Many Jewish artists and writers contributed to the creation of popular comics and graphic novels, and in The Quest for Jewish Belief and Identity in the Graphic Novel, Stephen E. Tabachnick takes readers on an engaging tour of graphic novels that explore themes of Jewish identity and belief.

The creators of Superman (Jerry Siegel and Joe Shuster), Batman (Bob Kane and Bill Finger), and the Marvel superheroes (Stan Lee and Jack Kirby), were Jewish, as was the founding editor of Mad magazine (Harvey Kurtzman). They often adapted Jewish folktales (like the Golem) or religious stories (such as the origin of Moses) for their comics, depicting characters wrestling with supernatural people and events. Likewise, some of the most significant graphic novels by Jews or about Jewish subject matter deal with questions of religious belief and Jewish identity. Their characters wrestle with belief—or nonbelief—in God, as well as with their own relationship to the Jews, the historical role of the Jewish people, the politics of Israel, and other issues related to Jewish identity.

In The Quest for Jewish Belief and Identity in the Graphic Novel, Stephen E. Tabachnick delves into the vivid kaleidoscope of Jewish beliefs and identities, ranging from Orthodox belief to complete atheism, and a spectrum of feelings about identification with other Jews. He explores graphic novels at the highest echelon of the genre by more than thirty artists and writers, among them Harvey Pekar (American Splendor), Will Eisner (A Contract with God), Joann Sfar (The Rabbi’s Cat), Miriam Katin (We Are On Our Own), Art Spiegelman (Maus), J. T. Waldman (Megillat Esther), Aline Kominsky Crumb (Need More Love), James Sturm (The Golem’s Mighty Swing), Leela Corman (Unterzakhn), Ari Folman and David Polonsky (Waltz with Bashir), David Mairowitz and Robert Crumb’s biography of Kafka, and many more. He also examines the work of a select few non-Jewish artists, such as Robert Crumb and Basil Wolverton, both of whom have created graphic adaptations of parts of the Hebrew Bible.

Among the topics he discusses are graphic novel adaptations of the Bible; the Holocaust graphic novel; graphic novels about the Jews in Eastern and Western Europe and Africa, and the American Jewish immigrant experience; graphic novels about the lives of Jewish women; the Israel-centered graphic novel; and the Orthodox graphic novel. The book concludes with an extensive bibliography.

No study of Jewish literature and art today can be complete without a survey of the graphic novel, and scholars, students, and graphic novel fans alike will delight in Tabachnick’s guide to this world of thought, sensibility, and artfulness.

"As befits a state in which coal, iron, and steel were the bulwarks of its industrial sector, Taft stresses that history of unionism among coal miners and iron and steel workers. Here we learn much about the experiences of the United Mine Workers of America and the Steel Workers Organizing Committee—United Steelworkers of America in the Deep South. Yet Taft does not neglect the history of other Alabama workers. Building tradesmen, railroad employees, textile millhands, and Gadsden’s rubber workers all appear in the pages of this book. Here we have the most complete and modern history of a state labor movement in the South written from the perspective of its institutional leaders." —American Historical Review

 

The essays are written from the engaged perspective of an active poet for other poets, as well as for those who would like to read and think about poetry in a participatory fashion. The essays thus present “inside narratives” of some of the most challenging contemporary American poetry.
 

The range of Songs of Degrees extends from the Black Mountain poets Charles Olson and Robert Duncan to such “language poets as Bruce Andres and Susan Howe. Taggart closely examines the work of the objectivist poets George Oppen and Louis Zukofsky. Three essays are devoted to each of these poets, providing detailed readings of individual poems and considerations of each poet’s overall achievement. Taggart also concentrates on poets whose work has not been widely recognized or is only now beginning to be recognized. These include Theodore Enslin, Frank Samperi, and William Bronk. Taggart’s essay “Reading William Bronk” is the first extensive reading of this relatively unknown but truly outstanding poet.

Taggart’s essays also focus on his own poetry. He describes the composition process and the thinking behind it, as well as the poet’s own evolving sense of what the poem can and ought to be. These very personal reflections are unique in their attention to current questions concerning form and the issue of spiritual vision. Avoiding political and cultural reductionism, Taggart throughout keeps his eye—and heart—on the poetic, singing his own “Songs of Degrees,” even as he discovers notes of the same music in the works of other.

An accessible overview of five major issues in sociolinguistics and the relationship between language and power

This book analyzes the key ways in which language constitutes and conveys power and social relationships in modern society. It offers selected readings that illustrate the thematic introductions and a set of tasks designed to guide linguistic analysis of data and to stimulate student discussion, in five specific areas:

• Multilingualism, Identity, and Ethnicity: examines the phenomena of linguistic diversity from the perspective of language planning and language policies, with emphasis on personal, psychological, educational, cultural, and political issues.

• Language and Youth: examines the languages of old age and the language of youth subcultures.

• Language and Gender: explores the claim that men and women use interactional communication styles based on power and solidarity, respectively.

• Language and the Media: considers the extent to which verbal interaction through mass media differs from other kinds of communication and its consequences in terms of power relations.

• Language and Organizations: explores the use of language as a tool of power in public institutions and bureaucracies and how control over individuals is articulated through a range of different discourse structures and strategies.

With a unique combination of selected readings and student-centered tasks in a single volume, Language and Power in the Modern World covers contemporary issues of communication theory and sociolinguistics, ranging from the global to the interpersonal.

A surrealist account of the creative and descriptive arts.

In these five surrealist collages, waking life continually gives way before the onslaught of dreams. Yuriy Tarnawsky has condensed the vastness of scope typical of novels into shorter fragments—mininovels—that require the reader’s active participation. The tone is a balance of dead-pan comedy and solemn gothic, sometimes a near-parody of wide-eyed candor, sometimes recounting utterly mad or barely conceivable states of affairs.

A candidate for major surgery struggles unsuccessfully to avoid it. Two strangers meet, and eventually marry, after participating in scream therapy. A pianist stops playing because he believes his hand is not there when he sits at the keyboard. A character sees the giant blue and white flowers he has craved his whole life only at the instance of his electrocution. Tyler Pavarotti, a tailor, voluntarily takes a role in a production in which he will be killed.

Tarnawsky’s language is elegant and careful, and his studied concentration of rhythm allows his work to transcend prose, nestling somewhere within the realm of musical composition. Both tragic and beautiful, in these stories life dissolves in time like blood in water.

 

Tarry relates her life against the background of a changing American society

In pursuit of her dream of becoming a writer, Tarry moved to New York, where she worked for black newspapers and became acquainted with some of the prominent black artists and writers of the day, particularly Claude McKay and James Weldon Johnson. Her devotion to the church found expression in social work activities, first in Harlem, then in Chicago, and, during World War II, in Anniston, Alabama, where she directed a USO for black soldiers stationed at Fort McClellan. Tarry wrote several books for young readers, including biographies of James Weldon Johnson and Pierre Toussaint. She continued her social work career after the war and now lives in New York.

Devoid of pronounced racial markings, Tarry’s interactions with white Americans were not characterized by fear or distrust. But when her own brown daughter was subjected to racial discrimination she wrote The Third Door in 1955 to tell America about the plight of her people. With prose that is both moving and powerful, Tarry relates her life against the background of a changing American society. She still awaits the third door, designated neither “white” nor “colored,” through which all American will someday walk.

Examines the interdenominational pursuits of the American Presbyterian Church from 1758 to 1801

In Unity in Christ and Country: American Presbyterians in the Revolutionary Era, 1758–1801, William Harrison Taylor investigates the American Presbyterian Church’s pursuit of Christian unity and demonstrates how, through this effort, the church helped to shape the issues that gripped the American imagination, including evangelism, the conflict with Great Britain, slavery, nationalism, and sectionalism. When the colonial Presbyterian Church reunited in 1758, a nearly twenty-year schism was brought to an end. To aid in reconciling the factions, church leaders called for Presbyterians to work more closely with other Christian denominations. Their ultimate goal was to heal divisions, not just within their own faith but also within colonial North America as a whole.
 
Taylor contends that a self-imposed interdenominational transformation began in the American Presbyterian Church upon its reunion in 1758. However, this process was altered by the church’s experience during the American Revolution, which resulted in goals of Christian unity that had both spiritual and national objectives. Nonetheless, by the end of the century, even as the leaders in the Presbyterian Church strove for unity in Christ and country, fissures began to develop in the church that would one day divide it and further the sectional rift that would lead to the Civil War.
 
Taylor engages a variety of sources, including the published and unpublished works of both the Synods of New York and Philadelphia and the General Assembly of the Presbyterian Church in the United States, as well as numerous published and unpublished Presbyterian sermons, lectures, hymnals, poetry, and letters. Scholars of religious history, particularly those interested in the Reformed tradition, and specifically Presbyterianism, should find Unity in Christ and Country useful as a way to consider the importance of the theology’s intellectual and pragmatic implications for members of the faith.

Panic Fiction explores a unique body of antebellum American women’s writing that illuminates women’s relationships to the marketplace and the links between developing ideologies of domesticity and the formation of an American middle class.

Between the mid-1830s and the late 1850s, authors such as Hannah Lee, Catharine Sedgwick, Eliza Follen, Maria McIntosh, and Maria Cummins wrote dozens of novels and stories depicting the effects of financial panic on the home and proposing solutions to economic instability. This unique body of antebellum American women’s writing, which integrated economic discourse with the language and conventions of domestic fiction, is what critic Mary Templin terms “panic fiction.”

In Panic Fiction: Antebellum Women Writers and Economic Crisis, Templin draws in part from the methods of New Historicism and cultural studies, situating these authors and their texts within the historical and cultural contexts of their time. She explores events surrounding the panics of 1837 and 1857, prevalent attitudes toward speculation and failure as seen in newspapers and other contemporaneous texts, women’s relationships to the marketplace, and the connections between domestic ideology and middle-class formation.

Although largely unknown today, the phenomena of “panic fiction” was extremely popular in its time and had an enormous influence on nineteenth-century popular conceptions of speculation, failure, and the need for marketplace reform, providing a distinct counterpoint to the analysis of panic found in newspapers, public speeches, and male-authored literary texts of the time.

The essays in this collection illuminate both the processes of change and the negative reactions that they frequently elicited

Yucatan has been called “a world apart”—cut off from the rest of Mexico by geography and culture. Yet, despite its peripheral location, the region experienced substantial change in the decades after independence. As elsewhere in Mexico, apostles of modernization introduced policies intended to remold Yucatan in the image of the advanced nations of the day. Indeed, modernizing change began in the late colonial era and continued throughout the 19th century as traditional patterns of land tenure were altered and efforts were made to divest the Catholic Church of its wealth and political and intellectual influence. Some changes, however, produced fierce resistance from both elites and humbler Yucatecans and modernizers were frequently forced to retreat or at least reach accommodation with their foes.

Covering topics from the early 19th century to the late 20th century, the essays in this collection illuminate both the processes of change and the negative reactions that they frequently elicited. The diversity of disciplines covered by this volume—history, anthropology, sociology, economics—illuminates at least three overriding challenges for study of the peninsula today. One is politics after the decline of the Institutional Revolutionary Party: What are the important institutions, practices, and discourses of politics in a post-postrevolutionary era? A second trend is the scholarly demystification of the Maya: Anthropologists have shown the difficulties of applying monolithic terms like Maya in a society where ethnic relations are often situational and ethnic boundaries are fluid. And a third consideration: researchers are only now beginning to grapple with the region’s transition to a post-henequen economy based on tourism, migration, and the assembly plants known as maquiladoras. Challenges from agribusiness and industry will no doubt continue to affect the peninsula’s fragile Karst topography and unique environments.

Contributors: Eric N. Baklanoff, Helen Delpar, Paul K. Eiss, Ben W. Fallaw, Gilbert M. Joseph, Marie Lapointe, Othón Baños Ramírez, Hernán Menéndez Rodríguez, Lynda S. Morrison, Terry Rugeley, Stephanie J. Smith

"First published in 1940 as part of the information-gathering effort of the TVA, the work examines Gorgas, Alabama, a predominantly white farming settlement. Hailed as the most intensive case study ever made in the South, the book provides a detailed portrait of southern rural life on the verge of extinction."
—Florida Historical Quarterly

"One of the finest examples of the genre of the community survey. . . The book is remarkably free of special pleading. And every chapter is paced with fascinating data and insights. The University of Alabama Prss is to be congratulated for reissuing this splendid community study; the volume fits the description of a classic. And Clarence L. Mohr's introduction alone is worth the price of the volume."
—Journal of Southwest Georgia History

Stage properties are an often-ignored aspect of theatrical productions, in part because their usage is meant to be seamlessly integrated into the performance instead of a focal point for the audience. However, a skillfully used prop can augment the action, just as a malfunctioning prop can destroy the illusion of the scene. The essays in “Theatre Symposium: Volume 18” approach the subject of stage props from many angles, and include examinations of props in contemporary and historical productions, explorations of the cultural significance of specific props, and arguments about the nature of the prop itself.

The contributors illuminate many aspects of this largely ignored yet crucial part of the theatre. Kyna Hamill looks at props as a means to mark social status. Christine Woodworth addresses the challenges presented by using blood onstage, while Andrew Sofer discusses the use of prop corpses on the Shakespearean stage. Andrew Kimbrough moves from an examination of actors’ use of props to a consideration of audience response to performance. Other essays investigate specific objects or productions, and introduce provocative and original perspectives to the growing discussion about stage properties.

Situated at the head of the Alabama River system—at the juncture of the Coosa and Tallapoosa rivers—Fort Toulouse in 1717 was planned to keep the local Indians neutral, if not loyal, to the French and contain the British in their southernmost Atlantic colonies. Unlike the usual frontier settlements, Fort Toulouse was both a diplomatic post, since its officers acted as resident ministers, and a military post. Because it was located in a friendly territory adjoining an area under a rival (British) influence, the post participated in psychological warfare rather than in blood-letting. It used trade and aid, and was familiar with spies and double-agents—welcoming and debriefing British defectors; no cannon was discharged in anger at Toulouse.

The most eminent figure to have been connected directly with Fort Toulouse was General Andrew Jackson, who established a military post there during the War of 1812 after his victory over the Indians at Horseshoe Bend. The outpost was named Fort Jackson in his honor and played a key role in the treaty negotiations and eventual settlement of the Indian land by Americans.

In addition to discussing geopolitical and military affairs and diplomatic relations with Indian chiefs, Thomas describes daily life at the post and the variety of interactions between residents and visitors. Waselkov's introduction places the original 1960 book within the context of the existing scholarship of that time and adds an extensive and enlightening review of the most recent archaeological and historical research to Thomas' pioneering work.

Winner of the Elizabeth Agee Prize in American Literature

Sissy!: The Effeminate Paradox in Postwar US Literature and Culture is a fascinating work of cultural criticism that focuses on the ways men and boys deemed to be feminine have been—and continue to be—condemned for their personalities and behavior. Critic Harry Thomas Jr. does not dismiss this approach, but rather identifies it as merely one side of a coin. On the other side, he asserts, the opposite exists: an American artistic tradition that celebrates and affirms effeminate masculinity.
 
The author argues that effeminate men and boys are generally portrayed using the grotesque, an artistic mode concerned with the depictions of hybrid bodies. Thomas argues that the often grotesque imagery used to depict effeminate men evokes a complicated array of emotions, a mix of revulsion and fascination that cannot be completely separated from one another.
 
Thomas looks to the sissies in the 1940s novels of Truman Capote and Carson McCullers; the truth-telling flaming princesses of James Baldwin’s Giovanni’s Room; the superstardom of pop culture icon Liberace; the prophetic queens of Tony Kushner’s Angels in America; and many others to demonstrate how effeminate men have often been adored because they are seen as the promise of a different world, one free from the bounds of heteronormativity.

Sissy! offers an unprecedented and counterintuitive overview of cultural and artistic attitudes toward male effeminacy in post–World War II America and provides a unique and contemporary reinterpretation of the “sissy” figure in modern art and literature. 

This broad overview by an established poet and cultural critic reveals the rich tapestry of African American poetry as it has emerged over the past century.

From early 20th-century writings to present-day poetry slams, African American poetry exhibits an impressive range of style and substance. Lorenzo Thomas has written an important new history of the genre that offers a critical reassessment of its development in the 20th century within the contexts of modernism and the troubled racial history of the United States.

Basing his study on literary history, cultural criticism, and close readings, Thomas revives and appraises the writings of a number of this century's most important African American poets, including Margaret Walker, Amiri Baraka, Askia M. Toure, Harryette Mullen, and Kalamu ya Salaam. Thomas analyzes the work of Fenton Johnson within the context of emerging race consciousness in Chicago, contributes to critical appraisals of William Stanley Braithwaite and Melvin B. Tolson, and examines the Black Arts Movement of the 1960s and 1970s. Throughout the book, Thomas demonstrates the continuity within the Afrocentric tradition while acknowledging the wide range of stylistic approaches and ideological stances that the tradition embraces.

By reassessing the African American poetry tradition, Thomas effectively reassesses the history of all 20th-century American literature by exploring avenues of debate that have not yet received sufficient attention. Written with intelligence and humor, his book is itself an extraordinary measure that reflects years of scholarship and opens up African American poetry to a wider audience.

 Between 1890 and 1920, middle-class white and black Alabama women created many clubs and organizations that took them out of the home and provided them with roles in the public sphere. Beginning with the Alabama Woman’s Christian Temperance Union in the 1880s and followed by the Alabama Federation of Women’s Clubs and the Alabama Federation of Colored Women’s Clubs in the 1890s, women spearheaded the drive to eliminate child labor, worked to improve the educational system, upgraded the jails and prisons, and created reform schools for both boys and girls.

The curtain rises on Theatre and Youth, volume 23 of Theatre Symposium with keynote reflections by Suzan Zeder, the distinguished playwright of theatre for youth, and presents eleven original essays about theatre’s reflections of youth and the role of young people in making and performing theatre.
 
The first set of essays draws from robustly diverse sources: the work of Frank Wedekind in nineteenth-century Germany, Peter Pan’s several stage incarnations, Evgeny Shvarts’s antitotalitarian plays in Soviet Russia, and Christopher Marlowe’s Dido, Queen of Carthage, whose depictions of childhood comment on both the classical period as well as Marlowe’s own Elizabethan age.
 
The second part of the collection explores and illustrates how youth participate in theatre, the cognitive benefits youth reap from theatre practice, and the ameliorating power of theatre to help at-risk youth. These essays show fascinating and valuable case studies of, for example, theatre employed in geography curricula to strengthen spatial thinking, theatre as an antidote to youth delinquency, and theatre teaching Latinos in the south strategies for coping in a multilingual world.
 
Rounding out this exemplary collection are a pair of essays that survey the state of the art, the significance of theatre-for-youth programming choices, and the shifting attitudes young Americans are bringing to the discipline. Eclectic and vital, this expertly curated collection will be of interest to educators and theatre professionals alike.

That theatre is a business remains a truth often ignored by theatre insiders and consumers of the performing arts alike. The essays in Theatre Symposium, Volume 22 explore theatre as a commercial enterprise both historically and as a continuing part of the creation, production, and presentation of contemporary live performance.
 
The eleven contributors to this fascinating collection illuminate many aspects of commercial theatre and how best to examine it. George Pate analyzes the high-stakes implication of a melodramatic legal battle. Christine Woodworth recounts the difficulties encountered by British actresses near the turn of the twentieth century, while Boone J. Hopkins considers newly found images of Margo Jones along with the commercial appeal they represent.
 
The volume continues with articles that follow developments with ties to commercial theatre, such as the interplay between Broadway companies and regional theatres, musical productions in communist Poland, and the influence of Korean popular culture on theatre and the unique production arrangements that have resulted. Other essays investigate alternative concepts related to commercial themes with regard to audience interaction and the burgeoning world of geek theatre.
 
Edited by David S. Thompson, this latest publication by the largest regional theatre organization in the United States collects the most current scholarship on theatre history and theory.

Explores the ways in which white Christian leaders in Richmond, Virginia navigated the shifting legal and political battles around desegregation even as members of their congregations struggled with their own understanding of a segregated society

Douglas E. Thompson’s Richmond’s Priests and Prophets: Race, Religion, and Social Change in the Civil Rights Era presents a compelling study of religious leaders’ impact on the political progression of Richmond, Virginia, during the time of desegregation. Scrutinizing this city as an entry point into white Christians’ struggles with segregation during the 1950s, Thompson analyzes the internal tensions between ministers, the members of their churches, and an evolving world.
 
In the mid-twentieth-century American South, white Christians were challenged repeatedly by new ideas and social criteria. Neighborhood demographics were shifting, public schools were beginning to integrate, and ministers’ influence was expanding. Although many pastors supported the transition into desegregated society, the social pressure to keep life divided along racial lines placed Richmond’s ministers on a collision course with forces inside their own congregations. Thompson reveals that, to navigate the ideals of Christianity within a complex historical setting, white religious leaders adopted priestly and prophetic roles.
 
Moreover, the author argues that, until now, the historiography has not viewed white Christian churches with the nuance necessary to understand their diverse reactions to desegregation. His approach reveals the ways in which desegregationists attempted to change their communities’ minds, while also demonstrating why change came so slowly—highlighting the deeply emotional and intellectual dilemma of many southerners whose worldview was fundamentally structured by race and class hierarchies.

The Myth of Water is a cycle of thirty-four poems by award-winning Alabama poet and writer Jeanie Thompson in the voice of world-renowned Alabamian Helen Keller. In their sweep, the poems trace Keller’s metamorphosis from a native of a bucolic Alabama town to her emergence as a beloved, international figure who championed the rights of the deaf-blind worldwide.
 
Thompson’s artfully concatenated vignettes form a mosaic that maps the insightful mind behind the elegant and enigmatic persona Keller projected. Thompson takes readers on the journey of Keller’s life, from some of the thirty-seven countries she visited, including the British Isles, Europe, and Japan to the wellsprings of her emotional awakening and insight. The poems are paired with fascinating biographical anecdotes from Keller’s life and samplings from her writing, which infuse the work with richly-rewarding biographical detail.
 
The poems in The Myth of Water reveal the discerning subtlety, resiliency, and complexity of the person Thompson perceives Helen Keller to have been. Through a combination of natural intuition, manual signs, Braille alphabets, and lip reading, Keller came to grasp the revolving tapestry of the seasons and the infinite colors of human relationships.
 
Not a biography or a fictional retelling, The Myth of Water attempts to unlock what moved Keller to her life of service and self-examination. This is a deeply personal story of coming through—not overcoming—a double disability to a fully realized life in which a woman gives her heart to the world.

 

 

This classic study brings to bear the findings and principles of political science, sociology, psychology, and economics on various proposals for the solution of ills traditionally associated with governmental administration.

Modern Organization is a classic text of organization development that addresses the complications that occur in power structures within which workers with specialized skills are managed by superiors without those skills. Thompson is interested in exploring and righting the creative tensions between knowledge and power, demonstrating that within hierarchical structures, the wielders of power often lack not only the technical know-how of their employees but charisma and other attributes that would win the loyalty and confidence of those employees.

 

Thompson coins the phrase “bureaupathic” behavior to describe the rise in a perceived need for regulations and rituals that result from the insecurity in these structures. This behavior only confounds working life and efficiency. Technical specialization is rapidly advancing, while cultural definitions of authority are not. Authority must be redefined in order to make allowances for its limitations. What once made a leader, namely charisma, may no longer suffice. 

Alabama’s present constitution, adopted in 1901, is widely viewed as the source of many, if not most, of the state’s historic difficulties and inequities. Chief among these is a poorly funded school system, an imbalanced tax system that favors special business interests, legislated racism, and unchecked urban sprawl. Many citizens believe that, after 100 years of overburdening amendments and confusing addendums, the constitution urgently needs rewriting.

With this book, Bailey Thomson has assembled the best scholarship on the constitution, its history, and its implications for the future. Historian Harvey H. Jackson III details the degree to which the 1901 document was drafted as a legal tool to ensure white supremacy at the expense of poor whites and blacks, while Joe A. Sumners illustrates how the constitution ties the hands of elected civic leaders by handing authority for local decisions to state government in Montgomery. James W. Williams Jr. explores the impact of the state constitution on the beleaguered tax system and the three principal “revenue crises” it has engendered. Thomson’s own contribution explains how, in contrast to the previous failed attempts for constitutional change by past governors who appealed to their fellow power brokers, the current reform movement arose from the grassroots level.

As citizens and politicians in Alabama review the 1901 constitution for revision, as they navigate the pitfalls and opportunities inherent in change, it is incumbent that they inform themselves adequately on the controversies that have swirled around the constitution since its adoption. The future of Alabama’s government will depend upon it, as will the fortunes of Alabama’s business interests and the well-being of every citizen in the state for years to come.

Immigrants lost in the blistering expanse of the Sonoran Desert, problem bears, bats pollinating saguaros, a Good Samaritan filling tanks at emergency water stations, and the terrified runaway boy who shoots him pierce the heart and mind of Rosana Derais. “Vanishings,” the first story in Silence & Song, is a love letter, a prayer to these strangers whose lives penetrate and transform Rosana’s own sorrow.
 
In “Translations,” the prose poem connecting the two longer fictions, child refugees at a multilingual literacy center in Salt Lake City discover the merciful “translation” of dance and pantomime.
 
The convergence of two disparate events—a random murder in Seattle and the nuclear accident at Chernobyl—catalyze the startling, eruptive form of the concluding piece,“requiem: home: and the rain, after.” Narrated in first person by the killer’s sister and plural first person by the “liquidators” who come to the Evacuation Zone to bury entire villages poisoned by radioactive fallout, “requiem” navigates the immediate trauma of murder and environmental disaster; personal and global devastation; and the remarkable recovery of the miraculously diverse more-than-human world. 

Presents the story of the civil rights movement from the perspective of community-municipal history at the grassroots level

Thornton demonstrates that the movement had powerful local sources in its three birth cities—Montgomery, Birmingham, and Selma. There, the arcane mechanisms of state and city governance and the missteps of municipal politicians and civic leaders—independent of emerging national trends in racial mores—led to the great swell of energy for change that became the civil rights movement.

The only comprehensive description of the fossil-vertebrate content of this important part of the world.

This book documents the period when a handful of University of Alabama student activists formed an alliance with President Frank A. Rose, his staff, and a small group of progressive-minded professors in order to transform the university during a time of social and political turmoil. Together they engaged in a struggle against Governor George Wallace and a state legislature that reflected the worst aspects of racism in a state where the passage of civil rights legislation in 1964 and 1965 did little to reduce segregation and much to inflame the fears and passions of many white Alabamians.

Earl H. Tilford details the origins of the student movement from within the Student Government Association, whose leaders included Ralph Knowles and future governor Don Siegelman, among others; the participation of key members of “The Machine,” the political faction made up of the powerful fraternities and sororities on campus; and the efforts of more radical non-Greek students like Jack Drake, Ed Still, and Sondra Nesmith. Tilford also details the political maneuverings that drove the cause of social change through multiple administrations at the university. Turning the Tide highlights the contributions of university presidents Frank A. Rose and David Mathews, as well as administrators like the dean of men John L. Blackburn, who supported the student leaders but also encouraged them to work within the system rather than against it.

Based on archival research, interviews with many of the principal participants, and the author’s personal experiences, Tilford’s Turning the Tide is a compelling portrait of a university in transition during the turbulence surrounding the civil rights and anti-war movements of the 1960s.

Tintner provides a detailed analysis of the complex interplay between Wharton and James—how they influenced each other and how some of their writings operate as homages or personal jokes. So deeply was James in Wharton’s confidence, Tintner argues, that he provided her with source models for a number of her characters. In addition, Wharton found in his fiction structures for her own, especially for The Age of Innocence.

Tintner also brings her considerable knowledge of art history to bear in her study of art allusions in Wharton’s work. Wharton’s response both to the Italian painters active before Raphael and to the English Pre-Raphaelites of a generation before her own is analyzed here in three essays. These pieces demonstrate Wharton’s sensibility to changes in art tastes and collecting, the inheritance of Rossetti’s revolutionary paintings in the unfinished novel, The Buccaneers, and the importance of home in The Glimpses of the Moon, as demonstrated by Wharton’s use of Tiepolo’s fresco in the church of Scalzi.

Tintner concludes by considering Wharton’s literary legacy and who Wharton has figured in the imaginations of recent writers, including Richard Howard, Louis Auchincloss, and Cathleen Schine. Tintner finds some part of Wharton’s personality or work evoked in a number of contemporary works and argues that this presence signals the beginning of an increasing influence.

A stunning new collection of stories by a master fictionist, Once Human shows the ways to go beyond standard maps of simple understanding

A manga artist who is afraid that she herself is slipping into a cartoon version of life, a lab technician who makes art with the cloning technology she uses at work, a sociologist hunting for the gene that makes some people want to take risks—these are some of the characters that populate the stories in Once Human. Exploring the spaces where life is shaped by science and the technologies we bring into being, Steve Tomasula’s characters often find that the harder they look at the world, the less they can say. The map that emerges from these stories charts the territory of human longing and the failure of poetry, science, and technology to explain the “why” of the world, if not its “how.”

Cotton-Patch Schoolhouse is a memoir of the author’s year as a young and inexperienced teacher in rural Marengo County, several miles from Linden, Alabama, in 1926. Seeking to earn money to continue college after her freshman year at Alabama College in Montevallo, the author welcomed the opportunity to teach eight children at five different grade levels in a one-room schoolhouse in the middle of a cotton field. Youthful enthusiasm, native wit, and a sense of adventure helped her transform the simple schoolhouse into a place of learning and excitement.

In Edith Wharton’s works, references to architecture, interior decoration, painting, sculpture, and fashion abound. As these essays demonstrate, art and objects are for Wharton evidence of cultural belief and reflect the values, assumptions, and customs of the burgeoning consumer culture in which she lived and about which she wrote. Furthermore, her meditations about issues of architecture, design, and decoration serve as important commentaries on her vision of the literary arts.

In The Decoration of Houses she notes that furniture and bric-à-brac are often crowded into a room in order to compensate for a "lack of architectural composition in the treatment of the walls," and that unless an ornamental object "adequately expresses an artistic conception" it is better removed from the room. These aesthetic standards apply equally to her construction of narratives and are evidence of a sensibility that counters typical understandings of Wharton as a novelist of manners and place her instead as an important figure in the development of American literary modernism.

Essays in this collection address issues such as parallels between her characters and the houses they occupy; dress as a metaphor for the flux of critical fashion; the marketing of Wharton's work to a growing female readership ; her relationship to mass culture industries such as advertising, theater, and cinema; the tableaux vivant both as set piece and as fictional strategy; the representation of female bodies as objets d’art; and her characters’ attempts at self-definition through the acquisition and consumption of material goods. All of Wharton’s major novels—The House of Mirth, The Fruit of the Tree, Ethan Frome, The Custom of the Country, Summer, The Age of Innocence, and Twilight Sleep—as well as her short stories, criticism, and essays are explored.

Gary Totten is Assistant Professor of English at North Dakota State University. His essays on Wharton and her contemporaries have appeared in American Indian Quarterly, American Literary Realism, College Literature, Dreiser Studies, and MELUS.

Explores the crucial role of rhetoric and oratory in creating and propagating a “Lost Cause” public memory of the American South
 

Enduring Legacy explores the vital place of ceremonial oratory in the oral tradition in the South and analyses how rituals such as Confederate Memorial Day, Confederate veteran reunions, and dedication of Confederate monuments have contributed to creating and sustaining a Lost Cause paradigm for Southern identity. Towns studies in detail secessionist and Civil War speeches and how they laid the groundwork for future generations, including Southern responses to the civil rights movement, and beyond.

The Lost Cause orators that came after the Civil War, Towns argues, helped to shape a lasting mythology of the brave Confederate martyr, and the Southern positions for why the Confederacy lost and who was to blame. Innumerable words were spent—in commemorative speeches, newspaper editorials, and statehouse oratory—condemning the evils of Reconstruction, redemption, reconciliation, and the new and future South. Towns concludes with an analysis of how Lost Cause myths still influence Southern and national perceptions of the region today, as evidenced in debates over the continued deployment of the Confederate flag and the popularity of Civil War reenactments.
 

Renowned Latin Americanist Ralph Lee Woodward Jr. discovered Townsend’s manuscript, along with many of the author’s personal papers, in the Special Collections division of Tulane University’s Howard-Tilton Library. In addition to annotating the text, he has written a critical introduction to the work that provides excellent background information about the author and places the work in its historical and cultural context.

Townsend’s writing provides an unusual feminine perspective on Mexico as she describes the country during the middle years of the Porfirio Diaz dictatorship, a pivotal time in Mexican history. Though Townsend does not delve heavily into politics her observations of people’s lives provide a valuable source for social historians of the period.

Here and There in Mexico will make new contribution to the field of Latin American studies and to the travel literature genre, both as a primary source for historians and as a well-written account of a southern woman’s impressions of Mexico during a crucial period in that country’s development.

 

 

Essays in the The Prettier Doll focus on the same local controversy: in 2001,a third-grade girl in Colorado submitted an experiment to the school science fair. She asked 30 adults and 30 fifth-graders which of two Barbie dolls was prettier. One doll was black, the other white, and each wore a different colored dress. All of the adults picked the Barbie in the purple dress, while nearly all of the fifth graders picked the white Barbie. When the student’s experiment was banned an uproar resulted that spread to the national media. School board meetings and other public exchanges highlighted the potent intersection of local and national social concerns: education, censorship, science, racism, and tensions in foundation values such as liberty, democracy, and free speech.

 

For the authors of these essays, the exchanges that arose from “Barbiegate” illustrate vividly the role of rhetoric at the grassroots level, fundamental to civic judgment in a democratic state and at the core of “ordinary democracy.”

 

A multidisciplinary exploration of the ways that African American “hot” music emerged into the American cultural mainstream in the nineteenth century and ultimately dominated both American music and literature from 1920 to 1929

Exploring the deep and enduring relationship between music and literature, Hot Music, Ragmentation, and the Bluing of American Literature examines the diverse ways in which African American “hot” music influenced American culture—particularly literature—in early twentieth century America. Steven C. Tracy provides a history of the fusion of African and European elements that formed African American “hot” music, and considers how terms like ragtime, jazz, and blues developed their own particular meanings for American music and society. He draws from the fields of literature, literary criticism, cultural anthropology, American studies, and folklore to demonstrate how blues as a musical and poetic form has been a critical influence on American literature.
 
Hot Music, Ragmentation, and the Bluing of American Literature begins by highlighting instances in which American writers, including Herman Melville, Stephen Crane, and Gertrude Stein, use African American culture and music in their work, and then characterizes the social context of the Jazz Age, discussing how African American music reflected the wild abandon of the time. Tracy focuses on how a variety of schools of early twentieth century writers, from modernists to members of the Harlem Renaissance to dramatists and more, used their connections with “hot” music to give their own work meaning.
 
Tracy’s extensive and detailed understanding of how African American “hot” music operates has produced a fresh and original perspective on its influence on mainstream American literature and culture. An experienced blues musician himself, Tracy draws on his performance background to offer an added dimension to his analysis. Where another blues scholar might only analyze blues language, Tracy shows how the language is actually performed.
 
Hot Music, Ragmentation, and the Bluing of American Literature is the first book to offer such a refreshingly broad interdisciplinary vision of the influence of African American “hot” music on American literature. It is an essential addition to the library of serious scholars of American and African American literature and culture and blues aficionados alike.

How Faulkner, Welty, Lytle, and Gordon reimagined and reconstructed the Native American past in their work.

In this book, Annette Trefzer argues that not only have Native Americans played an active role in the construction of the South’s cultural landscape—despite a history of colonization, dispossession, and removal aimed at rendering them invisible—but that their under-examined presence in southern literature also provides a crucial avenue for a post-regional understanding of the American South. William Faulkner, Eudora Welty, Andrew Lytle, and Caroline Gordon created works about the Spanish conquest of the New World, the Cherokee frontier during the Revolution, the expansion into the Mississippi Territory, and the slaveholding societies of the American southeast. They wrote 100 years after the forceful removal of Native Americans from the southeast but consistently returned to the idea of an "Indian frontier," each articulating a different vision and discourse about Native Americans—wholesome and pure in the vision of some, symptomatic of hybridity and universality for others.

Trefzer contends that these writers engage in a double discourse about the region and nation: fabricating regional identity by invoking the South’s "native" heritage and pointing to issues of national guilt, colonization, westward expansion, and imperialism in a period that saw the US sphere of influence widen dramatically. In both cases, the "Indian" signifies regional and national self-definitions and contributes to the shaping of cultural, racial, and national "others." Trefzer employs the idea of archeology in two senses: quite literally the excavation of artifacts in the South during the New Deal administration of the 1930s (a surfacing of material culture to which each writer responded) and archeology as a method for exploring texts she addresses (literary digs into the textual strata of America’s literature and its cultural history).

This collection argues that rhetorical history, both as a methodology
and as a perspective, offers insights that are central to the study of
communication and unavailable through other approaches.

The current field of communication derives from the historical study
of rhetoric. Over the last few decades, however, as the trend toward theoretical
conceptions has driven analysis and as a host of "isms" has defined
criticism, communication studies have moved away from a predominantly historical
perspective.

Yet many scholars in the field continue to find benefits in rhetorical
history. In the thirteen essays gathered here, eminent scholars address
the ongoing dialogue over the regrounding of rhetorical study and the relationship
between theory and history as well as history and criticism in the field.
Some examine the conceptual issues involved in the juncture of rhetoric
and history; others offer case studies, often based on research with primary
documents, to illustrate the process and promise of rhetorical history.
Collectively, their work tests theory and complements criticism while standing
as a distinct and valid approach in and of itself.

The conceptualizations and methodologies of rhetorical history will
increase in significance during the burgeoning "Communication Age"
as we seek to cope with the present and prepare for the future by better
understanding the past. This volume serves as an excellent overview of
a recently neglected methodological approach and acts as the first step
in ending that neglect.

 

This book tells us how we learned what we now know about the Southeast's unwritten past. Of obvious interest to professionals and students of the field, this volume will also be sought after by historians, political scientists, amateurs, and anyone interested in the South.

Additional reviews:

"A unique publication that presents numerous historical, topical, and personal perspectives on the archaeological heritage of the Southeast."—Southeastern Archaeology