The American Civil War is often seen as the first modern war, not least because of its immense suffering. Yet unlike later conflicts, it did not produce an outpouring of disillusionment or cynicism, as most people continued to portray the war in highly sentimental and patriotic terms. While scholars typically dismiss this everyday writing as simplistic or naïve, Frances M. Clarke argues that we need to reconsider the letters, diaries, songs, and journalism penned by Union soldiers and their caregivers to fully understand the war’s impact and meaning.
In War Stories, Clarke revisits the most common stories that average Northerners told in hopes of redeeming their suffering and loss—stories that enabled people to make sense of their hardship, and to express their beliefs about religion, community, and personal character. From tales of Union soldiers who died heroically to stories of tireless volunteers who exemplified the Republic’s virtues, War Stories sheds new light on this transitional moment in the history of war, emotional culture, and American civic life.
The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today. Sacred Harp isn’t performed but participated in, ideally in large gatherings where, as the a cappella singers face each other around a hollow square, the massed voices take on a moving and almost physical power. I Belong to This Band, Hallelujah! is a vivid portrait of several Sacred Harp groups and an insightful exploration of how they manage to maintain a sense of community despite their members’ often profound differences.
Laura Clawson’s research took her to Alabama and Georgia, to Chicago and Minneapolis, and to Hollywood for a Sacred Harp performance at the Academy Awards, a potent symbol of the conflicting forces at play in the twenty-first-century incarnation of this old genre. Clawson finds that in order for Sacred Harp singers to maintain the bond forged by their love of music, they must grapple with a host of difficult issues, including how to maintain the authenticity of their tradition and how to carefully negotiate the tensions created by their disparate cultural, religious, and political beliefs.
Wild parties, late nights, and lots of sex, drugs, and alcohol. Many assume these are the things that define an American teenager’s first year after high school. But the reality is really quite different. As Tim Clydesdale reports in The First Year Out, teenagers generally manage the increased responsibilities of everyday life immediately after graduation effectively. But, like many good things, this comes at a cost.
Tracking the daily lives of fifty young people making the transition to life after high school, Clydesdale reveals how teens settle into manageable patterns of substance use and sexual activity; how they meet the requirements of postsecondary education; and how they cope with new financial expectations. Most of them, we learn, handle the changes well because they make a priority of everyday life. But Clydesdale finds that teens also stow away their identities—religious, racial, political, or otherwise—during this period in exchange for acceptance into mainstream culture. This results in the absence of a long-range purpose for their lives and imposes limits on their desire to understand national politics and global issues, sometimes even affecting the ability to reconstruct their lives when tragedies occur.
The First Year Out is an invaluable resource for anyone caught up in the storm and stress of working with these young adults.
Vienna in the Age of Uncertainty traces the vital and varied roles of science through the story of three generations of the eminent Exner family, whose members included Nobel Prize–winning biologist Karl Frisch, the teachers of Freud and of physicist Erwin Schrödinger, artists of the Vienna Secession, and a leader of Vienna’s women’s movement. Training her critical eye on the Exners through the rise and fall of Austrian liberalism and into the rise of the Third Reich, Deborah R. Coen demonstrates the interdependence of the family’s scientific and domestic lives, exploring the ways in which public notions of rationality, objectivity, and autonomy were formed in the private sphere. Vienna in the Age of Uncertainty presents the story of the Exners as a microcosm of the larger achievements and tragedies of Austrian political and scientific life in the late nineteenth and early twentieth centuries.
Latin epics such as Virgil’s Aeneid, Lucan’s Civil War, and Statius’s Thebaid addressed Roman aristocrats whose dealings in gifts, favors, and payments defined their conceptions of social order. In The Commerce of War, Neil Coffee argues that these exchanges play a central yet overlooked role in epic depictions of Roman society.
Tracing the collapse of an aristocratic worldview across all three poems, Coffee highlights the distinction they draw between reciprocal gift giving among elites and the more problematic behaviors of buying and selling. In the Aeneid, customary gift and favor exchanges are undermined by characters who view human interaction as short-term and commodity-driven. The Civil War takes the next logical step, illuminating how Romans cope once commercial greed has supplanted traditional values. Concluding with the Thebaid, which focuses on the problems of excessive consumption rather than exchange, Coffee closes his powerful case that these poems constitute far-reaching critiques of Roman society during its transition from republic to empire.
In the late medieval era, pain could be a symbol of holiness, disease, sin, or truth. It could be encouragement to lead a moral life, a punishment for wrong doing, or a method of healing. Exploring the varied depictions and descriptions of pain—from martyrdom narratives to practices of torture and surgery—The Modulated Scream attempts to decode this culture of suffering in the Middle Ages.
Esther Cohen brings to life the cacophony of howls emerging from the written record of physicians, torturers, theologians, and mystics. In considering how people understood suffering, explained it, and meted it out, Cohen discovers that pain was imbued with multiple meanings. While interpreting pain was the province only of the rarified elite, harnessing pain for religious, moral, legal, and social purposes was a practice that pervaded all classes of Medieval life. In the overlap of these contradicting attitudes about what pain was for—how it was to be understood and who should use it—Cohen reveals the distinct and often conflicting cultural traditions and practices of late medieval Europeans. Ambitious and wide-ranging, The Modulated Scream is intellectual history at its most acute.
Few American artists in any medium have enjoyed the international and lasting cultural impact of Duke Ellington. From jazz standards such as “Mood Indigo” and “Don’t Get Around Much Anymore,” to his longer, more orchestral suites, to his leadership of the stellar big band he toured and performed with for decades after most big bands folded, Ellington represented a singular, pathbreaking force in music over the course of a half-century. At the same time, as one of the most prominent black public figures in history, Ellington demonstrated leadership on questions of civil rights, equality, and America’s role in the world.
With Duke Ellington’s America, Harvey G. Cohen paints a vivid picture of Ellington’s life and times, taking him from his youth in the black middle class enclave of Washington, D.C., to the heights of worldwide acclaim. Mining extensive archives, many never before available, plus new interviews with Ellington’s friends, family, band members, and business associates, Cohen illuminates his constantly evolving approach to composition, performance, and the music business—as well as issues of race, equality and religion. Ellington’s own voice, meanwhile, animates the book throughout, giving Duke Ellington’s America an intimacy and immediacy unmatched by any previous account.
By far the most thorough and nuanced portrait yet of this towering figure, Duke Ellington’s America highlights Ellington’s importance as a figure in American history as well as in American music.
Sex and Salvation chronicles the coming of age of a generation of women in Tamatave in the years that followed Madagascar’s economic liberalization. Eager to forge a viable future amid poverty and rising consumerism, many young women have entered the sexual economy in hope of finding a European husband. Just as many Westerners believe that young people break with the past as they enter adulthood, Malagasy citizens fear that these women have severed the connection to their history and culture.
Jennifer Cole’s elegant analysis shows how this notion of generational change is both wrong and consequential. It obscures the ways young people draw on long-standing ideas of gender and sexuality, it ignores how urbanites relate to their rural counterparts, and it neglects the relationship between these husband-seeking women and their elders who join Pentecostal churches. And yet, as talk about the women circulates through the city’s neighborhoods, bars, Internet cafes, and churches, it teaches others new ways of being.
Cole’s sophisticated depiction of how a generation’s coming of age contributes to social change eschews a narrow focus on crisis. Instead, she reveals how fantasies of rupture and conceptions of the changing life course shape the everyday ways that people create the future.
In recent years, scholarly interest in love has flourished. Historians have addressed the rise of romantic love and marriage in Europe and the United States, while anthropologists have explored the ways globalization has reshaped local ideas about those same topics. Yet, love in Africa has been peculiarly ignored, resulting in a serious lack of understanding about this vital element of social life—a glaring omission given the intense focus on sexuality in Africa in the wake of HIV/AIDS.
Love in Africa seeks both to understand this failure to consider love and to begin to correct it. In a substantive introduction and eight essays that examine a variety of countries and range in time from the 1930s to the present, the contributors collectively argue for the importance of paying attention to the many different cultural and historical strands that constitute love in Africa. Covering such diverse topics as the reception of Bollywood movies in 1950s Zanzibar, the effects of a Mexican telenovela on young people’s ideas about courtship in Niger, the models of romance promoted by South African and Kenyan magazines, and the complex relationship between love and money in Madagascar and South Africa, Love in Africa is a vivid and compelling look at love’s role in African society.
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