Throughout the NCAA Tournament’s history, underdogs, Cinderella stories, and upsets have captured the attention and imagination of fans. Making March Madness is the story of this premiere tournament, from its early days in Kansas City, to its move to Madison Square Garden, to its surviving a point-shaving scandal in New York and taking its games to different sites across the country.Chad Carlson’s analysis places college basketball in historical context and connects it to larger issues in sport and American society, providing fresh insights on a host of topics that readers will find interesting, illuminating, and thought provoking.
Jack Hill was a pioneering Arkansas documentary filmmaker dedicated to sharing his state’s history with a wider public. Following a decade as an award-winning investigative journalist and news anchor at KAIT in Jonesboro, Hill was pushed out by new management for his controversial reporting on corruption in a local sheriff’s office. What seemed like a major career setback turned out to be an opportunity: he founded the production company TeleVision for Arkansas, through which he produced dozens of original films. Although Hill brought an abiding interest in education and public health to this work from the beginning, he found his true calling in topics based in Arkansas history. Convinced that a greater acquaintance with the state’s most significant historical events would nurture a greater sense of homegrown pride, Hill tirelessly crisscrossed the state to capture the voices of hundreds of Arkansans recalling significant chapters in the state’s history, such as the oil boom in El Dorado and Smackover, the crucial contributions of the Arkansas Ordnance Plant in Jacksonville during World War II, and the role of Rosenwald Schools in expanding educational opportunities.
In Reporting for Arkansas, Dale Carpenter and Robert Cochran present a biography of Hill alongside an annotated selected filmography designed to accompany sixteen of his best films on subjects related to Arkansas history—all newly hosted online by the Center for Arkansas and Regional Studies at the University of Arkansas.
“This book is a fascinating analysis of race and class in the age of President Bill Clinton. It provides much-needed clarity in regards to the myth of the ‘First Black President.’ It contributes much to our understanding of the history that informs our present moment!”
—Cornel West
As President Barack Obama was sworn into office on January 20, 2009, the United States was abuzz with talk of the first African American president. At this historic moment, one man standing on the inaugural platform, seemingly a relic of the past, had actually been called by the moniker the “first black president” for years.
President William Jefferson Clinton had long enjoyed the support of African Americans during his political career, but the man from Hope also had a complex and tenuous relationship with this faction of his political base. Clinton stood at the nexus of intense political battles between conservatives’ demands for a return to the past and African Americans’ demands for change and fuller equality. He also struggled with the class dynamics dividing the American electorate, especially African Americans. Those with financial means seized newfound opportunities to go to college, enter the professions, pursue entrepreneurial ambitions, and engage in mainstream politics, while those without financial means were essentially left behind. The former became key to Clinton’s political success as he skillfully negotiated the African American class structure while at the same time maintaining the support of white Americans. The results were tremendously positive for some African Americans. For others, the Clinton presidency was devastating.
Brother Bill examines President Clinton’s political relationship with African Americans and illuminates the nuances of race and class at the end of the twentieth century, an era of technological, political, and social upheaval.
“A practical, highly informative, and sympathetic guide.”
—The Washington Post
Most of us will become a caregiver at some point in our lives. And we will assume this role for the most personal reason imaginable: wanting to help someone we love. But we may not know where to start, and we may be afraid of losing ourselves in this daunting task.
Former first lady Rosalynn Carter, a longtime advocate for caregivers and mental health, knows firsthand the challenges of this labor of love. Drawing upon her own experiences and those of hundreds of others whose stories she gathered over many decades, Mrs. Carter offers reassuring, practical advice to any caregiver who has faced stress, anxiety, or loneliness.
Helping Yourself Help Others, reissued here with a new foreword, is as relevant as ever. Long before the COVID-19 pandemic inspired national conversations about the vast undervaluing of unpaid caregiving, the dangers of burnout, and the merits of self-care for relief, Rosalynn Carter was shining a light on these matters and everything else that caregivers confront. Filled with empathy, this encouraging guide will help you meet a difficult challenge head-on and find fulfillment and empowerment in your caregiving role.
The candlefish, enormous schools of which enter the Pacific Northwest’s rivers in the spring, is so rich with oil that when supplied with a wick it can be used as a candle. Thus creatures of the water become transformed into instruments of fire and spirit, ultimately transcending this world.
Written as the author begins to navigate the second half of life, Candlefish unfolds along multiple lines of narrative and reflection. Each poem is rendered from experience and made incandescent by the spark of the author’s intellect and insight.
Whether tending the flower beds, skinnydipping on her birthday, conversing with a grown daughter, or bringing inside the teacup her husband can no longer carry, Elizabeth Biller Chapman distills each moment to its most vital components and makes them luminous with the necessity and surprise of relation.
Elizabeth Biller Chapman’s candlefish gracefully swim toward the pierced horizon all of us must face and are transformed by imaginative compassion as the book develops, season by season, from summer to spring.
When one thinks of the American Civil War, such names as Vicksburg, Gettysburg, and Chancellorsville come immediately to mind. Few recall the battles in the Trans-Mississippi theater.
Rugged and Sublime goes a long way toward filling regrettable blanks in our memory of Arkansas’s role in Civil War. It explore the major clashes and locales of the war, including the state secession convention, seizure of the Little Rock Arsenal, the Battle of Wilson’s Creek, the Pea Ridge campaign, Marmaduke’s invasion of Missouri, the Battle of Helena, and the fall of Little Rock, as well as other actions. Rounding out this new and very readable account are studies of the devolution of Arkansas society when bands of guerillas and jayhawkers menaced the state, the surrender of the Confederate armies, and an assessment of losses.
Collected from his published and heretofore unpublished work, the love poems of John Ciardi in Poems of Love and Marriage are a rich display of gentle wit, emotion, and craft. Not merely lyrics of youthful romance, these span the course of a love affair, of a life shared from first blush to old age.
These poems never disturb the sanctity of the private moment, but transcend the specific situation and bloom into universal recognition. And in his usual way of basking in those qualities which transform the ordinary into the unique, John Ciardi finds poignancy and truth in those elements of love and living together that so often go unnoticed.
Lights! Camera! Arkansas! traces the roles played by Arkansans in the first century of Hollywood’s film industry, from the first cowboy star, Broncho Billy Anderson, to Mary Steenburgen, Billy Bob Thornton, and many others. The Arkansas landscape also plays a starring role: North Little Rock’s cameo in Gone with the Wind, Crittenden County as a setting for Hallelujah (1929), and various locations in the state’s southeastern quadrant in 2012’s Mud are all given fascinating exploration.
Robert Cochran and Suzanne McCray screened close to two hundred films—from laughable box-office bombs to laudable examples of filmmaking -- in their research for this book. They’ve enhanced their spirited chronological narrative with an appendix on documentary films, a ratings section, and illustrations chosen by Jo Ellen Maack of the Old State House Museum, where Lights! Camera! Arkansas! debuted as an exhibit curated by the authors in 2013. The result is a book sure to entertain and inform those interested in Arkansas and the movies for years to come.
Serious Daring is the story of the complementary journeys of two American women artists, celebrated fiction writer Eudora Welty and internationally acclaimed photographer Rosamond Purcell, each of whom initially practiced, but then turned from, the art form ultimately pursued by the other.
For both Welty and Purcell, the art realized is full of the art seemingly abandoned. Welty’s short stories and novels use images of photographs, photographers, and photography. Purcell photographed books, texts, and writing.
Both women make compelling art out of the seeming tension between literary and visual cultures. Purcell wrote a memoir in which photographs became endnotes. Welty re-emerged as a photographer through the publication of four volumes of what she called her “snapshots,” magnificent black-and-white photographs of small-town Mississippi and New York City life.
Serious Daring is a fascinating look at how the road not taken can stubbornly accompany the chosen path, how what is seemingly left behind can become a haunting and vital presence in life and art.
Bruce Weber in the New York Times called Billy Collins “the most popular poet in America.” He is the author of many books of poetry, including, most recently, The Rain in Portugal: Poems.
In 1988 the University of Arkansas Press published Billy Collins’s The Apple That Astonished Paris, his “first real book of poems,” as he describes it in a new, delightful preface written expressly for this new printing to help celebrate both the Press’s twenty-fifth anniversary and this book, one of the Press’s all-time best sellers. In his usual witty and dry style, Collins writes, “I gathered together what I considered my best poems and threw them in the mail.” After “what seemed like a very long time” Press director Miller Williams, a poet as well, returned the poems to him in the “familiar self-addressed, stamped envelope.” He told Collins that there was good work here but that there was work to be done before he’d have a real collection he and the Press could be proud of: “Williams’s words were more encouragement than I had ever gotten before and more than enough to inspire me to begin taking my writing more seriously than I had before.”
This collection includes some of Collins’s most anthologized poems, including “Introduction to Poetry,” “Another Reason Why I Don’t Keep a Gun in the House,” and “Advice to Writers.” Its success over the years is testament to Collins’s talent as one of our best poets, and as he writes in the preface, “this new edition . . . is a credit to the sustained vibrancy of the University of Arkansas Press and, I suspect, to the abiding spirit of its former director, my first editorial father.”
Issue Editor: James Conant
Contributors: Robert Brandom, Eli Friedlander, Michael Friedman, Hannah Ginsborg, Arata Hamawaki, Andrea Kern, Michael Kremer, Thomas Land, Thomas Lockhart, Béatrice Longuenesse, John McDowell, A.W. Moore, Sebastian Rödl, and Clinton Tolley.
Contents:
Introduction – James Conant and Sebastian Rödl
THE FUNDAMENTAL CHARACTER OF THE SECOND PERSON AS A FORM OF CONSCIOUSNESS
Action and Passion – Anton Ford
What Binds Us Together: Normativity and the Second Person – Glenda Satne
Alethic Holdings – Jeremy Wanderer
THE SECOND PERSON AS A FORM OF PRACTICAL CONSCIOUSNESS
The Transmission of Skill – Will Small
For Oneself and Toward Another: The Puzzle about Recognition – Matthias Haase
THE SECOND PERSON AS THE FORM OF PRIVATE LAW
The Very Thought of (Wronging) You – Ariel Zylberman
The Idea of an Ethical Community: Kant and Hegel on the Necessity of Human Evil and the Love to Overcome It – Wolfram Gobsch
The Social and the Sociable – Stephen Darwall
THE PLACE OF THE SECOND PERSON IN THEORETICAL KNOWLEDGE
Theoretical Anarchism – Benjamin McMyler
Darwall on Action and the Idea of a Second-Personal Reason – Fabian Börchers
Kant on Testimony and the Communicability of Empirical Knowledge – Alexandra Newton
Testimony and Generality – Sebastian Rödl
ADDRESS AND ACKNOWLEDGMENT
Understanding Others in Social Interactions – Monika Dullstein
What Is It to Know Someone? – David Lauer
On Address – Adrian Haddock
Adelaide Cromwell’s pioneering work explores race and the social caste system in an atypical northern environment over a period of two centuries. Based on scholarly sources, interviews, and questionnaires, the study identifies those blacks in Boston who exercised political, economic, and social leadership from the end of the eighteenth century to the middle of the twentieth. The central focus is a comparison of black and white upper-class women in the 1940s.
This rare look at a black social microcosm not located in the South is seminal and timely. Because it concludes at a critical period in American history, The Other Brahmins paints a colorful backdrop for evaluating subsequent changes in urban sociology and stratification. In a groundbreaking study, Cromwell effectively challenges the simplistic notions of hierarchy as they pertain to race.
Finalist, 2018 Miller Williams Poetry Prize
Ya Te Veo takes as its title the name of a mythical tree that eats people. Like the branches of that tree, the poems in this book seem to capture and nourish themselves on a diverse cast of would-be passers-by, drawing their life-force from the resulting synthesis of characters. Among the seized are poets and painters alongside musicians from Garth Brooks to Wu-Tang Clan to the composer Morton Feldman, whose mysterious personality serves as a backdrop in many poems for meditations on intimacy, ethics, and anxiety.
As the phrase “ya te veo” (“I see you”) implies, this is a book interested in revealing what we think is hidden, in questioning the gap inside all of us, a gap between what we feel and what we say and do, making space for our many contradictions.
Like the works of Feldman, these poems focus and recede, experimenting with form in order to accomplish a state of deep concentration. They impersonate sonnets, ghazals, terza rima, monologues, translations, and freestyles, but inexactly, embracing failed imitation as an opportunity to remix the familiar.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press