Probing the relationship between German political economy and everyday fiscal administration, The Disordered Police State focuses on the cameral sciences—a peculiarly German body of knowledge designed to train state officials—and in so doing offers a new vision of science and practice during the seventeenth and eighteenth-centuries. Andre Wakefield shows that the cameral sciences were at once natural, technological, and economic disciplines, but, more important, they also were strategic sciences, designed to procure patronage for their authors and good publicity for the German principalities in which they lived and worked. Cameralism, then, was the public face of the prince's most secret affairs; as such, it was an essentially dishonest enterprise.
In an entertaining series of case studies on mining, textiles, forestry, and universities, Wakefield portrays cameralists in their own gritty terms. The result is a revolutionary new understanding about how the sciences created and maintained an image of the well-ordered police state in early modern Germany. In raising doubts about the status of these German sciences of the state, Wakefield ultimately questions many of our accepted narratives about science, culture, and society in early modern Europe.
Although Disposable Camera is Janet Foxman’s first book-length collection, one would not know it given the wry sophistication of the poems found within. The notion of the disposable camera permeates the entire book, where Foxman considers the instabilities in even our deepest attachments. Here gulfs expand, for instance, between twins, between the musician and his instrument, between the recluse and his inconsolable solitude. Whether a hermit; a twin; a filmgoer utterly taken with Triumph of the Will; or Masaccio, just after he’s painted the Expulsion—the poems’ speakers share a nagging anxiety that satisfaction may not exist outside the effort to imagine it, and that efforts at art and making, however compulsory to their executor, are probably regrettable from the start. A formally inventive and daring book, and one that displays a sophistication well beyond the poet’s years, Disposable Camera will be a valuable addition to American poetry.
Students in special education programs can have widely divergent experiences. For some, special education amounts to a dumping ground where schools unload their problem students, while for others, it provides access to services and accommodations that drastically improve chances of succeeding in school and beyond. Distinguishing Disability argues that this inequity in treatment is directly linked to the disparity in resources possessed by the students’ parents.
Since the mid-1970s, federal law has empowered parents of public school children to intervene in virtually every aspect of the decision making involved in special education. However, Colin Ong-Dean reveals that this power is generally available only to those parents with the money, educational background, and confidence needed to make effective claims about their children’s disabilities and related needs. Ong-Dean documents this class divide by examining a wealth of evidence, including historic rates of learning disability diagnosis, court decisions, and advice literature for parents of disabled children. In an era of expanding special education enrollment, Distinguishing Disability is a timely analysis of the way this expansion has created new kinds of inequality.
Winner of the 2007 Otto Kinkeldey Award from the American Musicological Society and the 2007 Deems Taylor Award from the American Society of Composers, Authors, and Publishers.
Divas and Scholars is a dazzling and beguiling account of how opera comes to the stage, filled with Philip Gossett’s personal experiences of triumphant—and even failed—performances and suffused with his towering and tonic passion for music. Writing as a fan, a musician, and a scholar, Gossett, the world's leading authority on the performance of Italian opera, brings colorfully to life the problems, and occasionally the scandals, that attend the production of some of our most favorite operas.
Gossett begins by tracing the social history of nineteenth-century Italian theaters in order to explain the nature of the musical scores from which performers have long worked. He then illuminates the often hidden but crucial negotiations opera scholars and opera conductors and performers: What does it mean to talk about performing from a critical edition? How does one determine what music to perform when multiple versions of an opera exist? What are the implications of omitting passages from an opera in a performance? In addition to vexing questions such as these, Gossett also tackles issues of ornamentation and transposition in vocal style, the matters of translation and adaptation, and even aspects of stage direction and set design.
Throughout this extensive and passionate work, Gossett enlivens his history with reports from his own experiences with major opera companies at venues ranging from the Metropolitan and Santa Fe operas to the Rossini Opera Festival at Pesaro. The result is a book that will enthrall both aficionados of Italian opera and newcomers seeking a reliable introduction to it—in all its incomparable grandeur and timeless allure.
Every night, somewhere in the world, three or four musicians will climb on stage together. Whether the gig is at a jazz club, a bar, or a bar mitzvah, the performance never begins with a note, but with a question. The trumpet player might turn to the bassist and ask, “Do you know ‘Body and Soul’?”—and from there the subtle craft of playing the jazz repertoire is tested in front of a live audience. These ordinary musicians may never have played together—they may never have met—so how do they smoothly put on a show without getting booed offstage.
In “Do You Know . . . ?” Robert R. Faulkner and Howard S. Becker—both jazz musicians with decades of experience performing—present the view from the bandstand, revealing the array of skills necessary for working musicians to do their jobs. While learning songs from sheet music or by ear helps, the jobbing musician’s lexicon is dauntingly massive: hundreds of thousands of tunes from jazz classics and pop standards to more exotic fare. Since it is impossible for anyone to memorize all of these songs, Faulkner and Becker show that musicians collectively negotiate and improvise their way to a successful performance. Players must explore each others’ areas of expertise, develop an ability to fake their way through unfamiliar territory, and respond to the unpredictable demands of their audience—whether an unexpected gang of polka fanatics or a tipsy father of the bride with an obscure favorite song.
“Do You Know . . . ?” dishes out entertaining stories and sharp insights drawn from the authors’ own experiences and observations as well as interviews with a range of musicians. Faulkner and Becker’s vivid, detailed portrait of the musician at work holds valuable lessons for anyone who has to think on the spot or under a spotlight.
Doctors are obviously influential in determining the costs of their services. But even more important, many believe, is the influence physicians have over the use and cost of nonphysician health-care resources and services. Doctors and Their Workshops is the first comprehensive attempt to use economic analysis to understand some of the physician effects on nonphysician aspects of health care.
Rómulo Gallegos is best known for being Venezuela’s first democratically elected president. But in his native land he is equally famous as a writer responsible for one of Venezuela’s literary treasures, the novel Doña Barbara. Published in 1929 and all but forgotten by Anglophone readers, Doña Barbara is one of the first examples of magical realism, laying the groundwork for later authors such as Gabriel García Márquez and Mario Vargas Llosa.
Following the epic struggle between two cousins for an estate in Venezuela, Doña Barbara is an examination of the conflict between town and country, violence and intellect, male and female. Doña Barbara is a beautiful and mysterious woman—rumored to be a witch—with a ferocious power over men. When her cousin Santos Luzardo returns to the plains in order to reclaim his land and cattle, he reluctantly faces off against Doña Barbara, and their battle becomes simultaneously one of violence and seduction. All of the action is set against the stunning backdrop of the Venezuelan prairie, described in loving detail. Gallegos’s plains are filled with dangerous ranchers, intrepid cowboys, and damsels in distress, all broadly and vividly drawn. A masterful novel with an important role in the inception of magical realism, Doña Barbara is a suspenseful tale that blends fantasy, adventure, and romance.
Hailed as “the Bovary of the llano” by Larry McMurtry in his new foreword to this book, Doña Barbarais a magnetic and memorable heroine, who has inspired numerous adaptations on the big and small screens, including a recent television show that aired on Telemundo.
From Second Draft:
What other people learn
From birth,
Betrayal,
I learned late.
My soul perched
On an olive branch
Combing itself,
Waving its plumes. I said
Being mortal,
I aspire to
Mortal things.
I need you,
Said my soul,
If you’re telling the truth.
Draft of a Letter is a book about belief—not belief in the unknowable but belief in what seems bewilderingly plain. Pondering the bodies we inhabit, the words we speak, these poems discover infinitude in the most familiar places. The revelation is disorienting and, as a result, these poems talk to themselves, revise themselves, fashioning a dialogue between self and soul that opens outward to include other voices, lovers, children, angels, and ghosts. For James Longenbach, great distance makes the messages we send sweeter. To be divided from ourselves is never to be alone. “If the kingdom is in the sky,” says the body to the soul, “Birds will get there before you.” “In time,” says the awakening soul, “I liked my second / Body better / Than the first.” To live, these poems insist, is to arise every day to the strange magnificence of the people and places we thought we knew best. Draft of a Letter is an unsettled and radiant paradiso, imagined in the death-shadowed, birth-haunted middle of a long life.
Praise for Fleet River
“A sensibility this cogent, this subtle and austere is rare; even rarer is its proof that poetry still flows through all things and transforms all things in the process.”—Carol Muske-Dukes, Los Angeles Times Book Review
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