A SCHOLARLY BOOK REPOSITORY
From the Great Panathenaea of ancient Greece to the hajj of today, people of all religions and cultures have made sacred journeys to confirm their faith and their part in a larger identity. This book is a fascinating guide through the vast and varied cultural territory such pilgrimages have covered across the ages. The first book to look at the phenomenon and experience of pilgrimage through the multiple lenses of history, religion, sociology, anthropology, and art history, this sumptuously illustrated volume explores the full richness and range of sacred travel as it maps the cultural imagination.
The authors consider pilgrimage as a physical journey through time and space, but also as a metaphorical passage resonant with meaning on many levels. It may entail a ritual transformation of the pilgrim's inner state or outer status; it may be a quest for a transcendent goal; it may involve the healing of a physical or spiritual ailment. Through folktales, narratives of the crusades, and the firsthand accounts of those who have made these journeys; through descriptions and pictures of the rituals, holy objects, and sacred architecture they have encountered, as well as the relics and talismans they have carried home, Pilgrimage evokes the physical and spiritual landscape these seekers have traveled. In its structure, the book broadly moves from those religions--Judaism, Christianity, and Islam--that cohere around a single canonical text to those with a multiplicity of sacred scriptures, like Hinduism and Buddhism. Juxtaposing the different practices and experiences of pilgrimage in these contexts, this book reveals the common structures and singular features of sacred travel from ancient times to our own.
Pilgrimage to Broken Mountain contains richly detailed descriptions and analyses of ritual procedures as well as translations from the Nahuatl of core myths, chants performed before decorated altars, and statements from participants. Particular emphasis is placed on analyzing the role of sacred paper figures that are produced by the thousands for each pilgrimage. The work contains drawings of these cuttings of spirit entities along with hundreds of color photographs illustrating how they are used throughout the pilgrimages. The analysis reveals the monist philosophy that underlies Nahua religious practice in which altars, dancing, chanting, and the paper figures themselves provide direct access to the sacred.
In the context of their pilgrimage traditions, the ritual practices of Nahua religion show one way that people interact effectively with the forces responsible for not only their own prosperity but also the very survival of humanity. A magnum opus with respect to Nahua religion and religious practice, Pilgrimage to Broken Mountain is a significant contribution to several fields, including but not limited to anthropology, Indigenous literatures of Mesoamerica, Nahuatl studies, Latinx and Chicanx studies, and religious studies.
In Pilgrimage to Dollywood, Morales sets out to discover Parton’s Tennessee. Her travels begin at the top celebrity pilgrimage site of Elvis Presley’s Graceland, then take her to Loretta Lynn’s ranch in Hurricane Mills; the Country Music Hall of Fame and the Grand Ole Opry in Nashville; to Sevierville, Gatlinburg, and the Great Smoky Mountains National Park; and finally to Pigeon Forge, home of the “Dolly Homecoming Parade,” featuring the star herself as grand marshall. Morales’s adventure allows her to compare the imaginary Tennessee of Parton’s lyrics with the real Tennessee where the singer grew up, looking at essential connections between country music, the land, and a way of life. It’s also a personal pilgrimage for Morales. Accompanied by her partner, Tony, and their nine-year-old daughter, Athena (who respectively prefer Mozart and Miley Cyrus), Morales, a recent transplant from England, seeks to understand America and American values through the celebrity sites and attractions of Tennessee.
This celebration of Dolly and Americana is for anyone with an old country soul who relies on music to help understand the world, and it is guaranteed to make a Dolly Parton fan of anyone who has not yet fallen for her music or charisma.
PILGRIM, Canterbury Cruise Line’s flagship, promises its passengers not just a luxurious fortnight away but the opportunity for reinvention. This extraordinary journey is made possible by the captain and visionary plastic surgeon Dr. Walter Heston, by the vessel’s self-learning artificial intelligence called BECCA, and an all-male crew of room stewards, deck hands, technicians, and cosmetic practitioners.
Pilgrims 2.0 begins on the eve of Cruise #52 and follows four women eager for transformation. Meet Bianca, the aging athlete determined to resume the competitive tennis career that motherhood sidelined. Meet Nicole, whose mommy makeover will mean she can stop hiding herself, and her debt, from her husband. Meet Lyla, an infertile maternity-ward nurse desperate to experience pregnancy, and Annalie, who wants only to stop seeing her dead twin every time she looks in the mirror. At the center of the story is Dr. Heston himself, driven to do with bodies what his late wife, Rebecca, could do with computer code—make the impossible, possible.
But “excursions” like these aren’t always smooth sailing—especially on this voyage, where the hopes, histories, and obsessions of clients and crew members collide. When a disruptive crewman’s pranks turn dangerous, it becomes clear that some of those who embarked won’t return to the Port of Los Angeles—at least not fully, at least not as themselves, and maybe not with their lives.
Few things suggest rugged individualism as powerfully as the solitary mountaineer testing his or her mettle in the rough country. Yet the long history of wilderness sport complicates this image. In this surprising story of the premier rock-climbing venue in the United States, Pilgrims of the Vertical offers insight into the nature of wilderness adventure.
From the founding era of mountain climbing in Victorian Europe to present-day climbing gyms, Pilgrims of the Vertical shows how ever-changing alignments of nature, technology, gender, sport, and consumer culture have shaped climbers’ relations to nature and to each other. Even in Yosemite Valley, a premier site for sporting and environmental culture since the 1800s, elite athletes cannot be entirely disentangled from the many men and women seeking recreation and camaraderie.
Following these climbers through time, Joseph Taylor uncovers lessons about the relationship of individuals to groups, sport to society, and nature to culture. He also shows how social and historical contexts influenced adventurers’ choices and experiences, and why some became leading environmental activists—including John Muir, David Brower, and Yvon Chouinard. In a world in which wild nature is increasingly associated with play, and virtuous play with environmental values, Pilgrims of the Vertical explains when and how these ideas developed, and why they became intimately linked to consumerism.
Pilgrims to the Wild is a survey of American writers who have responded to their encounters with the natural world. Ranging in its treatment from Thoreau’s important but neglected essay, 'Walking,' to the exuberant letters of the young artist Everett Ruess (who disappeared in the Escalante canyonlands), this is a broadly based exploration that brings to bear Eastern and Western classical philosophy, as well as contemporary critical theory, on a distinctive tradition of American Writing—those works concerned with the human relationship to the nonhuman world.
In addition to offering a fresh interpretation of classic authors such a Thoreau and Muir, this book introduces readers to the less widely known but equally fascinating writers Clarence King and Mary Austin.
Finalist for Lambda Literary Award for Best LGBTQ+ Anthology
For a generation of gay men who came of age in the 1980s and 1990s, becoming sexually active meant confronting the dangers of catching and transmitting HIV. In the 21st century, however, the development of viral suppression treatments and preventative pills such as PrEP and nPEP has massively reduced the risk of acquiring HIV. Yet some of the stigma around gay male promiscuity and bareback sex has remained, inhibiting open dialogues about sexual desire, risk, and pleasure.
A Pill for Promiscuity brings together academics, artists, and activists—from different generations, countries, ethnic backgrounds, and HIV statuses—to reflect on how gay sex has changed in a post-PrEP era. Some offer personal perspectives on the value of promiscuity and the sexual communities it fosters, while others critique unequal access to PrEP and the increased role Big Pharma now plays in gay life. With a diverse group of contributors that includes novelist Andrew Holleran, trans scholar Lore/tta LeMaster, cartoonist Steve MacIsaac, and pornographic film director Mister Pam, this book asks provocative questions about how we might reimagine queer sex and sexuality in the 21st century.
Written with exquisite sensitivity and wit, this memoir by one of Mexico’s foremost men of letters describes coming of age during the violence of the Mexican Revolution and “living dangerously” as an openly homosexual man in a brutally machista society.
Salvador Novo (1904–1974) was a provocative and prolific cultural presence in Mexico City through much of the twentieth century. With his friend and fellow poet Xavier Villaurrutia, he cofounded Ulises and Contemporáneos, landmark avant-garde journals of the late 1920s and 1930s. At once “outsider” and “insider,” Novo held high posts at the Ministries of Culture and Public Education and wrote volumes about Mexican history, politics, literature, and culture. The author of numerous collections of poems, including XX poemas, Nuevo amor, Espejo, Dueño mío, and Poesía 1915–1955, Novo is also considered one of the finest, most original prose stylists of his generation.
Pillar of Salt is Novo’s incomparable memoir of growing up during and after the Mexican Revolution; shuttling north to escape the Zapatistas, only to see his uncle murdered at home by the troops of Pancho Villa; and his initiations into literature and love with colorful, poignant, complicated men of usually mutually exclusive social classes. Pillar of Salt portrays the codes, intrigues, and dynamics of what, decades later, would be called “a gay ghetto.” But in Novo’s Mexico City, there was no name for this parallel universe, as full of fear as it was canny and vibrant. Novo’s memoir plumbs the intricate subtleties of this world with startling frankness, sensitivity, and potential for hilarity. Also included in this volume are nineteen erotic sonnets, one of which was long thought to have been lost.
Pillars of Justice explores the purpose and possibilities of life in the law through moving accounts of thirteen lawyers who shaped the legal world during the past half century.
Some, such as Thurgood Marshall, were Supreme Court Justices. Others, like John Doar and Burke Marshall, set the civil rights policies of the federal government during the 1960s. Some, including Harry Kalven and Catharine MacKinnon, have taught at the greatest law schools of the nation and nourished the liberalism rooted in the civil rights era. Jurists from abroad—Aharon Barak, for example—were responsible for the rise of the human rights movement that today carries the burden of advancing liberal values. These lawyers came from diverse backgrounds and held various political views. What unites them is a deep, abiding commitment to Brown v. Board of Education as an exceptional moment in the life of the law—a willingness to move mountains, if need be, to ensure that we are living up to our best selves. In tracing how these lawyers over a period of fifty years used the Brown ruling and its spirit as a beacon to guide their endeavors, this history tells the epic story of the liberal tradition in the law.
For Owen Fiss, one of the country’s leading constitutional theorists, the people described were mentors, colleagues, friends. In his portraits, Fiss tries to identify the unique qualities of mind and character that made these individuals so important to the institutions and legal principles they served.
How can children simultaneously be the most important and least powerful people in a nation? In her innovative ethnography of Ugandan children—the pillars of tomorrow’s Uganda, according to the national youth anthem—Kristen E. Cheney answers this question by exploring the daily contradictions children face as they try to find their places amid the country’s rapidly changing social conditions.
Drawing on the detailed life histories of several children, Cheney shows that children and childhood are being redefined by the desires of a young country struggling to position itself in the international community. She moves between urban schools, music festivals, and war zones to reveal how Ugandans are constructing childhood as an empowering identity for the development of the nation. Moreover, through her analysis of children’s rights ideology, national government strategy, and children’s everyday concerns, Cheney also shows how these young citizens are vitally linked to the global political economy as they navigate the pitfalls and possibilities for a brighter tomorrow.
A collection of 56 flash fictions, micro-essays, and contemporary fables about the burden on women and families.
The Pillow Museum is a collection of 56 flash fictions, micro-essays, and contemporary fables set in various simulacra of our world. Claire Bateman’s gorgeous prose captures the imagination with closely observed details of people and places that are startlingly familiar yet unreal, where nothing can be taken for granted, including narrative logic: "It was snowing the night they had the fight about the glass piano whose music provided all the light in the house."
In an authoritative voice that offers no apologies or justifications, The Pillow Museum evokes a closely observed slipstream strangeness that refuses to take any moment or detail for granted—a fruitful, delirious disruption.
A collection of 16 uniquely funny short stories by acclaimed Danish poet Benny Andersen.
"A most interesting book. . . . [Shaw's] account of how the Pima Indians lived, their family structure, how they reared their children, courtship and marriage, how they treated their elders, their religious practices before the coming of a Christian missionary in 1870, and their accommodation with death are related in language that can be easily understood by the layman and, yet, provide information which can be used by the sociologist and anthropologist."—Journal of the West
"The current trend in books written by American Indians is to idealize the Indian past while condemning white culture. This volume is a notable exception because its author is old enough to remember the past and because she has been successful in adapting those elements of white culture which she found useful without sacrificing this essential heritage. . . . The style is simple and straightforward, that of a good storyteller which reaches all adult levels."—Choice
"Simple and charming reminiscences of the old Pima ways at the turn of the century when they still prevailed and of the changes which recent decades have brought about in the lives of the desert people."—Books of the Southwest
"Throughout [Shaw's] account a special kind of humor, sensitivity, and pride is revealed when discussing her peoples and her own personal experiences."—The Masterkey
"George Webb's gentle recollections of his childhood and Pima Indian lifeways will doubtless endure forever. This deeply moving autobiography is the perfect introduction for younger Pimas to their culture and history." —Arizona Highways
This definitive study of shamanic theory and practice was developed through a four-person collaboration: three Tohono O’odham Indians—a shaman, a translator, and a trained linguist—and a non-Indian explicator. It provides an in-depth examination of the Piman philosophy of sickness as well as an introduction to the world view of an entire people.
Using the most highly developed techniques of modern ethnolinguistics, anthropologist Bahr investigates the culturally based concept of staying sickness. He conducted extensive discussions in the Piman language with shaman Gregorio. The native informant theorized at length about the cause of staying sickness, the dúajida (divination), and ritual prayers. The translator and the linguist analyzed the content and style of Gregorio’s discussions. Texts in the Piman language of Gregorio’s discussions are included, as well as literal and idiomatic English translations.
American Anthropologist cites “the infinite care with which each utterance has been analyzed” and “the richness of cultural expression captured in the texts themselves and in their explanation. To read Piman Shamanism and Staying Sickness is to become familiar with the unique properties of Piman thinking and modes of expression: abstract, elliptical, contracted, and yet filled with a rich and natural imagery.”
Gifford draws from an impressive array of archival materials to provide a first-of-its-kind literary and cultural history of this distinctive genre. He evaluates the artistic and symbolic representations of pimps, sex-workers, drug dealers, and political revolutionaries in African American crime literature-characters looking to escape the racial containment of prisons and the ghetto.
Gifford also explores the struggles of these black writers in the literary marketplace, from the era of white-owned publishing houses like Holloway House-that fed books and magazines like Players to eager black readers-to the contemporary crop of African American women writers reclaiming the genre as their own.
To grieve is to search. In Pine, Jonathan Johnson’s poems travel across continents: through Michigan’s Upper Peninsula, the Scottish Highlands, the Greek islands, and the mountain wildernesses of the American Northwest, seeking meaning in the spaces left behind. These poems embrace the raw physicality of place, uncovering the deep textures of the natural world as both a witness and companion to loss.
Amid the perpetual elegy of everything, Pine offers moments of improbable wonder. Johnson’s voice is steady and rich with narrative, guiding us through landscapes of memory and wilderness alike. In this intimate collection, grief and grace are intertwined, and the world—against all odds—goes on.
This seven-part book starts with a short discussion on location and boundaries of the New Jersey Pine Barrens. Part I covers human activities, from Indian activities and initial European perceptions of the land, including settlement, lumbering, fuel wood and charcoal, iron and glassworks, farming and livestock, and real estate development. The next part of the book describes sandy deposits, geographic distribution of geologic formations, and soil types with their ecologically important characteristics. Topics on hydrology, aquatic ecosystems, and climatic and microclimatic conditions are presented in the third part of this reference. Part IV traces the history of vegetation starting before the Ice Age and analyzes vegetation using different approaches, such as community types, community classification according to a European method, and gradient analysis. Plants of the Pine Barrens are briefly described and listed in Part V. The final part illustrates community relationships of mammals, birds, reptiles, amphibians, fish, arthropods, and soil microcommunities. The book is ideal for ecologists, botanists, geologists, soil scientists, zoologists, hydrologists, limnologists, engineers, and scientists, as well as planners, decision-makers, and managers who may largely determine the future of a region.
Pinery Boys now incorporates, commemorates, contextualizes, and complements Rickaby's early work. It includes an introduction and annotations throughout by eminent folklore scholar James P. Leary and an engaging, impressively researched biography by Rickaby's granddaughter Gretchen Dykstra. Central to this edition are Rickaby's own introduction and the original fifty-one songs that he published—including "Jack Haggerty's Flat River Girl," "The Little Brown Bulls," "Ole from Norway," "The Red Iron Ore," and "Morrissey and the Russian Sailor"—plus fourteen additional songs selected to represent the varied collecting Rickaby did beyond the lumber camps.
Supplemented by historical photographs, Pinery Boys fully reveals Franz Rickaby as a visionary artist and scholar and provides glimpses into the past lives of woods poets and singers.
A rich, long-term ethnography of women seafood traders in Mexico.
The "shrimp ladies," locally known as changueras in southern Sinaloa, Mexico, sell seafood in open-air markets, forming an extralegal but key part of the economy built around this "pink gold.” Over time, they struggled to evolve from marginalized peddlers to local icons depicted in popular culture, even as they continue to work at an open-air street market.
Pink Gold documents the shrimp traders' resilience and resourcefulness, from their early conflicts with the city, state, and federal authorities and forming a union, to carving out a physical space for a seafood market, and even engaging in conflicts with the Mexican military. Drawing from her two decades of fieldwork, María L. Cruz-Torres explores the inspiring narrative of this overlooked group of women involving grassroots politics, trans-border and familial networking, debt and informal economic practices, personal sacrifices, and simple courage. She argues that, amid intense economic competition, their success relies on group solidarity that creates interlocking networks of mutual trust, or confianza, that in turn enable them to cross social and political boundaries that would typically be closed to them. Ultimately, Pink Gold offers fresh insights into issues of gender and labor, urban public space, the street economy, commodities, and globalization.
Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns.
Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)
Today, copyright is everywhere, surrounded by a thicket of no trespassing signs that mark creative work as private property. Caren Irr’s Pink Pirates asks how contemporary novelists—represented by Ursula Le Guin, Andrea Barrett, Kathy Acker, and Leslie Marmon Silko—have read those signs, arguing that for feminist writers in particular copyright often conjures up the persistent exclusion of women from ownership. Bringing together voices from law schools, courtrooms, and the writer's desk, Irr shows how some of the most inventive contemporary feminist novelists have reacted to this history.
Explaining the complex, three-century lineage of Anglo-American copyright law in clear, accessible terms and wrestling with some of copyright law's most deeply rooted assumptions, Irr sets the stage for a feminist reappraisal of the figure of the literary pirate in the late twentieth century—a figure outside the restrictive bounds of U.S. copyright statutes.
Going beyond her readings of contemporary women authors, Irr’s exhaustive history of how women have fared under intellectual property regimes speaks to broader political, social, and economic implications and engages digital-era excitement about the commons with the most utopian and materialist strains in feminist criticism.
Eschewing structures of absolute complicity or abject alterity, Pink Revolutions pays attention to the logics of triangulation in various contexts: gay tourism, university campus politics, diasporic cultural productions, and AIDS activism. The book articulates a framework through which queer politics can challenge rather than participate in neoliberal imperatives, an approach that will interest scholars engaged with queer studies and postcolonial scholarship, as well as activists and academics wrestling with global capitalism and right-wing regimes around the world.
Written in loose sonata form, Pink Waves is a poem of radiant elegy and quiet protest. Moving through the shifting surfaces of inarticulable loss, and along the edges of darkness and sadness, Pink Waves was completed in the presence of audience members over the course of a three-day durational performance. Sawako Nakayasu accrues lines written in conversation with Waveform by Amber DiPietro and Denise Leto, and micro-translations of syntax in the Black Dada Reader by Adam Pendleton, itself drawn from Ron Silliman’s Ketjak. Pink Waves holds an amalgamation of texts, constructing a shimmering haunting of tenderness, hunger, and detritus.
The Sociolinguistics in Deaf Communities Series continues its detailed exploration of language dynamics among deaf people in the fourth entry, Pinky Extension and Eye Gaze: Language Use in Deaf Communities. This volume’s ten meticulously prepared chapters reflect the refinements of research in six major sociolinguistics areas. Rob Hoopes’ work, “A Preliminary Examination of Pinky Extension: Suggestions Regarding Its Occurrence, Constraints, and Function,” commences Part One: Variation with a sound explanation of this American Sign Language (ASL) phonological characteristic. Part Two: Languages in Contact includes findings by Jean Ann on contact between Taiwanese Sign Language and written Taiwanese.
Priscilla Shannon Gutierrez considers the relationship of educational policy with language and cognition in deaf children in Part Three: Language in Education, and in Part Four: Discourse Analysis, Melanie Metzger discusses eye gaze and pronominal reference in ASL. Part Five: Second-Language Learning presents the single chapter “An Acculturation Model for ASL Learners,” by Mike Kemp. Sarah E. Burns defines Irish Sign Language as Ireland’s second minority language after Gaelic, in Part Six: Language Attitudes, the final area of concentration in this rigorously researched volume. These studies and the others by the respected scholars featured in Pinky Extension and Eye Gaze make it an outstanding and eminently valuable addition to this series.
Nearly a century ago, hundreds of families journeyed from Spain to the United States, to search for a better life in the growing zinc-industry towns of Harrison County, West Virginia. As they created a new culture and a new home in this strange land, they added another thread to the rich fabric of our nation. Writing from his perspective as a first-generation son of this immigrant community, González recounts his childhood memories of his neighborhood, where these immigrants raised their families, worked in the often insufferable conditions of the zinc factories, and celebrated "romerias" and feast days with their neighbors.
Taking as her guiding metaphor the character of Pinocchio—a national icon made famous in 1881 by the eponymous children’s book—Susan Stewart-Steinberg argues that just like the renowned puppet, modern Italians were caught in a complex interplay between freely chosen submission and submission demanded by an outside force. In doing so, she explores all the ways that identity was constructed through newly formed attachments, voluntary and otherwise, to the young nation. Featuring deft readings of the period’s most important Italian cultural and social thinkers—including the theorist of mass psychology Scipio Sighele, the authors Matilde Serao and Edmondo De Amicis, the criminologist Cesare Lombroso, and the pedagogue Maria Montessori—Stewart-Steinberg’s richly multidisciplinary book will set a new standard in Italian studies.
In Pinocchio, Giorgio Agamben turns his keen philosopher’s eye to the famous nineteenth-century novel by Carlo Collodi. To Agamben, Pinocchio’s adventures are a kind of initiation into life itself. Like us, the mischievous puppet is caught between two worlds. He is faced with the alternatives of submitting to authority or of carrying on, stubbornly indulging his way of being. From Agamben’s virtuoso interpretation of this classic story, we learn that we can harbor the mystery of existence only if we are not aware of it, only if we manage to cohabit with an area of non-knowledge, immemorial and very near. Richly illustrated with images from three early editions of Collodi’s novel, this new volume will delight enthusiasts of both literature and philosophy.
Garces (1999 recipient of the Right Livelihood Award for his work in preparing the Pinochet case), Carlos Huneeus (CERC, Chile and Pontificia Universidad Catolica de Chile), Brian Loveman (San Diego State University, USA), Carlos Malamud (Real Instituto Elcano de Estudios Internacionales y Estrategicos, Madrid, Spain), Antonio Remiro Brotons (Universidad Autonoma de Madrid, Spain), Naomi Roht-Arriaza (University of California, Hastings College of Law, USA), and Diana Woodhouse (Oxford Brookes University, UK).
Chilean soldiers in the twentieth century appear in most historical accounts, if they appear at all, as decontextualized figures or simply as a single man: Augusto Pinochet. In his incisive study The Pinochet Generation: The Chilean Military in the Twentieth Century, John R. Bawden provides compelling new insights into the era and posits that Pinochet and his men were responsible for two major transformations in Chile’s constitution as well as the political and economic effects that followed.
Determined to refocus what he sees as a “decontextualized paucity” of historical information on Chile’s armed forces, Bawden offers a new perspective to explain why the military overthrew the government in 1973 as well as why and how Chile slowly transitioned back to a democracy at the end of the 1980s. Standing apart from other views, Bawden insists that the Chilean military’s indigenous traditions and customs did more than foreign influences to mold their beliefs and behavior leading up to the 1973 coup of Salvador Allende.
Drawing from defense publications, testimonial literature, and archival materials in both the United States and Chile, The Pinochet Generation characterizes the lens through which Chilean officers saw the world, their own actions, and their place in national history. This thorough analysis of the Chilean services’ history, education, values, and worldview shows how this military culture shaped Chilean thinking and behavior, shedding light on the distinctive qualities of Chile’s armed forces, the military’s decision to depose Allende, and the Pinochet dictatorship’s resilience, repressiveness, and durability.
Bawden’s account of Chile’s vast and complex military history of the twentieth century will appeal to political scientists, historians, faculty and graduate students interested in Latin America and its armed forces, students of US–Latin American diplomacy, and those interested in issues of human rights.
An engaging look at the history of the piñon pine and its ecosystem. Combining natural history and observations of the cultural importance of the tree to both native Indians and European settlers, Lanner provides information on the management of the tree and its interdependence with the birds and animals of the piñon-juniper woodland. Science, cultural history, and ecologicall issues, plus delicious recipes using the piñon pine nuts, make for a concise natural and cultural history of the piñon pine.
Home to 33,000 Filipino American residents, Daly City, California, located just outside of San Francisco, has been dubbed “the Pinoy Capital of the United States.” In this fascinating ethnographic study of the lives of Daly City residents, Benito Vergara shows how Daly City has become a magnet for the growing Filipino American community.
Vergara challenges rooted notions of colonialism here, addressing the immigrants’ identities, connections and loyalties. Using the lens of transnationalism, he looks at the “double lives” of both recent and established Filipino Americans. Vergara explores how first-generation Pinoys experience homesickness precisely because Daly City is filled with reminders of their homeland’s culture, like newspapers, shops and festivals. Vergara probes into the complicated, ambivalent feelings these immigrants have—toward the Philippines and the United States—and the conflicting obligations they have presented by belonging to a thriving community and yet possessing nostalgia for the homeland and people they left behind.
In "She Fell to Her Knees," Nell inherits the neglected house in which her mother died years before, and begins an affair with the neighbor. The narrator of "Apparitions," who has recently returned the blind grandson she was raising to the care of his mother, invites a confused young man into her home. In "The Ropewalk," a bartender haunted by her abandonment of her own child aids a customer in a struggle for custody of her daughters. A pregnant teenager in "Unction" comes to accept the reality of her situation while working a summer job counting parts in a bookbinding machine shop. Annie, the young mother with a tragic past in "Pins and Needles," leaves her infant daughter to go on an errand in a snowstorm, and picks up a boy she doesn't know.
What remains a constant in these stories is the tangible presence of the natural world. Each story moves toward the moment in which its characters, navigating loss, learn acceptance. Like the single mother in "Destiny," they see their lives happen—"all around, just then, forever.
Beginning with the pin-up’s origins in mid-nineteenth-century carte-de-visite photographs of burlesque performers, Buszek explores how female sex symbols, including Adah Isaacs Menken and Lydia Thompson, fought to exert control over their own images. Buszek analyzes the evolution of the pin-up through the advent of the New Woman, the suffrage movement, fanzine photographs of early film stars, the Varga Girl illustrations that appeared in Esquire during World War II, the early years of Playboy magazine, and the recent revival of the genre in appropriations by third-wave feminist artists. A fascinating combination of art history and cultural history, Pin-Up Grrrls is the story of how women have publicly defined and represented their sexuality since the 1860s.
"The University of Alabama Press has produced yet another excellent book on Florida. Gracefully written, it offers one of the most compelling images of rural life in early 20th-century Florida that exists in print. It should enjoy wide readership." —The Florida Historical Quarterly
Pioneer Family is based on the recollections of Hugie and Oleta Oesterreicher, who lived in rural northeast Florida in the early decades of the twentieth century. Northeast Florida was still frontier country then, and Hugie and Oleta were pioneers. Although the time and setting of their story are particular, the theme of survival during hard times is universal. Born in a cypress cabin on the edge of the great Durbin Swamp located midway between St. Augustine and Jacksonville, Hugie knew every alligator hole, every bog, every creek; he could dry venison so it lasted without refrigeration for months, could build a potato bank that kept potatoes warm all winter, and put down a well without machinery. He knew how to cope with rattlesnakes and moccasins. Early one morning in 1925, Hugie fell in love with a tall, brown-eyed girl as he passed her place on a cattle drive. He courted this girl, Oleta Brown, with no success at first, but finally they were married in 1927.
Their daughter retells their story from vivid accounts they gave of their childhood, courtship, early years of marriage, and struggles during the Great Depression. In an age bereft of heroes, the story of their courage, their faith, and their commitment provides a fascinating empathy with a time that has passed; a place that has disappeared.
Dean of the Harvard Medical School and School of Public Health in the 1920's and '30's,David Edsall was one of the leaders in a period of great change and progress in medicine. At the beginning of Edsall's career, a doctor's chief weapons were his informed mind and trained senses. By the end of it, the permanent alliance of the sciences and medicine had profoundly altered the doctor's practice and his education. It was a time of struggle, of conflict, and of enduring accomplishment.
Edsall was at the center of this revolutionary effort in three leading schools of medicine: the University of Pennsylvania, Washington University in St. Louis, and Harvard. He began his career in Pennsylvania as recording clerk to the famous Dr. William Pepper, Jr., at the same time making scientific contributions in metabolism through his work in the Pepper Laboratory of Clinical Medicine. By 1907 he had become Professor of Therapeutics and Pharmacology. In 1910 and '11, for one stormy year, he was the school's Professor of Medicine. This was a key year -in 1910 the publication of Abraham Flexner's Medical Education in the United States and Canada had led to the eradication of one quarter of U. S. medical schools and radical reform of many others.
From Pennsylvania Edsall went to St. Louis as Professor of Preventive Medicine, and his part in the reform of that medical school is both controversial and fascinating.
,Edsall's appointment in 1912 to a double post at Harvard and the Massachusetts General Hospital brought him to Boston -the field of his major contributions. This remarkable period was the day of such people as Harvard's Walter Cannon, Otto Folin, Harvey Cushing, Alice Hamilton, L. J. Henderson. It saw the founding of the School of Public Health, the major endowment of the Medical School. In his ten years at the hospital and his seventeen years as dean, as in his influence as a trustee of the Rockefeller Foundation, Edsall gave direction to many developments in American medicine which bear his mark to this day.
Originally published in 1887, The Pioneer Preacher is a lively account of a Congregationalist minister's attempts to lead a sin-free existence on the American frontier. Sherlock Bristol (1815-1906) was a California gold miner, wagon train captain, Wisconsin farmer, Idaho rancher, Indian fighter, abolitionist, and Oberlin-trained clergyman. While serving a series of churches in the East, he periodically cured himself of "nervous disorders" by journeying out West. He only broke the Sabbath once---during an Indian attack!
Reflecting in his memoirs the exploits of Daniel Boone and Davy Crockett, Bristol delights in recounting his adventures, ecclesiastical or otherwise. He vividly recalls his redemption in the wilderness where he enjoyed having "little opportunity for reading books or mental exercise, and an abundance of calls for muscular employment." Greatly influenced by the evangelist Charles G. Finney at Oberlin, Bristol tried to teach miners and frontiersmen the principles of revivalism, postmillennialism, and perfectionism. In The Pioneer Preacher he shares his own disputatious views on abolition, American Indians, temperance, and other issues of his day.
Samuel Bangs, the first printer in the territory that is now Texas, once owed his life to his printing press. One of the few survivors of the Mina Expedition to Mexico in 1817, Bangs wrote to Servando de Mier, “I had the good fortune, through the will of God, to have my life saved, as I was a printer.”
Bangs was not always so fortunate. Losses and disappointments plagued him throughout his career, and he spent many miserable months in Mexican jails. But his ingenuity in the face of adversity, his courage and charm, stamped him not only as a storybook hero but as a man whose virtues were large enough to be their own reward.
Lota Spell’s fine biography of Samuel Bangs is at the same time a fascinating history of northern Mexico (including Texas) in the first half of the nineteenth century. Through the successes and failures of an individual it presents the facts about the operation of a business during a time of important political and economic change.
Even more important is its contribution to our knowledge of printing and of the contemporary periodical press. Although first of all a printer, Samuel Bangs was also involved in the production of newspapers, making this book a detailed history of journalism in the Mexico and Texas of his day. His printing office also functioned as a typographer’s school, through which he instituted the apprentice system in the Southwest; and as a result of his interest in presses as a commodity of trade, the first business for merchandising and servicing printing presses in the area was developed.
This narrative, combining the story of a man’s life, the history of his times, and the development of his profession, fills a gap in our knowledge of Mexico and Texas, and does it with perception and charm.
The Alaskan frontier tempted fur traders, whalers, salmon fishers, gold miners, hunters, and oilmen to take what they could without regard for long-term consequences. Wildlife species, ecosystems, and Native cultures suffered, sometimes irreparably. Damage to wildlife and lands drew the attention of environmentalists, including John Muir, who applied their influence to enact wildlife protection laws and set aside lands for conservation. Alaska served as a testing ground for emergent national resource policy in the United States, as environmental values of species and ecosystem sustainability replaced the unrestrained exploitation of Alaska's early frontier days.
Efforts of conservation leaders and the territory's isolation, small human population, and late development prevented widespread destruction and gave Americans a unique opportunity to protect some of the world's most pristine wilderness.
Enhanced by more than 100 photographs, Pioneering Conservation in Alaska illustrates the historical precedents for current natural resource disputes in Alaska and will fascinate readers interested in wildlife and conservation.
With The Pioneers (1823), Cooper initiated his series of elegiac romances of frontier life and introduced the world to Natty Bumppo (or Leather-stocking). Set in 1793 in New York State, the novel depicts an aging Leather-stocking negotiating his way in a restlessly expanding society. In his introduction, Robert Daly argues for the novel’s increasing relevance: we live in a similarly complex society as Cooper’s frontier world, faced with the same questions about the limits of individualism, the need for voluntary cooperation, and stewardship of the environment.
The John Harvard Library edition reproduces the authoritative text of The Pioneers in the The Writings of James Fenimore Cooper, published by the State University of New York Press.
The profiles are edited transcripts of interviews videotaped between 1996 and 2004. They tell of the development of new techniques such as the "blue baby operation," the first heart-lung machine, the first artificial heart valve, and the first coronary bypass operation. They also tell the unusual life stories of the surgeons and allude to professional and institutional rivalries. A particularly valuable part of the book is the author's brief history of cardiac surgery, designed to orient the reader for reading the profiles that follow.
In this exciting new study, Bahru Zewde, one of the foremost historians of modern Ethiopia, has constructed a collective biography of a remarkable group of men and women in a formative period of their country’s history. Ethiopia’s political independence at the end of the nineteenth century put this new African state in a position to determine its own levels of engagement with the West. Ethiopians went to study in universities around the world. They returned with the skills of their education acquired in Europe and America, and at home began to lay the foundations of a new literature and political philosophy. Pioneers of Change in Ethiopia describes the role of these men and women of ideas in the social and political transformation of the young nation and later in the administration of Haile Selassie.
Internationally renowned for its pioneering role in the ecological restoration of tallgrass prairies, savannas, forests, and wetlands, the University of Wisconsin Arboretum contains the world’s oldest and most diverse restored ecological communities. A site for land restoration research, public environmental education, and enjoyment by nature lovers, the arboretum remains a vibrant treasure in the heart of Madison’s urban environment.
Pioneers of Ecological Restoration chronicles the history of the arboretum and the people who created, shaped, and sustained it up to the present. Although the arboretum was established by the University of Wisconsin in 1932, author Franklin E. Court begins his history in 1910 with John Nolen, the famous landscape architect who was invited to create plans for the city of Madison, the university campus, and Wisconsin state parks. Drawing extensive details from archives and interviews, Court follows decades of collaborative work related to the arboretum’s lands, including the early efforts of Madison philanthropists and businessmen Michael Olbrich, Paul E. Stark, and Joseph W. “Bud” Jackson.
With labor from the Civilian Conservation Corps during the 1930s Depression, University of Wisconsin scientists began establishing both a traditional horticultural collection of trees and plants and a completely new, visionary approach to recreate native ecosystems. Hundreds of dedicated scientists and staff have carried forward the arboretum’s mission in the decades since, among them G. William Longenecker, Aldo Leopold, John T. Curtis, Rosemary Fleming, Virginia Kline, and William R. Jordan III.
This archival record of the arboretum’s history provides rare insights into how the mission of healing and restoring the land gradually shaped the arboretum’s future and its global reputation; how philosophical conflicts, campus politics, changing priorities, and the encroaching city have affected the arboretum over the decades; and how early aspirations (some still unrealized) have continued to motivate the work of this extraordinary institution.
Opinionated and territorial, the American, British, and French interviewees provide fascinating first-hand accounts of the era and movement. Experts including Paul Oliver, Gayle Dean Wardlow, Sam Charters, Ray Flerledge, Paul Oliver, Richard K. Spottswood, and Pete Whelan chronicle in their own words their obsessive early efforts at cataloging blues recordings and retrace lifetimes spent loving, finding, collecting, reissuing, and producing records. They and nearly a dozen others recount relationships with blues musicians, including the discoveries of prewar bluesmen Mississippi John Hurt, Son House, Skip James, and Bukka White, and the reintroduction of these musicians and many others to new generations of listeners. The accounts describe fieldwork in the South, renew lively debates, and tell of rehearsals in Muddy Waters's basement and randomly finding Lightning Hopkins's guitar in a pawn shop.
Blues scholar Barry Lee Pearson provides a critical and historical framework for the interviews in an introduction.
Who says you can’t be pious and fashionable? Throughout the Muslim world, women have found creative ways of expressing their personality through the way they dress. Headscarves can be modest or bold, while brand-name clothing and accessories are part of a multimillion-dollar ready-to-wear industry that caters to pious fashion from head to toe. In this lively snapshot, Liz Bucar takes us to Iran, Turkey, and Indonesia and finds a dynamic world of fashion, faith, and style.
“Brings out both the sensuality and pleasure of sartorial experimentation.”
—Times Literary Supplement
“I defy anyone not to be beguiled by [Bucar’s] generous-hearted yet penetrating observation of pious fashion in Indonesia, Turkey and Iran… Bucar uses interviews with consumers, designers, retailers and journalists…to examine the presumptions that modest dressing can’t be fashionable, and fashion can’t be faithful.”
—Times Higher Education
“Bucar disabuses readers of any preconceived ideas that women who adhere to an aesthetic of modesty are unfashionable or frumpy.”
—Robin Givhan, Washington Post
“A smart, eye-opening guide to the creative sartorial practices of young Muslim women… Bucar’s lively narrative illuminates fashion choices, moral aspirations, and social struggles that will unsettle those who prefer to stereotype than inform themselves about women’s everyday lives in the fast-changing, diverse societies that constitute the Muslim world.”
—Lila Abu-Lughod, author of Do Muslim Women Need Saving?
Despite Mumbai's position as India's financial, economic, and cultural capital, water is chronically unavailable for rich and poor alike. Mumbai's dry taps are puzzling, given that the city does not lack for either water or financial resources. In Pipe Politics, Contested Waters, Lisa Björkman shows how an elite dream to transform Mumbai into a "world class" business center has wreaked havoc on the city’s water pipes. In rich ethnographic detail, Pipe Politics explores how the everyday work of getting water animates and inhabits a penumbra of infrastructural activity—of business, brokerage, secondary markets, and sociopolitical networks—whose workings are reconfiguring and rescaling political authority in the city. Mumbai’s increasingly illegible and volatile hydrologies, Björkman argues, are lending infrastructures increasing political salience just as actual control over pipes and flows becomes contingent on dispersed and intimate assemblages of knowledge, power, and material authority. These new arenas of contestation reveal the illusory and precarious nature of the project to remake Mumbai in the image of Shanghai or Singapore and gesture instead toward the highly contested futures and democratic possibilities of the actually existing city.
Watching Chinatown fifty years after its release reveals hidden connections to today’s energy and climate crises
Pipeline Noir offers a fascinating interpretation of Chinatown, a classic of New Hollywood cinema, through the lens of petromodernity. Michael Rubenstein reimagines the film as an allegory for the 1970s energy crises, revealing how its focus on water infrastructure in early-twentieth-century California serves as a surrogate for the oil pipelines shaping the postwar global order. Introducing the concept of the “petroscope,” Rubenstein demonstrates how the film’s cinematic style mirrors the worldview shaped by petroleum’s dominance in modern life.
Blending appreciation and analysis, this book uncovers layers of Chinatown’s narrative that resonate urgently today, and Rubenstein’s meticulous examinations of the screenplay’s draft history and of key scenes in the finished film shed new light on the film’s cultural and environmental significance. By aligning Chinatown with the emerging field of petrocriticism, Pipeline Noir offers a compelling contribution to film theory and the energy humanities.
How contemporary environmental struggles and resistance to pipeline development became populist struggles
Stunning Indigenous resistance to the Keystone XL and the Dakota Access pipelines has made global headlines in recent years. Less remarked on are the crucial populist movements that have also played a vital role in pipeline resistance. Kai Bosworth explores the influence of populism on environmentalist politics, which sought to bring together Indigenous water protectors and environmental activists along with farmers and ranchers in opposition to pipeline construction.
Here Bosworth argues that populism is shaped by the “affective infrastructures” emerging from shifts in regional economies, democratic public-review processes, and scientific controversies. With this lens, he investigates how these movements wax and wane, moving toward or away from other forms of environmental and political ideologies in the Upper Midwest. This lens also lets Bosworth place populist social movements in the critical geographical contexts of racial inequality, nationalist sentiments, ongoing settler colonialism, and global empire—crucial topics when grappling with the tensions embedded in our era’s immense environmental struggles.
Pipeline Populism reveals the complex role populism has played in shifting interpretations of environmental movements, democratic ideals, scientific expertise, and international geopolitics. Its rich data about these grassroots resistance struggles include intimate portraits of the emotional spaces where opposition is first formed. Probing the very limits of populism, Pipeline Populism presents essential work for an era defined by a wave of people-powered movements around the world.
Pastoral poetry highlights the didactic relationship of older and younger shepherds, whether as rivals or as patron and successor. As such it is an ideal form for young poets' self-representation vis-à-vis their elders, whose work they simultaneously appropriated and transformed, even as the elder poets were represented in the new texts. This influence is reenacted in every generation: Theocritus vs. his Alexandrian forebears, Vergil vs. Theocritus, Calpurnius vs. Vergil, Nemesianus vs. Vergil and Calpurnius, Petrarch vs. Vergil, Boccaccio vs. Petrarch, Spenser vs. Vergil, along with Chaucer and Milton vs. Spenser.
The Pipes of Pan combines multiple strands of contemporary intertextual theory with reception aesthetics and Harold Bloom's theory of intersubjective conflict between generations of poets. It also provides one of the first systematic studies of intertextual and intersubjective dynamics within a whole genre.
This work will be of interest to classicists, students of literary theory, comparative literature, medieval and Renaissance literature, Italian humanism, and English literature of the sixteenth and seventeenth centuries. All texts are translated.
Thomas Hubbard is Associate Professor of Classics, University of Texas at Austin.
In the decade and a half since Napster first emerged, forever changing the face of digital culture, the claim that “internet pirates killed the music industry” has become so ubiquitous that it is treated as common knowledge. Piracy is a scourge on legitimate businesses and hard-working artists, we are told, a “cybercrime” similar to identity fraud or even terrorism.
In The Piracy Crusade, Aram Sinnreich critiques the notion of “piracy” as a myth perpetuated by today's cultural cartels—the handful of companies that dominate the film, software, and especially music industries. As digital networks have permeated our social environment, they have offered vast numbers of people the opportunity to experiment with innovative cultural and entrepreneurial ideas predicated on the belief that information should be shared widely. This has left the media cartels, whose power has historically resided in their ability to restrict the flow of cultural information, with difficult choices: adapt to this new environment, fight the changes tooth and nail, or accept obsolescence. Their decision to fight has resulted in ever stronger copyright laws and the aggressive pursuit of accused infringers.
Yet the most dangerous legacy of this “piracy crusade” is not the damage inflicted on promising start-ups or on well-intentioned civilians caught in the crosshairs of file-sharing litigation. Far more troubling, Sinnreich argues, are the broader implications of copyright laws and global treaties that sacrifice free speech and privacy in the name of combating the phantom of piracy—policies that threaten to undermine the foundations of democratic society.
Since the rise of Napster and other file-sharing services in its wake, most of us have assumed that intellectual piracy is a product of the digital age and that it threatens creative expression as never before. The Motion Picture Association of America, for instance, claimed that in 2005 the film industry lost $2.3 billion in revenue to piracy online. But here Adrian Johns shows that piracy has a much longer and more vital history than we have realized—one that has been largely forgotten and is little understood.
Piracy explores the intellectual property wars from the advent of print culture in the fifteenth century to the reign of the Internet in the twenty-first. Brimming with broader implications for today’s debates over open access, fair use, free culture, and the like, Johns’s book ultimately argues that piracy has always stood at the center of our attempts to reconcile creativity and commerce—and that piracy has been an engine of social, technological, and intellectual innovations as often as it has been their adversary. From Cervantes to Sonny Bono, from Maria Callas to Microsoft, from Grub Street to Google, no chapter in the story of piracy evades Johns’s graceful analysis in what will be the definitive history of the subject for years to come.
"Everybody" is still caught in the mazes of Pirandellism. But since the 1940s Eric Bentley has threaded his way through those mazes. The Pirandello Commentaries is the result.
Beginning with an overview of the history of piracy, Gerassi-Navarro traces the historical icon of the pirate through colonial-era chronicles before exploring a group of nineteenth-century Mexican, Colombian, and Argentine novels. She argues that the authors of these novels, in their reconstructions of the past, were less interested in accurate representations than in using their narratives to discuss the future of their own countries. In reading these pirate narratives as metaphors for the process of nation building in Spanish America, Gerassi-Navarro exposes the conflicting strains of a complex culture attempting to shape that future. She shows how these pirate stories reflect the on-going debates that marked the consolidation of nationhood, as well as the extent to which the narratives of national identity in Spanish America are structured in relation to European cultures, and the ways in which questions of race and gender were addressed.
Providing new readings of the cultural and political paradigms that marked the literary production of nineteenth-century Spanish America, Pirate Novels uniquely expands the range of texts usually examined in the study of nation-building. It will interest literary scholars generally as well as those engaged in Latin American, colonial, and postcolonial studies.
Shaul’s arguments use linguistic analyses coupled with historic and prehistoric records of migration and cultural interaction. Following the establishment of Piro as a Tanoan language, much of the linguistic analysis involves determining the aspects of Piro that were inherited from the earlier Proto-Tanoan versus those that were incorporated later as a result of borrowing from other languages through cultural interaction. This book lays out the linguistic argument that the similarities between Piro and Tiwan languages result from borrowing, not common ancestry, and it provides a record of contact between groups and linguistic evolution based on these movements.
Pirouettes on a Postage Stamp carried Hrabal’s experimentation to the field of autobiography. On its surface a verbatim record of an oral interview conducted by Hungarian journalist László Szigeti, the book confuses and confounds with false starts, digressions, and philosophical asides. Yet despite all the games and distractions, Hrabal’s personality shines through, compelling and unforgettable, making Pirouette on a Postage Stamp an unexpected treat for any lover of Czech literature.
Paying particular attention to the participation of Camille Pissarro, the only older artist to join the otherwise youthful movement, Ward sets the neo-impressionists' individual achievements in the context of a generational struggle to redefine the purposes of painting. She describes the conditions of display, distribution, and interpretation that the neo-impressionists challenged, and explains how these artists sought to circulate their own work outside of the prevailing system. Paintings, Ward argues, often anticipate and respond to their own conditions of display and use, and in the case of the neo-impressionists, the artists' relations to market forces and exhibition spaces had a decisive impact on their art.
Ward details the changes in art dealing, and chronicles how these and new freedoms for the press made artistic vanguardism possible while at the same time affecting the content of painting. She also provides a nuanced account of the neo-impressionists' engagements with anarchism, and traces the gradual undermining of any strong correlation between artistic allegiance and political direction in the art world of the 1890s.
Throughout, there are sensitive discussions of such artists as Georges Seurat and Paul Signac, as well as Pissarro. Yet the touchstone of the book is Pissarro's intricate relationship to the various factions of the Paris art world.
Randolph's reputation rests on the massive accumulation of folksong, folktale, and ballad materials he collected during forty years of living and working in the Ozarks. Unfortunately, in the 1950s when Randolph published several collection of Ozark tales, the material in this volume was considered unprintable.
Pissing in the Snow departs from the academic prudery that until recently has restricted the amount of bawdy folklore available for study. It presents a body of material that for twenty years has circulated only in manuscript or microfilm under its present title.
When placed in their rightful context alongside Randolph's other collections of folk material, the bawdy tales help provide evidence of what Ozark hill people think about their own lives and language. As Rayna Green writes in her introduction, "The entire body of material . . . offers a picture of expressive behavior unparalleled by any other American region's or group's study." Hoffmann's annotations draw parallels between the erotic narrative tradition of the Ozarks and that in other parts of the country and the world, especially Europe.
A coal miner's daughter, Jackson grew up in eastern Kentucky, married a miner, and became a midwife, labor activist, and songwriter. Fusing hard experience with the rich Appalachian musical tradition, her songs became weapons of struggle. In 1931, at age fifty, she was "discovered" and brought north. There, she was sponsored and befriended by an illustrious circle of left-wing intellectuals and musicians that included Theodore Dreiser, Alan Lomax, and Charles and Pete Seeger. Along with Sarah Ogan Gunning, Jim Garland (two of Aunt Molly's half-siblings), Woody Guthrie, Leadbelly, and other folk musicians, Jackson served as a cultural broker who linked the rural working poor to big-city, left-wing activism.
Shelly Romalis combines interviews with archival materials to construct an unforgettable portrait of an Appalachian woman who remained radical, raucous, proud, poetic, offensive, self-involved, and in spirit the "real" pistol packin' mama of the song.
Pitch Dark Anarchy investigates the danger of one single narrative with multilayered poems that challenge concepts of beauty and image, race and identity, as well as the construction of skin color. Through African American memory and moments in literature, the poems seek to disrupt and dismantle foundations that create erasures and echoes of the unremembered. Pitch Dark Anarchy uses the slave revolt of the Amistad as a starting point, a metaphor for "opposition" and "against." These themes run through the very core for the book while drawing on inventive and playful language. The poems bring to life human experiences and conditions created by an "elite" society. In these poems, locations and landscapes are always shifting, proving that our shared experiences can be interchangeable. At the very core of Pitch Dark Anarchy is a seven-part poem based on the artist Margret Bowland’s "Another Thorny Crown Series," which are paintings of an African American girl in white face.
Through innovative formal and visual techniques, such as fractured syntax and typographical disruption, Horton evokes the disorienting experiences of urban life, while also calling into question the complicity of language in the oppressive structures he anatomizes.
Subjects range across Holocaust representation, Occupy Wall Street, and the figurative nature of abstract art. Detailed overviews of formally inventive work include essays on—or “pitches” for—a set of key poets, from Gertrude Stein and Robert Creeley to John Ashbery, Barbara Guest, Larry Eigner, and Leslie Scalapino. Bernstein also reveals the formative ideas behind the magazine L=A=N=G=U=A=G=E. The final section, published here for the first time, is a sweeping work on the poetics of stigma, perversity, and disability that is rooted in the thinking of Edgar Allan Poe, Emily Dickinson, Ralph Waldo Emerson, and William Blake.
Pitch of Poetry makes an exhilarating case for what Bernstein calls echopoetics: a poetry of call and response, reason and imagination, disfiguration and refiguration.
How Dominicans contribute to Major League Baseball and what they receive in return.
From Juan Marichal and Pedro Martínez to Albert Pujols and Juan Soto, Dominicans have long been among Major League Baseball’s best. How did this small Caribbean nation become a hothouse of baseball talent? To many fans, the answer is both obvious and disconcerting: pro teams use their riches to develop talent abroad, creating opportunities for superhuman athletes and corrupt officials, while the rest of the population sees little benefit.
Yet this interpretation of history is incomplete. April Yoder traces how baseball has empowered Dominicans in their struggles for democracy and social justice. While the dictatorship of Rafael Trujillo saw the sport as a means of cementing its power at home and abroad, the Dominican people fashioned an emancipated civic sphere by seeing their potential for democratic success in their compatriots’ baseball success. Later, Dominicans articulated demands for democracy, economic opportunity, and civil rights through successful calls for public support of amateur and professional baseball. Today, Dominicans continue to demand that incentives for the baseball industry foster human as well as economic development. A revelatory and innovative history, Pitching Democracy restores agency to the Dominican people and honors their true love of the game.
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