The four parts of this highly accomplished collection showcase the different facets and wide breadth of John Wood's poetic talent. Displayed here are his ability to sustain a sequence, his adeptness with lyricism and the short form, and his sensuous feeling for this life and the life of the past.
In regard to the latter, Wood begins the book with his poetic account of the amazing life and adventures of the vigorous American utopianist Wilhelm Johannes Hoade. Wood's account reads like a novel as he weaves a fictional narrative out of lyric poetry, a narrative that is finally convincing and true in spite of its obvious impossibility.
The second section, “Homage to Dafydd ap Gwilym,” is a free but artistically faithful translation after some of the medieval Welsh poet's major poems, arranged in a way to suggest in a natural/supernatural mode his remarkable character and biography. The third part is a group of finely tuned, mostly lyric poems dealing with family, friends, and intellectual concerns; the fourth is a group of contemporary and historical “revelations,” quite striking in scope and variety. All combine to form a dazzling whole.
John Wood is well known for his brilliant writing on the history of photography, but for many years he has also centered on his work as a poet, publishing in some of the very best magazines and gaining the deep admiration of many writers and poets. This book is testimony of his devotion to his craft – a fully realized, mature, and carefully constructed collection.
In the decades since the Vietnam War, veteran memoirs have influenced Americans’ understanding of the conflict. Yet few historians or literary scholars have scrutinized how the genre has shaped the nation’s collective memory of the war and its aftermath. Instead, veterans’ accounts are mined for colorful quotes and then dropped from public discourse; are accepted as factual sources with little attention to how memory, no matter how authentic, can diverge from events; or are not contextualized in terms of the race, gender, or class of the narrators.
Veteran Narratives and the Collective Memory of the Vietnam War is a landmark study of the cultural heritage of the war in Vietnam as presented through the experience of its American participants. Crossing disciplinary borders in ways rarely attempted by historians, John A. Wood unearths truths embedded in the memoirists’ treatments of combat, the Vietnamese people, race relations in the United States military, male-female relationships in the war zone, and veterans’ postwar troubles. He also examines the publishing industry’s influence on collective memory, discussing, for example, the tendency of publishers and reviewers to privilege memoirs critical of the war. Veteran Narratives is a significant and original addition to the literature on Vietnam veterans and the conflict as a whole.
At a time when studies suggest the average American woman spends seventeen years caring for children and eighteen years caring for aging parents, Julia T. Wood examines how culture creates and sustains our definitions of caring, determines who cares along gender lines, and assigns the diminished value that caring has in our society.
Wood argues that America’s expanding need for caring is currently being met at an unacceptably high cost to caregivers. It is time, she believes, to examine caregiving roles and the personal, political, and social issues that surround the question of who cares. Caring must be recognized and promoted as an activity that commands the respect and participation of all members of our society—men and women alike.
Only by implementing changes in the basic fabric of American culture, affecting both the structure and the policies of our society and government, can we, Wood concludes, carve out a system of caring that will recognize caring as everyone’s responsibility.
“Ten thousand years of history, and we find the remains
of ancestors removed from their burial mound . . . “
Impressions of the past, markings on earth, are part of the world of Karenne Wood. A member of the Monacan tribe of Virginia, she writes with insight and grace on topics that both reflect and extend her Native heritage.
Markings on Earth is a cyclical work that explores the many dimensions of human experience, from our interaction with the environment to personal relationships. In these pages we relive the arrival of John Smith in America and visit the burial mounds of the Monacan people, experience the flight of the great blue heron and witness the dance of the spider. We also share the personal journey of one individual who seeks to overcome her sense of alienation from her people and her past.
Wood’s palette is not only Nature but human nature as well. She writes pointedly about shameful episodes of American history, such as the devastation of Appalachia by mining companies and the “disappearance” of Indian peoples. She also addresses forms of everyday violence known to many of us, such as alcoholism and sexual abuse. Wood conveys an acceptance of history and personal trauma, but she finds redemption in a return to tradition and a perception of the world’s natural grace.
Through these elegantly crafted words, we come to know that Native writers need not be limited to categorical roles determined by their heritage. Markings on Earth displays a fidelity to human experience, evoking that experience through poems honed to perfection. It is an affirmation of survival, a work that suggests one person’s life cannot be separated from the larger story of its community, its rootedness in history, and its timeless connections to the world.
Memphis Hoops tells the story of basketball in Tennessee’s southwestern-most metropolis following the 1968 assassination of Martin Luther King Jr. Keith Brian Wood examines the city through the lens of the Memphis State University basketball team and its star player-turned-coach Larry Finch. Finch, a Memphis native and the first highly recruited black player signed by Memphis State, helped the team make the 1973 NCAA championship game in his senior year. In an era when colleges in the south began to integrate their basketball programs, the city of Memphis embraced its flagship university’s shift toward including black players. Wood interjects the forgotten narrative of LeMoyne-Owen’s (the city’s HBCU) 1975 NCAA Division III National Championship team as a critical piece to understanding this era. Finch was drafted by the Lakers following the 1973 NCAA championship but instead signed with the American Basketball Association’s Memphis Tams. After two years of playing professionally, Finch returned to the sidelines as a coach and would eventually become the head coach of the Memphis State Tigers.
Wood deftly weaves together basketball and Memphis’s fraught race relations during the post–civil rights era. While many Memphians viewed the 1973 Tigers’ championship run as representative of racial progress, Memphis as a whole continued to be deeply divided on other issues of race and civil rights. And while Finch was championed as a symbol of the healing power of basketball that helped counteract the city’s turbulence, many black players and coaches would discover that even its sports mirrored Memphis’s racial divide. Today, as another native son of Memphis, Penny Hardaway, has taken the reigns of the University of Memphis’s basketball program, Wood reflects on the question of progress in the city that saw King’s assassination little more than forty years ago.
In this important examination of sports and civil rights history, Wood summons social memory from an all-too-recent past to present the untold—and unfinished—story of basketball in the Bluff City.
The Black Butterfly focuses on the slavery writings of three of Brazil’s literary giants—Machado de Assis, Castro Alves, and Euclides da Cunha. These authors wrote in the late nineteenth and early twentieth centuries, as Brazil moved into and then through the 1888 abolition of slavery. Assis was Brazil’s most experimental novelist; Alves was a Romantic poet with passionate liberationist politics, popularly known as “the poet of the slaves”; and da Cunha is known for the masterpiece Os Sertões (The Backlands), a work of genius that remains strangely neglected in the scholarship of transatlantic slavery.
Wood finds that all three writers responded to the memory of slavery in ways that departed from their counterparts in Europe and North America, where emancipation has typically been depicted as a moment of closure. He ends by setting up a wider literary context for his core authors by introducing a comparative study of their great literary abolitionist predecessors Luís Gonzaga Pinto da Gama and Joaquim Nabuco. The Black Butterfly is a revolutionary text that insists Brazilian culture has always refused a clean break between slavery and its aftermath. Brazilian slavery thus emerges as a living legacy subject to continual renegotiation and reinvention.
The admired American painter Winslow Homer rose to national attention during the Civil War. But one of his most important early images remained unknown for a century. The renowned artist is best known for depicting ships and sailors, hunters and fishermen, rural vignettes and coastal scenes. Yet he also created some of the first serious black figures in American art. Near Andersonville (1865–66) is the earliest and least known of these impressive images.
Peter Wood, a leading expert on Homer’s images of blacks, reveals the long-hidden story of this remarkable Civil War painting. His brisk narrative locates the picture in southwest Georgia in August 1864 and provides its military and political context. Wood underscores the agony of the Andersonville prison camp and highlights a huge but little-known cavalry foray ordered by General Sherman as he laid siege to Atlanta. Homer’s image takes viewers “behind enemy lines” to consider the utter failure of “Stoneman’s Raid” from the perspective of an enslaved black Southerner.
By examining the interplay of symbolic elements, Wood reveals a picture pregnant with meaning. He links it to Abraham Lincoln’s presidential campaign of 1864 and underscores the enduring importance of Homer’s thoughtful black woman. The painter adopted a bottom-up perspective on slavery and emancipation that most scholars needed another century to discover. By integrating art and history, Wood’s provocative study gives us a fresh vantage point on Homer’s early career, the struggle to end slavery, and the dramatic closing years of the Civil War.
Examining select high points in the speculative tradition from Plato and Aristotle through the Middle Ages and German tradition to Dewey and Heidegger, Placing Aesthetics seeks to locate the aesthetic concern within the larger framework of each thinker’s philosophy.
In Professor Robert Wood’s study, aesthetics is not peripheral but rather central to the speculative tradition and to human existence as such. In Dewey’s terms, aesthetics is “experience in its integrity.” Its personal ground is in “the heart,” which is the dispositional ground formed by genetic, cultural , and personal historical factors by which we are spontaneously moved and, in turn, are inclined to move, both practically and theoretically, in certain directions.
Prepared for use by the student as well as the philosopher, Placing Aesthetics aims to recover the fullness of humanness within a sense of the fullness of encompassing Being. It attempts to overcome the splitting of thought, even in philosophy, into exclusive specializations and the fracturing of life itself into theoretical, practical, and emotive dimensions.
W. Raymond Wood played a leading role in the early days of Great Plains archaeology. In A White-Bearded Plainsman, he tells how his own career emerged, as the discipline of Plains archaeology developed during the post-World War II era. Readers will learn of the childhood influences that lead Wood to pursue the path of archaeologist, and of the events and people that shaped his professional life. In addition to telling Wood’s personal story, the book provides an intellectual history of the discipline of mid-continental archaeology over the last half century. It will thus be valuable to students and scholars in the field, as it describes how the paradigms in Plains and midwestern prehistory have changed over time. To understand the discipline, one must understand the cultural and intellectual underpinnings that shaped it. Wood’s book helps map for a new generation of archaeologists from whence they’ve come, and his role in the developments along the way.
Woodard’s fine-grained political history proceeds chronologically from the final years of the nineteenth century, when São Paulo’s leaders enjoyed political preeminence within the federal system codified by the Constitution of 1891, through the mass mobilization of 1931–32, in which São Paulo’s people marched, rioted, and eventually took up arms against the national government in what was to be Brazil’s last great regionalist revolt. In taking to the streets in the name of their state, constitutionalism, and the “civilization” that they identified with both, the people of São Paulo were at once expressing their allegiance to elements of a regionally distinct political culture and converging on a broader, more participatory public sphere that had arisen amid the political conflicts of the preceding decades.
On the morning of December 4, 1972, the small north Alabama town of Scottsboro was shaken when a bomb ripped through the car of a prominent attorney. What followed were two years of unyielding
investigation resulting in the arrest of the town's wealthiest landowner. The trial that followed pitted Bill Baxley, a young, ambitious Alabama attorney general, against the state's most prominent lawyers.
Lay Down with Dogs is the story of a small southern town as it makes the transition from an agrarian hamlet to progressive New South suburbia. It is also the story of a twisted but powerful character, bent on revenge, whose motive was as enigmatic as the man himself. And it is the story of a young prosecutor, willing to risk a promising political future in order to pursue his sense of justice.
This book is not only a well-researched account but also a fascinating story of crime, the court, and the many characters brought together at one time and in one place to participate--for good or evil--in an unforgettable drama.
Through readings of some of the best-known texts in Algerian literature in French, Woodhull both challenges the separation between French and Francophone literatures and cultures in the academy and explores the ways in which "femininity" has been represented in the texts of North African and French writers since the mid-1950s.
Bringing Orthodox Christianity into the recent dialog on virtue ethics, Joseph Woodill investigates the correspondences between the Eastern Orthodox tradition and contemporary virtue ethics, and he develops a distinctly Orthodox vision of theological ethics.
This book fills a vacuum in our understanding of the Eastern Church by revealing themes, persons, and insights that offer resources for a contemporary moral theology. Reviewing the Eastern tradition from patristic times to the present, Woodill shows its relevance to contemporary virtue ethics and identifies both differences and similarities between Orthodox and other—Catholic, Protestant, and Jewish—virtue ethics.
Contributors. Rosemary J. Coombe, Margreta de Grazia, Marvin D'Lugo, John Feather, N. N. Feltes, Ann Ruggles Gere, Peter Jaszi, Gerhard Joseph, Peter Lindenbaum, Andrea A. Lunsford and Lisa Ede, Jeffrey A. Masten, Thomas Pfau, Monroe E. Price and Malla Pollack, Mark Rose, Marlon B. Ross, David Sanjek, Thomas Streeter, Jim Swan, Max W. Thomas, Martha Woodmansee, Alfred C. Yen
The nineteenth century began with reverence for nature and ended with the apotheosis of art. In this wide-ranging excursion through the literature, visual arts, and natural sciences of the era from Wordsworth to Wilde, Carl Woodring traces shifting ideas and attitudes concerning nature, art, and the relations between the two.
The veneration of nature as aesthetic model and ethical norm was gradually eroded not least by the study of biology, which revealed organic nature to be wasteful and murderous. Darwin’s work verified the growing perception of nature as amoral by stressing the role of chance in natural selection, a further blow to trust in natural law. Once nature was not worth imitating, art by the century’s close could be an end to itself, free of responsibility to the natural.
The author examines individual works by Romantic and Victorian poets; narrative prose from James Hogg and Mary Shelley to Conrad, James, and Stevenson; painters from Wilkie through the Pre-Raphaelites to Whistler—all within such general contexts as the picturesque, the sublime, natural theology, romantic irony, romantic Hellenism, realism, photography, aestheticism, arts and crafts, art nouveau, and decadence. Although Woodring focuses on events, movements, and creative minds in England, he also draws upon a range of seminal figures from the Continent and the United States: Alexander von Humboldt, Delacroix, Thomas Cole, and Hawthorne are prominent examples. Nature into Art will fascinate scholars and amateurs of movements in literature, art, science, and cultural history in the Western world after 1780.
Books on writing generally offer prescriptions and proscriptions about this "craft so hard to learn" instead of evidence. But in A Piece of Work Woodruff's incisive questions guide five writers—Tobias Wolff, Tess Gallagher, Robert Coles, Joyce Carol Oates, and Donald Hall—through specific examples that enable the reader to see how good writing becomes better. From the first draft through various revisions and finally to the printed version of a single piece of each author's work, Woodruff traces the full course of the revision process.
This is the story of how rural Black people struggled against the oppressive sharecropping system of the Arkansas and Mississippi Delta during the first half of the twentieth century. Here, white planters forged a world of terror and poverty for Black workers, one that resembled the horrific deprivations of the African Congo under Belgium’s King Leopold II.
Delta planters did not cut off the heads and hands of their African American workers but, aided by local law enforcement, they engaged in peonage, murder, theft, and disfranchisement. As individuals and through collective struggle, in conjunction with national organizations like the NAACP and local groups like the Southern Tenant Farmers’ Union, Black men and women fought back, demanding a just return for their crops and laying claim to a democratic vision of citizenship. Their efforts were amplified by the two world wars and the depression, which expanded the mobility and economic opportunities of Black people and provoked federal involvement in the region.
Nan Woodruff shows how the freedom fighters of the 1960s would draw on this half-century tradition of protest, thus expanding our standard notions of the civil rights movement and illuminating a neglected but significant slice of the American Black experience.
One of the most interesting figures to emerge at the turn of the twentieth century was Ambrose Bierce, whose acerbic columns in the San Francisco Examiner spread his fame as America’s most bitter cynic and misanthrope, and whose disappearance into Mexico surrounded his name with an aura of mystery.
Although best known during his lifetime for his journalism and always critical of his own writing—“the magnificent intention mocked by the actual achievement”—Bierce’s fiction endures, especially his short stories about the Civil War. Originally published in the 1890s and rediscovered in the 1920s, the Civil War stories are filled with unsparing descriptions of death and suffering, disillusionment and fatalism. They also show a concern for form and craftsmanship, a controlled irony, and an economy of detail that are distinctly modern.
In this pioneering study of Bierce’s stories, Stuart Woodruff examines the best and worst of Bierce’s fiction with clarity and excellent critical sense, and he traces the causes of Bierce’s success and failure as a writer, analyzing his inability to reconcile the extremes of temperament and belief that marked his life and give his stories their characteristic form.
Among the pieces discussed: “An Occurrence at Owl Creek Bridge,” “The Mocking-bird,” “One of the Missing,” “Chickamauga,” “Haïta the Shepherd,” “What I Saw at Shiloh,” and excerpts from The Devil’s Dictionary and Tales of Soldiers and Civilians.
Little has been written about the Spanish film musical, a genre usually associated with the early Franco dictatorship and dismissed by critics as reactionary, escapist fare. A timely and valuable corrective, White Gypsies shows how the Spanish folkloric musical films of the 1940s and ’50s are inextricably tied to anxious concerns about race—especially, but not only, Gypsiness.
Focusing on the processes of identity formation in twentieth-century Spain—with multifaceted readings of the cinematic construction of class, gender, and sexuality—Eva Woods Peiró explores how these popular films allowed audiences to negotiate and imaginatively, at times problematically, resolve complex social contradictions. The intricate interweaving of race and modernity is particularly evident in her scrutiny of a striking popular phenomenon: how the musicals progressively whitened their stars, even as their story lines became increasingly Andalusianized and Gypsified.
White Gypsies reveals how these imaginary individuals constituted a veritable cultural barometer of how racial thinking was projected and understood across a broad swath of popular Spanish cinema.
Bright Lights in the Desert explores the history of how members of the Church of Jesus Christ of Latter-day Saints in Las Vegas have improved the regions’ neighborhoods, inspired educational institutions, brought integrity to the marketplace, and provided wholesome entertainment and cultural refinement. The LDS influence has helped shape the metropolitan city because of its members’ focus on family values and community service.
Woods discusses how, through their beliefs and work ethics, they have impacted the growth of the area from the time of their first efforts to establish a mission in 1855 through the present day. Bright Lights in the Desert reveals Las Vegas as more than just a tourist destination and shows the LDS community’s commitment to making it a place of deep religious faith and devotion to family.
Arkansas, the Old South’s last frontier, was forced, after the election of Lincoln, to face the issue of secession. A decade earlier, the state had spurned all efforts from within to withdraw from the Union, but the following ten years drew Arkansas deeper into the economic and cultural community that bound it to the other slaveholding states. Now rumblings of secession were heard even before the president-elect assumed office on March 4, 1861. The question was asked on street corners, in offices, barbershops and living rooms: Would Arkansas leave the Union?
Answers to that question caused a fundamental realignment of politics in Arkansas during the winter of 1860–61. The former political coalition of Democrat and Whig fell away in a geographical split between the uplands and the lowlands. In this important and exciting book, the first to tell the story of Arkansas’s road to secession, James Woods examines the differences between uplanders, whose mountain regions offered little useful farmland for any crop, and lowlanders, whose vast deltas were ideally suited for cotton farming. The southern portion of the state began to rely increasingly upon slavery as it became linked to the economy of cotton and Southern antebellum values, but the northern region of the state did not. Woods focuses upon the resulting social, economic, and geographic divisions that grew within Arkansas before and during the secession crisis. He captures the political struggles of the state as it tore away from the nation, and as it threatened, in so doing, to tear itself apart.
In Pregnancy in the Victorian Novel—the first book-length study of the topic—Livia Arndal Woods traces the connections between literary treatments of pregnancy and the medicalization of pregnancy and childbirth occurring over the long nineteenth century. Woods uses the problem of pregnancy in the Victorian novel (in which pregnancy is treated modestly as a rule and only rarely as an embodied experience) to advocate for “somatic reading,” a practice attuned to impressions of the body on the page and in our own messy lived experiences.
Examining works by Emily Brontë, Charlotte Mary Yonge, Anthony Trollope, George Eliot, Thomas Hardy and others, Woods considers instances of pregnancy that are tied to representations of immodesty, poverty, and medical diagnosis. These representations, Woods argues, should be understood in the arc of Anglo-American modernity and its aftershocks, connecting backward to early modern witch trials and forward to the criminalization of women for pregnancy outcomes in twenty-first-century America. Ultimately, she makes the case that by clearing space for the personal and anecdotal in scholarship, somatic reading helps us analyze with uncertainty rather than against it and allows for richer and more relevant textual interpretation.
A Christian Science Monitor Best Nonfiction Book of the Year
“In his masterful new biography, Randall B. Woods convincingly makes the case for Johnson’s greatness—as the last American president whose leadership achieved truly revolutionary breakthroughs in progressive domestic legislation, bringing changes that have improved the lives of most Americans. In this compelling, massive narrative, Woods portrays Johnson fairly and fully in all his complexity, with adequate attention to flaws in his character and his tragic miscalculations in Vietnam.”—Nick Kotz, Washington Post Book World
“In writing LBJ: Architect of American Ambition, Woods has produced an excellent biography that fully deserves a place alongside the best of the Johnson studies yet to appear…Even readers familiar with the many other fine books on Johnson will learn a great deal from Woods…Among Woods’s many achievements in this fine biography is to allow us to see not only the enormous, tragic flaws in this extraordinary man, but also the greatness.”—Alan Brinkley, New York Times Book Review
A distinguished historian of twentieth-century America, Randall B. Woods offers a wholesale reappraisal and sweeping, authoritative account of the life of one of the most fascinating and complex U.S. presidents.
In Lost Modernities Alexander Woodside offers a probing revisionist overview of the bureaucratic politics of preindustrial China, Vietnam, and Korea. He focuses on the political and administrative theory of the three mandarinates and their long experimentation with governments recruited in part through meritocratic civil service examinations remarkable for their transparent procedures.
The quest for merit-based bureaucracy stemmed from the idea that good politics could be established through the "development of people"--the training of people to be politically useful. Centuries before civil service examinations emerged in the Western world, these three Asian countries were basing bureaucratic advancement on examinations in addition to patronage. But the evolution of the mandarinates cannot be accommodated by our usual timetables of what is "modern." The history of China, Vietnam, and Korea suggests that the rationalization processes we think of as modern may occur independently of one another and separate from such landmarks as the growth of capitalism or the industrial revolution.
A sophisticated examination of Asian political traditions, both their achievements and the associated risks, this book removes modernity from a standard Eurocentric understanding and offers a unique new perspective on the transnational nature of Asian history and on global historical time.
Why did the Vietnamese accept certain Chinese institutions and yet explicitly reject others? How did Vietnamese cultural borrowings from China alter the dynamics of traditional relations between Vietnam, Siam, Laos, and Cambodia? How did Vietnam's smaller Southeast Asian environment modify and distort classical East Asian institutions?
Woodside has answered these questions in this well-received political and cultural study. This first real comparison of the civil governments of two traditional East Asian societies on an institution-by-institution basis is now reissued with a new preface.
Why did the Vietnamese accept certain Chinese institutions and yet explicitly reject others? How did Vietnamese cultural borrowings from China alter the dynamics of traditional relations between Vietnam, Siam, Laos, and Cambodia? How did Vietnam’s smaller Southeast Asian environment modify and distort classical East Asian institutions?
Alexander Woodside has answered these questions in this well-received political and cultural study. This first real comparison of the civil governments of two traditional East Asian societies on an institution-by-institution basis is now reissued with a new preface.
Contributors. Judith Butler, David Eng, Licia Fiol-Mata, Judith Halberstam, Phillip Brian Harper, Neville Hoad, Rachel Holmes, Don Kulick, Tim Lawrence, Rosalind Morris, José Esteban Muñoz, Ben Singer, David Valentine, Priscilla Wald, Riki Anne Wilchins
A report from the Woodstock Theological Center that distills conversations among the business, government, and academic communities to offer an evaluation and recommendations for creating and maintaining an ethical climate in a business corporation.
A review of the complex ethical problems that confront many professionals and decision makers in managed care systems.
Woodstock launched this project on lobbying in 1998 for three reasons. First, lobbying has grown exponentially during the past twenty years to exercise enormous influence on American politics. It has almost become a new profession in that time, and therefore deserves a new review and evaluation.
Second, lobbying has simultaneously fallen under suspicion and engendered critical resentment in some quarters. Its critics would say it supports "special" (i.e. narrow and well-funded) interests and is oblivious to the general well-being of our democratic life and process.
Third, reputable lobbyists have called, therefore, for a clarification of standards and principles for use within their own ranks and as an explanation to the general public of the goals, objectives, and methods of lobbying to forestall misunderstanding and misjudgment. This clarification would provide the lobbying profession with a normative statement parallel to the codes of conduct and ethical practice of the American Medical Association and the American Bar Association.
Half a century after the launch of the War on Poverty, its complex origins remain obscure. Battle for Bed-Stuy reinterprets President Lyndon Johnson’s much-debated crusade from the perspective of its foot soldiers in New York City, showing how 1960s antipoverty programs were rooted in a rich local tradition of grassroots activism and policy experiments.
Bedford-Stuyvesant, a Brooklyn neighborhood housing 400,000 mostly black, mostly poor residents, was often labeled “America’s largest ghetto.” But in its elegant brownstones lived a coterie of home-owning professionals who campaigned to stem disorder and unify the community. Acting as brokers between politicians and the street, Bed-Stuy’s black middle class worked with city officials in the 1950s and 1960s to craft innovative responses to youth crime, physical decay, and capital flight. These partnerships laid the groundwork for the federal Community Action Program, the controversial centerpiece of the War on Poverty. Later, Bed-Stuy activists teamed with Senator Robert Kennedy to create America’s first Community Development Corporation, which pursued housing renewal and business investment.
Bed-Stuy’s antipoverty initiatives brought hope amid dark days, reinforced the social safety net, and democratized urban politics by fostering citizen participation in government. They also empowered women like Elsie Richardson and Shirley Chisholm, who translated their experience as community organizers into leadership positions. Yet, as Michael Woodsworth reveals, these new forms of black political power, though exercised in the name of poor people, often did more to benefit middle-class homeowners. Bed-Stuy today, shaped by gentrification and displacement, reflects the paradoxical legacies of midcentury reform.
Winner, 2023 J. G. Ragsdale Book Award from the Arkansas Historical Association
Because Johnny Cash cut his classic singles at Sun Records in Memphis and reigned for years as country royalty from his Nashville-area mansion, people tend to associate the Man in Black with Tennessee. But some of Cash’s best songs—including classics like “Pickin’ Time,” “Big River,” and “Five Feet High and Rising”—sprang from his youth in the sweltering cotton fields of northeastern Arkansas.
In Country Boy, Colin Woodward combines biography, history, and music criticism to illustrate how Cash’s experiences in Arkansas shaped his life and work. The grip of the Great Depression on Arkansas’s small farmers, the comforts and tragedies of family, and a bedrock of faith all lent his music the power and authenticity that so appealed to millions. Though Cash left Arkansas as an eighteen-year-old, he often returned to his home state, where he played some of his most memorable and personal concerts. Drawing upon the country legend’s songs and writings, as well as the accounts of family, fellow musicians, and chroniclers, Woodward reveals how the profound sincerity and empathy so central to Cash’s music depended on his maintaining a deep connection to his native Arkansas—a place that never left his soul.
Go to resource on all the furnaces that made Alabama internationally significant in the iron and steel industry
This work is the first and remains the only source of information on all blast furnaces built and operated in Alabama, from the first known charcoal furnace of 1815 (Cedar Creek Furnace in Franklin County) to the coke-fired giants built before the onset of the Great Depression. Woodward surveys the iron industry from the early, small local market furnaces through the rise of the iron industry in support of the Confederate war effort, to the giant internationally important industry that developed in the 1890s. The bulk of the book consists of individual illustrated histories of all blast furnaces ever constructed and operated in the state, furnaces that went into production and four that were built but never went into blast.
Written to provide a record of every blast furnace built in Alabama from 1815 to 1940, this book was widely acclaimed and today remains one of the most quoted references on the iron and steel industry.
Referring discreetly to her own experience, Woodward examines the interpenetration of social structures and subjectivity, considering how psychological emotions are social phenomena, with feminist anger, racial shame, old-age depression, and sympathy for non-human cyborgs (including robots) as key cases in point. She discusses how emerging institutional and discursive structures engender “new” affects that in turn can help us understand our changing world if we are attentive to them—the “statistical panic” produced by the risk society, with its numerical portents of disease and mortality; the rage prompted by impenetrable and bloated bureaucracies; the brutal shame experienced by those caught in the crossfire of the media; and the conservative compassion that is not an emotion at all, only an empty political slogan.
The orbit of Statistical Panic is wide, drawing in feminist theory, critical phenomenology, and recent theories of the emotions. But at its heart are stories. As an antidote to the vacuous dramas of media culture, with its mock emotions and scattershot sensations, Woodward turns to the autobiographical narrative. Stories of illness—by Joan Didion, Yvonne Rainer, Paul Monette, and Alice Wexler, among others—receive special attention, with the inexhaustible emotion of grief framing the book as a whole.
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