the sympathico-adrenal system, and developed his now-famous concept of homeostasis and pioneer contributions to the newly emerging field of neuroendocrinology. This volume also recounts Cannon’s work with society on a broader scale, including defending the practice of animal experimentation, the rescue of European medical émigrés fleeing the Nazis and Fascists, and providing medical aid to the Spanish Loyalists and to China. Moreover, as a senior statesman of science, Cannon helped guide policies and programs that shaped the future of medical research, practice, and education.
Closing with his death at the Spanish-French border in a desperate flight from the Nazis and Stalin, Walter Benjamin is a concise and concentrated account of a capacious intellect trapped by hostile circumstances.
Walter Benjamin is one of the twentieth century's most important intellectuals, and also one of its most elusive. His writings—mosaics incorporating philosophy, literary criticism, Marxist analysis, and a syncretistic theology—defy simple categorization. And his mobile, often improvised existence has proven irresistible to mythologizers. His writing career moved from the brilliant esotericism of his early writings through his emergence as a central voice in Weimar culture and on to the exile years, with its pioneering studies of modern media and the rise of urban commodity capitalism in Paris. That career was played out amid some of the most catastrophic decades of modern European history: the horror of the First World War, the turbulence of the Weimar Republic, and the lengthening shadow of fascism. Now, a major new biography from two of the world's foremost Benjamin scholars reaches beyond the mosaic and the mythical to present this intriguing figure in full.
Howard Eiland and Michael Jennings make available for the first time a rich store of information which augments and corrects the record of an extraordinary life. They offer a comprehensive portrait of Benjamin and his times as well as extensive commentaries on his major works, including "The Work of Art in the Age of Its Technological Reproducibility," the essays on Baudelaire, and the great study of the German Trauerspiel. Sure to become the standard reference biography of this seminal thinker, Walter Benjamin: A Critical Life will prove a source of inexhaustible interest for Benjamin scholars and novices alike.
Walter Benjamin is often viewed as a cultural critic who produced a vast array of brilliant and idiosyncratic pieces of writing with little more to unify them than the feeling that they all bear the stamp of his "unclassifiable" genius. Eli Friedlander argues that Walter Benjamin's corpus of writings must be recognized as a unique configuration of philosophy with an overarching coherence and a deep-seated commitment to engage the philosophical tradition.
Friedlander finds in Benjamin's early works initial formulations of the different dimensions of his philosophical thinking. He leads through them to Benjamin's views on the dialectical image, the nature of language, the relation of beauty and truth, embodiment, dream and historical awakening, myth and history, as well as the afterlife and realization of meaning. Those notions are articulated both in themselves and in relation to central figures of the philosophical tradition. They are further viewed as leading to and coming together in The Arcades Project. Friedlander takes that incomplete work to be the central theater where these earlier philosophical preoccupations were to be played out. Benjamin envisaged in it the possibility of the highest order of thought taking the form of writing whose contents are the concrete time-bound particularities of human experience. Addressing the question of the possibility of such a presentation of philosophical truth provides the guiding thread for constellating the disparate moments of Benjamin's writings.
Acknowledged only by a small circle of intellectuals during his lifetime, Benjamin is now a major figure whose work is essential to an understanding of modernity. Steiner traces the development of Benjamin’s thought chronologically through his writings on philosophy, literature, history, politics, the media, art, photography, cinema, technology, and theology. Walter Benjamin reveals the essential coherence of its subject’s thinking while also analyzing the controversial or puzzling facets of Benjamin’s work. That coherence, Steiner contends, can best be appreciated by placing Benjamin in his proper context as a member of the German philosophical tradition and a participant in contemporary intellectual debates.
As Benjamin’s writing attracts more and more readers in the English-speaking world, Walter Benjamin will be a valuable guide to this fascinating body of work.
In light of the legendary difficulty of Walter Benjamin's works, it is a strange and intriguing fact that from 1929 to 1933 the great critic and cultural theorist wrote—and broadcast—numerous scripts, on the order of fireside chats, for children. Invited to speak on whatever subject he considered appropriate, Benjamin talked to the children of Frankfurt and Berlin about the destruction of Pompeii, an earthquake in Lisbon, and a railroad disaster at the Firth of Tay. He spoke about bootlegging and swindling, cataclysm and suicide, Faust and Cagliostro. In this first sustained analysis of the thirty surviving scripts, Jeffrey Mehlman demonstrates how Benjamin used the unlikely forum of children's radio to pursue some of his central philosophical and theological concerns.
In
Walter Benjamin for Children, readers will encounter a host of intertextual surprises: an evocation of the flooding of the Mississippi informed by the argument of "The Task of the Translator;" a discussion of scams in stamp-collecting that turns into "The Work of Art in the Age of Mechanical Reproduction;" a tale of bootlegging in the American South that converges with the best of Benjamin's essays on fiction. Mehlman superimposes a dual series of texts dealing with catastrophe, on the one hand, and fraud, on the other, that resonate with the false-messianic theology of Sabbatianism as it came to focus the attention and enthusiasm of Benjamin's friend Gershom Scholem during the same years. The radio scripts for children, that is, offer an unexpected byway, on the eve of the apocalypse, into Benjamin's messianic preoccupations.
A child's garden of deconstruction, these twenty-minute talks—from the perspective of childhood, before an invisible audience, on whatever happened to cross the critic's mind—are also by their very nature the closest we may ever come to a transcript of a psychoanalysis of Walter Benjamin. Particularly alive to that circumstance, Mehlman explores the themes of the radio broadcasts and brilliantly illuminates their hidden connections to Benjamin's life and work.
This lucid analysis brings to light some of the least researched and understood aspects of Walter Benjamin's thought. It will interest and provoke literary theorists and philosophers of culture, as well as anyone who hopes to understand one of this century's most suggestive and perplexing critics.
In the frenzied final years of the Weimar Republic, amid economic collapse and mounting political catastrophe, Walter Benjamin emerged as the most original practicing literary critic and public intellectual in the German-speaking world. Volume 2 of the Selected Writings is now available in paperback in two parts.
In Part 1, Benjamin is represented by two of his greatest literary essays, "Surrealism" and "On the Image of Proust," as well as by a long article on Goethe and a generous selection of his wide-ranging commentary for Weimar Germany's newspapers.
Part 2 contains, in addition to the important longer essays, "Franz Kafka," "Karl Kraus," and "The Author as Producer," the extended autobiographical meditation "A Berlin Chronicle," and extended discussions of the history of photography and the social situation of the French writer, previously untranslated shorter pieces on such subjects as language and memory, theological criticism and literary history, astrology and the newspaper, and on such influential figures as Paul Valery, Stefan George, Hitler, and Mickey Mouse.
In the frenzied final years of the Weimar Republic, amid economic collapse and mounting political catastrophe, Walter Benjamin emerged as the most original practicing literary critic and public intellectual in the German-speaking world. Volume 2 of the Selected Writings is now available in paperback in two parts.
In Part 1, Benjamin is represented by two of his greatest literary essays, "Surrealism" and "On the Image of Proust," as well as by a long article on Goethe and a generous selection of his wide-ranging commentary for Weimar Germany's newspapers.
Part 2 contains, in addition to the important longer essays, "Franz Kafka," "Karl Kraus," and "The Author as Producer," the extended autobiographical meditation "A Berlin Chronicle," and extended discussions of the history of photography and the social situation of the French writer, previously untranslated shorter pieces on such subjects as language and memory, theological criticism and literary history, astrology and the newspaper, and on such influential figures as Paul Valery, Stefan George, Hitler, and Mickey Mouse.
Radical critic of a European civilization plunging into darkness, yet commemorator of the humane traditions of the old bourgeoisie--such was Walter Benjamin in the later 1930s. This volume, the third in a four-volume set, offers twenty-seven brilliant pieces, nineteen of which have never before been translated.
The centerpiece, A Berlin Childhood around 1900, marks the first appearance in English of one of the greatest German works of the twentieth century: a profound and beautiful account of the vanished world of Benjamin's privileged boyhood, recollected in exile. No less remarkable are the previously untranslated second version of Benjamin's most famous essay, "The Work of Art in the Age of Its Technological Reproducibility," with its striking insights into the relations between technology and aesthetics, and German Men and Women, a book in which Benjamin collects twenty-six letters by distinguished Germans from 1783 to 1883 in an effort to preserve what he called the true humanity of German tradition from the debasement of fascism.
Volume 3 also offers extensively annotated translations of essays that are key to Benjamin's rewriting of the story of modernism and modernity--such as "The Storyteller" and "Paris, the Capital of the Nineteenth Century"--as well as a fascinating diary from 1938 and penetrating studies of Bertolt Brecht, Franz Kafka, and Eduard Fuchs. A narrative chronology details Benjamin's life during these four harrowing years of his exile in France and Denmark. This is an essential collection for anyone interested in his work.
"Every line we succeed in publishing today...is a victory wrested from the powers of darkness." So wrote Walter Benjamin in January 1940. Not long afterward, he himself would fall prey to those powers, a victim of suicide following a failed attempt to flee the Nazis. However insistently the idea of catastrophe hangs over Benjamin's writings in the final years of his life, the "victories wrested" in this period nonetheless constitute some of the most remarkable twentieth-century analyses of the emergence of modern society. The essays on Charles Baudelaire are the distillation of a lifetime of thinking about the nature of modernity. They record the crisis of meaning experienced by a civilization sliding into the abyss, even as they testify to Benjamin's own faith in the written word.
This volume ranges from studies of Baudelaire, Brecht, and the historian Carl Jochmann to appraisals of photography, film, and poetry. At their core is the question of how art can survive and thrive in a tumultuous time. Here we see Benjamin laying out an ethic for the critic and artist--a subdued but resilient heroism. At the same time, he was setting forth a sociohistorical account of how art adapts in an age of violence and repression.
Working at the height of his powers to the very end, Benjamin refined his theory of the mass media that culminated in the final version of his essay "The Work of Art in the Age of Its Technological Reproducibility." Also included in this volume is his influential piece "On the Concept of History," completed just before his death. The book is remarkable for its inquiry into the nature of "the modern" (especially as revealed in Baudelaire), for its ideas about the transmogrification of art and the radical discontinuities of history, and for its examples of humane life and thought in the midst of barbarism. The entire collection is eloquent testimony to the indomitable spirit of humanity under siege.
In the frenzied final years of the Weimar Republic, amid economic collapse and mourning political catastrophe, Walter Benjamin emerged as the most original practicing literary critic and public intellectual in the German-speaking world. Volume 2 of Selected Writings, covering the years 1927 to 1934, displays the full spectrum of Benjamin's achievements at this pivotal stage in his career.
Previously concerned chiefly with literary theory, Benjamin during these Years does pioneering work in new areas, from the stud of popular Culture (a discipline he virtually created) to theories of the media and the visual arts. His writings on the theory of modernity-most of them new to readers of English--develop ideas as important to an understanding of the twentieth century as an contained in his widely anthologiied essay "The Work of Art in the Age of Technological Reproducibility.
This volume brings together previously untranslated writings on major figures such as Brecht, Valéry and Gide, and on subjects ranging from film, radio, and the novel to memory, kitsch, and the theory of language. We find the manifoldly inquisitive Benjamin musing on the new modes of perception opened tip by techniques of photographic enlargement and cinematic montage, on the life and work of & Goethe at Weimar, on the fascination of old toys and the mysteries of food, and on the allegorical significance of Mickey Mouse.
“Looking over these essays written over the past decade,” writes Taussig, “I think what they share is a love of muted and defective storytelling as a form of analysis. Strange love indeed; love of the wound, love of the last gasp.” Although thematically these essays run the gamut—covering the monument and graveyard at Port Bou, discussions of peasant poetry in Colombia, a pact with the devil, the peculiarities of a shaman’s body, transgression, the disappearance of the sea, New York City cops, and the relationship between flowers and violence—each shares Taussig’s highly individual brand of storytelling, one that depends on a deep appreciation of objects and things as a way to retrieve even deeper philosophical and anthropological meanings. Whether he finds himself in Australia, Colombia, Manhattan, or Spain, in the midst of a book or a beach, whether talking to friends or staring at a monument, Taussig makes clear through these marvelous essays that materialist knowledge offers a crucial alternative to the increasingly abstract, globalized, homogenized, and digitized world we inhabit.
Pursuing an adventure that is part ethnography, part autobiography, and part cultural criticism refracted through the object that is Walter Benjamin’s grave, Taussig, with this collection, provides his own literary memorial to the twentieth century’s greatest cultural critic.
Roger R. Tamte tells the engrossing but forgotten life story of Walter Camp, the man contemporaries called "the father of American football." He charts Camp's leadership as American players moved away from rugby and for the first time tells the story behind the remarkably inventive rule change that, in Camp's own words, was "more important than all the rest of the legislation combined." Trials also emerged, as when disputes over forward passing, the ten-yard first down, and other rules became so public that President Theodore Roosevelt took sides. The resulting political process produced losses for Camp as well as successes, but soon a consensus grew that football needed no new major changes. American football was on its way, but as time passed, Camp's name and defining influence became lost to history.
Entertaining and exhaustively researched, Walter Camp and the Creation of American Football weaves the life story of an important sports pioneer with a long-overdue history of the dramatic events that produced the nation's most popular game.
Walter F. White of Atlanta, Georgia, joined the National Association for the Advancement of Colored People (NAACP) in 1918 as an assistant to Executive Secretary James Weldon Johnson. When Johnson retired in 1929, White replaced him as head of the NAACP, a position he maintained until his death in 1955. During his long tenure, White was in the vanguard of the struggle for interracial justice. His reputation went into decline, however, in the era of grassroots activism that followed his death. White’s disagreements with the US Left, and his ambiguous racial background—he was of mixed heritage, could “pass” as white, and divorced a black woman to marry a white woman—fueled ambivalence about his legacy.
In this comprehensive biography, Zangrando and Lewis seek to provide a reassessment of White within the context of his own time, revising critical interpretations of his career. White was a promoter of and a participant in the Harlem Renaissance, a daily fixture in the halls of Congress lobbying for civil rights legislation, and a powerful figure with access to the administrations of Roosevelt (via Eleanor) and Truman. As executive secretary of the NAACP, White fought incessantly to desegregate the American military and pushed to ensure equal employment opportunities. On the international stage, White advocated for people of color in a decolonized world, and for economic development aid to nations like India and Haiti, bridging the civil rights struggles at home and abroad.
Walter Lippmann was the most distinguished American journalist and public philosopher of the twentieth century. But he was also something more: a public economist who helped millions of ordinary citizens make sense of the most devastating economic depression in history. Craufurd Goodwin offers a new perspective from which to view this celebrated but only partly understood icon of American letters.
From 1931 to 1946 Lippmann pursued a far-ranging correspondence with leading economic thinkers: John Maynard Keynes, Lionel Robbins, Friedrich Hayek, Henry Simons, Adolf Berle, Frank Taussig, and others. Sifting through their divergent views, Lippmann formed his own ideas about economic policy during the Great Depression and shared them with a vast readership in his syndicated column, Today and Tomorrow. Unemployment, monetary and fiscal policy, and the merits and drawbacks of free markets were just a few of the issues he helped explain to the public, at a time when professional economists who were also skilled at translating abstract concepts for a lay audience had yet to come on the scene.
After World War II Lippmann focused on foreign affairs but revisited economic policy when he saw threats to liberal democracy. In addition to pointing out the significance of the Marshall Plan and the World Bank, he addressed the emerging challenge of inflation and what he called “the riddle of the Sphinx”: whether price stability and full employment could be achieved in an economy with strong unions.
Northwestern University Library presents the first monograph devoted to the architect Walter Netsch, an early partner in Skidmore, Owings & Merrill and chief designer of prestigious commissions, including the U.S. Air Force Academy and Cadet Chapel. This illustrated book includes a detailed chronology, biography, essays about his work and field theory design aesthetics, statements by Netsch from 1954 to 2006, and a comprehensive, annotated bibliography of more than four hundred primary and secondary sources.
Nicholas Popper uses Ralegh’s History as a touchstone in this lively exploration of the culture of history writing and historical thinking in the late Renaissance. From Popper we learn why early modern Europeans ascribed heightened value to the study of the past and how scholars and statesmen began to see historical expertise as not just a foundation for political practice and theory, but as a means of advancing their power in the courts and councils of contemporary Europe. The rise of historical scholarship during this period encouraged the circulation of its methods to other disciplines, transforming Europe’s intellectual—and political—regimes. More than a mere study of Ralegh’s History of the World, Popper’s book reveals how the methods that historians devised to illuminate the past structured the dynamics of early modernity in Europe and England.
Previously published by Basic Books as The Most Dangerous Man in Detroit: Walter Reuther and the Fate of American Labor
Beginning in 1849, Alfred Doten recorded his life in minute detail for more than 54 years. His revealing daily accounts of the West's lusty mining frontier included tales of lynching, vigilante justice, shootings in the street, grand opera and theatre, stock manipulations, seances, musical soirees, and general "jollifications." Clark selected and edited the most valuable portions of Doten's massive diaries. He said he knew of no other account, fact or fiction, that so graphically presented the tragic course of a single representative life through the violent transformations brought about by the California Gold Rush and the Nevada Silver Boom.
This highly readable book provides a unique glimpse into the rough-and-tumble Chicago news business as seen through the eyes of one of its legendary players. From his first news job working as a legman for Daily News columnist Jack Mabley in the 1950s to his later role as a news anchor and political commentator at CBS-owned WBBM, Walter Jacobson battled along the front lines of an industry undergoing dramatic changes. While it is ultimately Jacobson’s story, a memoir of a long and distinguished (and sometimes highly controversial) career, it is also an insider’s account of the inner workings of Chicago television news, including the ratings games, the process of defining news and choosing stories, the media’s power and its failures, and the meddling by corporate and network executives.
As a reporter, Jacobson was regularly contentious and confrontational. He was fired on a number of occasions and was convicted of libeling tobacco company Brown and Williamson, resulting in a multimillion-dollar federal court judgment against him and CBS. Yet it was this gutsy attitude that put him at the top of the news game. With an engaging writing style, Jacobson recollects his interactions with Chicago mayors Richard J. and Richard M. Daley, Jane Byrne, Harold Washington, and Rahm Emanuel; recounts his coverage of such fascinating news stories as the violent 1968 Democratic National Convention and the execution of convicted mass murderer John Wayne Gacy; and recalls his reporting on and interviews with Louis Farrakhan, governors George Ryan and Rod Blagojevich, and Barack Obama. More than a memoir, Walter’s Perspective is the extraordinary journey of one reporter whose distinctive career followed the changing face of Chicago’s local news.
"The art of the essay as delivered by Mr. Pickering is the art of the front porch ramble."
---The New York Times Book Review
"Reading Pickering . . . is like taking a walk with your oldest, wittiest friend."
---Smithsonian
"What a joy it is to 'mess around' with Professor Sam Pickering!"
---The Chattanooga Times
"Pickering is a barefoot observer of the quotidian who revels in the spectacle and its gift for surprise, prefers the rumpled to the starched, has raised puttering and messing about to an art form, and wrings from it more than a pennyworth of happiness and a life well lived."
---Kirkus Reviews
The movie Dead Poets Society is where most Americans first met Sam Pickering, the University of Connecticut English professor. Robin Williams plays the lead character (loosely based on Pickering), an idiosyncratic instructor who employs some over-the-top teaching methods to keep his subjects fresh and his students learning.
Fewer know that Pickering is the author of more than 16 books and nearly 200 articles, or that he's inspired thousands of university students to think in new ways. And, while Williams may have captured Pickering's madcap classroom antics, he didn't uncover the other side of the author-Sam Pickering as one of our great American men of letters. Like the music of Mozart, the painting of Picasso, or the poetry of Emily Dickinson, you can spot Pickering's writing a mile away; there's no mistaking the Pickering pen. As an ample demonstration of the author's literary gifts, Waltzing the Magpies is his unabashedly lush and Technicolor travelogue from Down Under.
On the face of it, Waltzing is the chronicle of a sabbatical year spent with family in Australia. Yet beneath the surface Pickering's big themes-family, nature, seizing the moment-move in a powerful current that frequently bursts out in moments of ecstatic revelation and intense sensual flourish. Through it all Pickering weaves stories from his fictional Southern town of Carthage, Tennessee, especially when the goings of the outside world get rough.
Waltzing the Magpies is classic Pickering at the height of his literary powers, and places him in the company of such great American essayists as E. B. White and James Thurber, but with an irony and observational prowess that is pure Pickering.
The Wanano Indians of the northwest Amazon have a social system that differs from those of most tropical forest tribes. Neither stratified by wealth nor strictly egalitarian, Wanano society is "ranked" according to rigidly bound descent groups. In this pioneering ethnographic study, Janet M. Chernela decodes the structure of Wanano society.
In Wanano culture, children can be "grandparents," while elders can be "grandchildren." This apparent contradiction springs from the fact that descent from ranked ancestors, rather than age or accumulated wealth, determines one's standing in Wanano society. But ranking's impulse is muted as senior clans, considered to be succulent (referring to both seniority and resource abundance), must be generous gift-givers. In this way, resources are distributed throughout the society.
In two poignant chapters aptly entitled "Ordinary Dramas," Chernela shows that rank is a site of contest, resulting in exile, feuding, personal shame, and even death. Thus, Chernela's account is dynamic, placing rank in historic as well as personal context.
As the deforestation of the Amazon continues, the Wanano and other indigenous peoples face growing threats of habitat destruction and eventual extinction. If these peoples are to be saved, they must first be known and valued. The Wanano Indians of the Brazilian Amazon is an important step in that direction.
Indeed, the eight essays collected in A Wanderer in the Perfect City do soar into the realm of passion as Weschler profiles people who “were just moseying down the street one day, minding their own business, when suddenly and almost spontaneously, they caught fire, they became obsessed, they became intensely focused and intensely alive.” With keen observations and graceful prose, Weschler carries us along as a teacher of rudimentary English from India decides that his destiny is to promote the paintings of an obscure American abstract expressionist; a gifted poker player invents a more exciting version of chess; an avant-garde Russian émigré conductor speaks Latin, exclusively, to his infant daughter; and Art Spiegelman composes Maus. But simple summaries can’t do these stories justice: like music, they derive their character from digressions and details, cadence and tone. And like the upwelling of passion Weschler’s characters feel, they are better experienced than explained.
“Weschler seems so hungry for life that the rest of us become hungry for him . . . a magician, a performer, and a scholar. All in one.”—from the Foreword by Pico Iyer
“Weschler is the owner of a large dose of novelistic vision, and a particularly poetic set of ears, but . . . as important an endowment as a novelist’s eye or a poet’s ear is still the journalistic nose which led him down the proverbial alley.”—National Post (Canada)
“Weschler is a thoughtful observer and a superb storyteller.”—Minneapolis Star Tribune
What might a spirit feel on first awakening in the afterlife? Fear, confusion, denial?
When Maggie Stevens, a former world-class gymnast, first awakens in a hospital bed, she is amazed that her body is pain-free. After all, she fell off a balance beam during a competition and crashed head-first onto the auditorium floor. What Maggie doesn't at first realize is that the hospital is like no place on earth. She meets other newly arrived "patients": Kate Douglas, a no-nonsense academic who suffered a heart attack; Ryan James, a handsome musician, who is recovering from a motorcycle crash; Frank Chambers, an ex-cop from Chicago, and Patrick Riley, a church organist, both of whom arrived from a Swiss cancer clinic; and Claire and Swen, a young couple running away from the army. When they all learn that they didn't recover from their illnesses and injuries, they go on an adventure to discover the nature of their new reality. Each must discover that their earthly choices and intentions paved the way for their final destination.
“A wild portrayal of the passion and spirit of female walkers and the deep sense of ‘knowing’ that they found along the path.”—Raynor Winn, author of The Salt Path
“I opened this book and instantly found that I was part of a conversation I didn't want to leave. A dazzling, inspirational history.”—Helen Mort, author of No Map Could Show Them
This is a book about ten women over the past three hundred years who have found walking essential to their sense of themselves, as people and as writers. Wanderers traces their footsteps, from eighteenth-century parson’s daughter Elizabeth Carter—who desired nothing more than to be taken for a vagabond in the wilds of southern England—to modern walker-writers such as Nan Shepherd and Cheryl Strayed. For each, walking was integral, whether it was rambling for miles across the Highlands, like Sarah Stoddart Hazlitt, or pacing novels into being, as Virginia Woolf did around Bloomsbury. Offering a beguiling view of the history of walking, Wanderers guides us through the different ways of seeing—of being—articulated by these ten pathfinding women.
From South Carolina to Arkansas, she explores the small towns where Jewish people once lived and thrived. She visits the site of her distant cousin and civil rights activist Andrew Goodman’s murder during 1964’s Freedom Summer. She also talks with the only Jews remaining in some of the “lost” places, from Selma to the Mississippi Delta to Natchitoches, and visits areas with no Jewish community left—except for an old temple or overgrown cemetery. Eisenfeld follows her curiosity about Jewish Confederates and casts an unflinching eye on early southern Jews’ participation in slavery. Her travels become a journey of revelation about our nation’s fraught history and a personal reckoning with the true nature of America.
Attitudes toward wandering have evolved in accordance with cultural perspectives, causing some characterizations to persist while others have faded. For instance, the status of wanderers in Greek societies varied from outcasts and madmen to sages, who were recognized as mystical, even divine. Examining the act of wandering through many lenses, Wandering in Ancient Greek Culture shows how the transformation of the wanderer coincided with new perceptions of the world and of travel and invites us to consider its definition and import today.
Heym introduces both Ahasverus and Lucifer as angels cast out of heaven for their opinions on God's order. Their respective oppositions continue throughout the rest of time: Ahasverus remains defiant through protest rooted in love and a faith in progress, while Lucifer is rebellious by means of his old, familiar methods. In a funny eternity of run-ins, debates, and meddling with characters such as Christ, a disciple of Luther, and a Marxist professor in East Germany, Ahasverus and Lucifer struggle on, awaiting the Second Coming.
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