Fred Moten Duke University Press, 2010 Library of Congress PS3563.O8867B54 2010 | Dewey Decimal 811.6
The fourth collection of poetry from the literary and cultural critic Fred Moten, B Jenkins is named after the poet’s mother, who passed away in 2000. It is both an elegy and an inquiry into many of the themes that Moten has explored throughout his career: language, music, performance, improvisation, and the black radical aesthetic and political tradition. In Moten’s verse, the arts, scholarship, and activism intertwine. Cadences echo from his mother’s Arkansas home through African American history and avant-garde jazz riffs. Formal innovations suggest the ways that words, sounds, and music give way to one another.
The first and last poems in the collection are explicitly devoted to Moten’s mother; the others relate more obliquely to her life and legacy. They invoke performers, writers, artists, and thinkers including not only James Baldwin, Roland Barthes, Frederick Douglass, Billie Holiday, Audre Lorde, Charlie Parker, and Cecil Taylor, but also contemporary scholars of race, affect, and queer theory. The book concludes with an interview conducted by Charles Henry Rowell, the editor of the journal Callaloo. Rowell elicits Moten’s thoughts on the relation of his poetry to theory, music, and African American vernacular culture.
This lively study unpacks the intersecting racial, sexual, and gender politics underlying the representations of racialized bodies, masculinities, and femininities in early 1970s black action films, with particular focus on the representation of black femininity. Stephane Dunn explores the typical, sexualized, subordinate positioning of women in low-budget blaxploitation action narratives as well as more seriously radical films like Sweet Sweetback's Baadasssss Song and The Spook Who Sat by the Door, in which black women are typically portrayed as trifling "bitches" compared to the supermacho black male heroes. The terms "baad bitches" and "sassy supermamas" signal the reversal of this positioning with the emergence of supermama heroines in the few black action films in the early 1970s that featured self-assured, empowered, and tough (or "baad") black women as protagonists: Cleopatra Jones, Coffy, and Foxy Brown.
Dunn offers close examination of a distinct moment in the history of African American representation in popular cinema, tracing its emergence out of a radical political era, influenced especially by the Black Power movement and feminism. "Baad Bitches" and Sassy Supermamas also engages blaxploitation's impact and lingering aura in contemporary hip-hop culture as suggested by its disturbing gender politics and the "baad bitch daughters" of Foxy Brown and Cleopatra Jones, rappers Lil' Kim and Foxy Brown.
Barbara Hamby University of Pittsburgh Press, 2004 Library of Congress PS3558.A4216B33 2004 | Dewey Decimal 811.54
Babel features more of the rhetorical acrobatics that fueled Barbara Hamby's earlier work. These whirlwinds of words and sounds form vistas, images, and scenes that are at once unique and immediately recognizable.
In poems such as “Six, Sex, Say,” she displays a linguistic bravado that moves effortlessly through translations, cognates, and homonyms. This love of words permeates the poems, from the husband wooing his future wife “with a barrage of words so cunningly fluent, / so linguistically adroit” in “Flesh, Bone, and Red,” to the alphabetic sampler woven from memory and love in “Ode on My Mother's Handwriting.”
Hamby's poems drift across histories and continents, from early writing and culture in Mesopotamia through the motion-picture heaven that seems so much like Paris, to odes on such thoroughly American subjects as hardware stores, bubblegum, barbecue, and sharp-tongued cocktail waitresses giving mandatory pre-date quizzes to lawyers and “orangutans in the guise of men.” As Booklist noted in reviewing her previous collection, Hamby's poems “are tsunamis carrying you far out to sea and then back to shore giddy and glad to be alive.”
Babel and Babylon
Miriam HANSEN Harvard University Press, 1991 Library of Congress PN1995.75.H36 1991 | Dewey Decimal 791.43097309041
Although cinema was invented in the mid-1890s, it was a decade more before the concept of a "film spectator" emerged. As the cinema began to separate itself from the commercial entertainments in whose context films initially had been shown--vaudeville, dime museums, fairgrounds--a particular concept of its spectator was developed on the level of film style, as a means of predicting the reception of films on a mass scale. In Babel and Babylon Miriam Hansen offers an original perspective on American film by tying the emergence of spectatorship to the historical transformation of the public sphere.
Hansen builds a critical framework for understanding the cultural formation of spectatorship, drawing on the Frankfurt School's debates on mass culture and the public sphere. Focusing on exemplary moments in the American silent era, she explains how the concept of the spectator evolved as a crucial part of the classical Hollywood paradigm--as one of the new industry's strategies to integrate ethnically, socially, and sexually differentiated audiences into a modern culture of consumption. In this process, Hansen argues, the cinema might also have provided the conditions of an alternative public sphere for particular social groups, such as recent immigrants and women, by furnishing an intersubjective context in which they could recognize fragments of their own experience.
After tracing the emergence of spectatorship as an institution, Hansen pursues the question of reception through detailed readings of a single film, D. W. Griffith's Intolerance (1916), and of the cult surrounding a single star, Rudolph Valentino. In each case the classical construction of spectatorship is complicated by factors of gender and sexuality, crystallizing around the fear and desire of the female consumer.
Babel and Babylon recasts the debate on early American cinema--and by implication on American film as a whole. It is a model study in the field of Cinema Studies, mediating the concerns of recent film theory with those of recent film history.
Linking Margaret Mead to the Mickey Mouse Club and behaviorism to Bambi, Nicholas Sammond traces a path back to the early-twentieth-century sources of “the normal American child.” He locates the origins of this hypothetical child in the interplay between developmental science and popular media. In the process, he shows that the relationship between the media and the child has long been much more symbiotic than arguments that the child is irrevocably shaped by the media it consumes would lead one to believe. Focusing on the products of the Walt Disney company, Sammond demonstrates that without a vision of a normal American child and the belief that movies and television either helped or hindered its development, Disney might never have found its market niche as the paragon of family entertainment. At the same time, without media producers such as Disney, representations of the ideal child would not have circulated as freely in American popular culture.
In vivid detail, Sammond describes how the latest thinking about human development was translated into the practice of child-rearing and how magazines and parenting manuals characterized the child as the crucible of an ideal American culture. He chronicles how Walt Disney Productions’ greatest creation—the image of Walt Disney himself—was made to embody evolving ideas of what was best for the child and for society. Bringing popular child-rearing manuals, periodicals, advertisements, and mainstream sociological texts together with the films, tv programs, ancillary products, and public relations materials of Walt Disney Productions, Babes in Tomorrowland reveals a child that was as much the necessary precursor of popular media as the victim of its excesses.
Both its defenders and detractors
have described the argument from marginal cases as the most important
to date in defense of animal rights. Hotly debated among philosophers
for some twenty years, the argument concludes that no morally relevant
characteristic distinguishes human beings–including infants, the
severely retarded, the comatose, and other "marginal cases"--from
any other animals. Babies and Beasts presents
the first book-length exploration of the broad range of views relating
to the argument from marginal cases and sorts out and evaluates its various
uses and abuses.
Daniel Dombrowski analyzes
the views of many who are prominent in the debate--
Peter Singer, Thomas Regan, H. J. McCloskey, Jan Narveson, John Rawls,
R. G. Frey, Peter Carruthers, Michael Leahy, Robert Nozick, and James
Rachels are included--in a volume that will be essential to philosophers,
animal rights activists, those who work in clinical settings, and others
who must sometimes deal with "marginal cases."
Babies In Bottles
Squier, Susan M Rutgers University Press, 1994 Library of Congress RG133.5.S98 1994 | Dewey Decimal 306.461
There is a forgotten history to our current debates over reproductive technology - one interweaving literature and science, profoundly gendered, filled with choices and struggles. We pay a price when we accept modern reproductive technology as a scientific breakthrough without a past. Babies in Bottles retrieves some of that history by analyzing the literary and popular science writings of Julian Huxley, J.B.S. Haldane, Charlotte Haldane, Aldous Huxley, and Naomi Mitchison - writings that include representations of reproductive technology from babies in bottles to surrogate mothers. It is to these images, fantasies, practices, and narratives of scientific intervention in reproduction that we must look if we want to understand what acts of ideological construction have been carried out, and are currently being performed, in the name of reproductive technology. Susan Merrill Squier shows how the imaginative construction of reproductive technology helps to shape our contemporary practices. Susan Merrill Squier is Julia Gregg Brill Professor in Women's Studies and English at the Pennsylvania State University, University Park. She is the author of Virginia Woolf and London: The Sexual Politics of the City, editor of Women Writers and the City: Essays in Feminist Literary Criticism, and co-editor of Arms and the Woman: War, Gender, and Literary Representation.
In 1838 Charles Darwin jotted in a notebook, “He who understands baboon would do more towards metaphysics than Locke.” Baboon Metaphysics is Dorothy L. Cheney and Robert M. Seyfarth’s fascinating response to Darwin’s challenge.
Cheney and Seyfarth set up camp in Botswana’s Okavango Delta, where they could intimately observe baboons and their social world. Baboons live in groups of up to 150, including a handful of males and eight or nine matrilineal families of females. Such numbers force baboons to form a complicated mix of short-term bonds for mating and longer-term friendships based on careful calculations of status and individual need.
But Baboon Metaphysics is concerned with much more than just baboons’ social organization—Cheney and Seyfarth aim to fully comprehend the intelligence that underlies it. Using innovative field experiments, the authors learn that for baboons, just as for humans, family and friends hold the key to mitigating the ill effects of grief, stress, and anxiety.
Written with a scientist’s precision and a nature-lover’s eye, Baboon Metaphysics gives us an unprecedented and compelling glimpse into the mind of another species.
“The vivid narrative is like a bush detective story.”—Steven Poole, Guardian
“Baboon Metaphysics is a distillation of a big chunk of academic lives. . . . It is exactly what such a book should be—full of imaginative experiments, meticulous scholarship, limpid literary style, and above all, truly important questions.”—Alison Jolly, Science
“Cheney and Seyfarth found that for a baboon to get on in life involves a complicated blend of short-term relationships, friendships, and careful status calculations. . . . Needless to say, the ensuing political machinations and convenient romantic dalliances in the quest to become numero uno rival the bard himself.”—Science News
“Cheney and Seyfarth’s enthusiasm is obvious, and their knowledge is vast and expressed with great clarity. All this makes Baboon Metaphysics a captivating read. It will get you thinking—and maybe spur you to travel to Africa to see it all for yourself.”—Asif A. Ghazanfar, Nature
“Through ingenious playback experiments . . . Cheney and Seyfarth have worked out many aspects of what baboons used their minds for, along with their limitations. Reading a baboon’s mind affords an excellent grasp of the dynamics of baboon society. But more than that, it bears on the evolution of the human mind and the nature of human existence.”—Nicholas Wade, New YorkTimes
Baboon Mothers and Infants
Jeanne Altmann University of Chicago Press, 2001 Library of Congress QL737.P93A39 2001 | Dewey Decimal 599.865
When it was originally released in 1980, Jeanne Altmann's book transformed the study of maternal primate relationships by focusing on motherhood and infancy within a complex ecological and sociological context. Available again with a new foreword by the author, Baboon Mothers and Infants is a classic book that has been, in its own right, a mother to a generation of influential research and will no doubt provide further inspiration.
The Baboquivari Mountains, long considered to be a sacred space by the Tohono O’odham people who are native to the area, are the westernmost of the so-called Sky Islands. The mountains form the border between the floristic regions of Chihuahua and Sonora. This encyclopedic work describes the flora of this unique area in detail. It includes descriptions, identifications, ecology, and extensive etymologies of plant names in European and indigenous languages. Daniel Austin also describes pollination biology and seed dispersal and explains how plants in the area have been used by humans, beginning with Native Americans.
The term “sky island” was first used by Weldon Heald in 1967 to describe mountain ranges that are separated from each other by valleys of grassland or desert. The valleys create barriers to the spread of plant species in a way that is similar to the separation of islands in an ocean. The 70,000-square-mile Sky Islands region of southeastern Arizona, southwestern New Mexico, and northwestern Mexico is of particular interest to botanists because of its striking diversity of plant species and habitats. With more than 3,000 species of plants, the region offers a surprising range of tropical and temperate zones. Although others have written about the region, this is the first book to focus exclusively on the plant life of the Baboquivari Mountains.
The book offers an introduction to the history of the region, along with a discussion of human influences, and includes a useful appendix that lists all of the plants known to be growing in the Baboquivari Mountain chain.
In addition to their famous gods and goddesses, the ancient Greeks also worshiped deceased human beings, including child and baby heroes. Although these heroes played an essential role in Greek religion, Corinne Ondine Pache's Baby and Child Heroes in Ancient Greece is the first systematic study of the considerable number of Greek babies and children who became enduring myths, objects of worship, and the recipients of sacrifice.
Examining literary, pictorial, and numismatic representations, Pache opens up a vast territory once occupied by children such as Charila, Opheltes, Melikertes, and the children of Herakles and Medea. She elegantly argues that the stories, songs, and sanctuaries honoring these heroes express parental fears and guilt about children's death. Pache further demonstrates that while the myths and rituals articulate basic human anxieties, their emphasis is ultimately on the beauty that transcends the gruesomeness of the narrative, turning their dread into poetry. By showing the continuity of child heroes in Greek religion, she is able to throw new light on iconographies that have previously defied explanation.
In Baby Boomers and Hearing Loss, audiologist John Burkey shows readers how they can continue to enjoy youthful living, regardless of whether their hearing abilities are undiminished or severely compromised. In a reassuring and straightforward style, Burkey explains the typical causes of hearing loss, from genetic factors to years of exposure to loud noises, and demystifies the sometimes confusing results of a hearing test. Fortunately, new technologies and advances in medicine have made it easier to detect signs of initial hearing loss and to prevent it from becoming a serious problem.
For those who have already sustained some damage, the author suggests ways to manage daily activities by using a range of techniques, equipment, and medical procedures. His suggestions include minor changes, such as using a vibrating alarm clock rather than one that is sound-based. More dramatic but often highly effective options, including reconstructive surgery, cochlear implants, and bone-anchored hearing aids, are also described.
In his previous award-winning book, Overcoming Hearing Aid Fears: The Road to Better Hearing, Burkey addressed common fears, concerns, and misconceptions that people have about choosing and using hearing aids. In this second indispensable volume, he offers a comprehensive guide on how to cope with and prevent hearing impairment. For a generation that refuses to slow down or quietly accept limitations, this book is essential reading.
The Beatles, the most popular, influential, and important band of all time, have been the subject of countless books of biography, photography, analysis, history, and conjecture. But this long and winding road has produced nothing like Baby You’re a Rich Man, the first book devoted to the cascade of legal actions engulfing the band, from the earliest days of the loveable mop-heads to their present prickly twilight of cultural sainthood. Part Beatles history, part legal thriller, Baby You’re a Rich Man begins in the era when manager Brian Epstein opened the Pandora’s box of rock ’n’ roll merchandising, making a hash of the band’s licensing and inviting multiple lawsuits in the United States and the United Kingdom. The band’s long breakup period, from 1969 to 1971, provides a backdrop to the Machiavellian grasping of new manager Allen Klein, who unleashed a blizzard of suits and legal motions to take control of the band, their music, and Apple Records. Unsavory mob associate Morris Levy first sued John Lennon for copyright infringement over “Come Together,” then sued him again for not making a record for him. Phil Spector, hired to record a Lennon solo album, walked off with the master tapes and held them for a king’s ransom. And from 1972 to 1975, Lennon was the target of a deportation campaign personally spearheaded by key aides of President Nixon (caught on tape with a drug-addled Elvis Presley) that wound endlessly through the courts. In Baby You’re a Rich Man, Stan Soocher ties the Beatles’ ongoing legal troubles to some of their most enduring songs. What emerges is a stirring portrait of immense creative talent thriving under the pressures of ill will, harassment, and greed. Praise for They Fought the Law: Rock Music Goes to Court “Stan Soocher not only ably translates the legalese but makes both the plaintiffs and defendants engrossingly human. Mandatory reading for every artist who tends to skip his contract’s fine print.”—Entertainment Weekly
An important center of dancehall reggae performance, sound clashes are contests between rival sound systems: groups of emcees, tune selectors, and sound engineers. In World Clash 1999, held in Brooklyn, Mighty Crown, a Japanese sound system and the only non-Jamaican competitor, stunned the international dancehall community by winning the event. In 2002, the Japanese dancer Junko Kudo became the first non-Jamaican to win Jamaica’s National Dancehall Queen Contest. High-profile victories such as these affirmed and invigorated Japan’s enthusiasm for dancehall reggae. In Babylon East, the anthropologist Marvin D. Sterling traces the history of the Japanese embrace of dancehall reggae and other elements of Jamaican culture, including Rastafari, roots reggae, and dub music.
Sterling provides a nuanced ethnographic analysis of the ways that many Japanese involved in reggae as musicians and dancers, and those deeply engaged with Rastafari as a spiritual practice, seek to reimagine their lives through Jamaican culture. He considers Japanese performances and representations of Jamaican culture in clubs, competitions, and festivals; on websites; and in song lyrics, music videos, reggae magazines, travel writing, and fiction. He illuminates issues of race, ethnicity, gender, sexuality, and class as he discusses topics ranging from the cultural capital that Japanese dancehall artists amass by immersing themselves in dancehall culture in Jamaica, New York, and England, to the use of Rastafari as a means of critiquing class difference, consumerism, and the colonial pasts of the West and Japan. Encompassing the reactions of Jamaica’s artists to Japanese appropriations of Jamaican culture, as well as the relative positions of Jamaica and Japan in the world economy, Babylon East is a rare ethnographic account of Afro-Asian cultural exchange and global discourses of blackness beyond the African diaspora.
Babylon Girls is a groundbreaking cultural history of the African American women who performed in variety shows—chorus lines, burlesque revues, cabaret acts, and the like—between 1890 and 1945. Through a consideration of the gestures, costuming, vocal techniques, and stagecraft developed by African American singers and dancers, Jayna Brown explains how these women shaped the movement and style of an emerging urban popular culture. In an era of U.S. and British imperialism, these women challenged and played with constructions of race, gender, and the body as they moved across stages and geographic space. They pioneered dance movements including the cakewalk, the shimmy, and the Charleston—black dances by which the “New Woman” defined herself. These early-twentieth-century performers brought these dances with them as they toured across the United States and around the world, becoming cosmopolitan subjects more widely traveled than many of their audiences.
Investigating both well-known performers such as Ada Overton Walker and Josephine Baker and lesser-known artists such as Belle Davis and Valaida Snow, Brown weaves the histories of specific singers and dancers together with incisive theoretical insights. She describes the strange phenomenon of blackface performances by women, both black and white, and she considers how black expressive artists navigated racial segregation. Fronting the “picaninny choruses” of African American child performers who toured Britain and the Continent in the early 1900s, and singing and dancing in The Creole Show (1890), Darktown Follies (1913), and Shuffle Along (1921), black women variety-show performers of the early twentieth century paved the way for later generations of African American performers. Brown shows not only how these artists influenced transnational ideas of the modern woman but also how their artistry was an essential element in the development of jazz.
Here is a complete translation of all the published cuneiform tablets of the various Babylonian creation stories, of both the Semitic Babylonian and the Sumerian material. Each creation account is preceded by a brief introduction dealing with the age and provenance of the tablets, the aim and purpose of the story, etc. Also included is a translation and discussion of two Babylonian creation versions written in Greek. The final chapter presents a detailed examination of the Babylonian creation accounts in their relation to our Old Testament literature.
Trinidad is known for its vibrant musical traditions, which reflect the island’s ethnic diversity. The annual Carnival, far and away the biggest event in Trinidad, is filled with soca and calypso music. Soca is a dance music derived from calypso, a music with African antecedents. In parang, a Venezuelan and Spanish derived folk music that dominates Trinidadian Christmas festivities, groups of singers and musicians progress from house to house, performing for their neighbors. Chutney is also an Indo-Caribbean music. In Bacchanalian Sentiments, Kevin K. Birth argues that these and other Trinidadian musical genres and traditions not only provide a soundtrack to daily life on the southern Caribbean island; they are central to the ways that Trinidadians experience and navigate their social lives and interpret political events.
Birth draws on fieldwork he conducted in one of Trinidad’s ethnically diverse rural villages to explore the relationship between music and social and political consciousness on the island. He describes how Trinidadians use the affective power of music and the physiological experience of performance to express and work through issues related to identity, ethnicity, and politics. He looks at how the performers and audience members relate to different musical traditions. Turning explicitly to politics, Birth recounts how Trinidadians used music as a means of making sense of the attempted coup d’état in 1990 and the 1995 parliamentary election, which resulted in a tie between the two major political parties. Bacchanalian Sentiments is an innovative ethnographic analysis of the significance of music, and particular musical forms, in the everyday lives of rural Trinidadians.
In this major new interpretation of the music of J.S. Bach, we gain a striking picture of the composer as a unique critic of his age. By reading Bach's music "against the grain" of contemporaries, Laurence Dreyfus explains how Bach's approach to musical invention posed a fundamental challenge to Baroque aesthetics.
Among his numerous children, Johann Sebastian Bach sired five musically gifted sons. The eleventh volume of Bach Perspectives presents essays that explore these men's lives and careers via distinctive and, in several cases, alternative and interdisciplinary methodologies. Robert L. Marshall traces how each of the sons grappled with ”and at times suffocated beneath ”their illustrious father's legacy. Mary Oleskiewicz's essay investigates the Bach family's connections to historical keyboard instruments and musical venues at the Prussian court, while David Schulenberg looks at Carl Philipp Emanuel Bach's diverse and innovative keyboard works. Evan Cortens digs into everything from performance materials to pay stubs to offer a detailed view of the business of Carl Philipp Emanuel Bach's liturgical music. Finally, Christine Blanken discusses how the rediscovery of Bach family musical manuscripts in the Breitkopf archive opens up new perspectives on familiar topics.
In Bach in America, volume 5 of Bach Perspectives, nine scholars track Johann Sebastian Bach's reputation in America from an artist of relative obscurity to a cultural mainstay whose music has spread to all parts of the population, inspired a wealth of scholarship, captivated listeners, and inspired musicians.
More than a hundred years passed after Bach's death in 1750 before his music began to be known and appreciated in the United States. Barbara Owen surveys Bach's early reception in America and Matthew Dirst focuses on John Sullivan Dwight's role in advocating Bach's work. Michael Broyles considers the ways Bach's music came to be known in Boston and Mary J. Greer offers a counterpoint in her study of Bach's reception in New York.
The volume continues with Hans-Joachim Schulze's essay linking the American descendants of August Reinhold Bach to J. S. Bach through a common sixteenth-century ancestor. Christoph Wolff focuses on Bach's descendants in America, particularly Friederica Sophia Bach, the daughter of Bach's eldest son, Wilhelm Friedemann. Peter Wollny evaluates several manuscripts not included in Gerhard Herz's study of Bach Sources in America.
Bach in America concludes with examinations of Bach's considerable influence on American composers. Carol K. Baron compares the music of Bach and Charles Ives and Stephen A. Crist measures Bach's influence on the jazz pianist and composer Dave Brubeck.
The official publication of the American Bach Society, Bach Perspectives pioneers new areas of research into the life, times, and music of the master composer. In Volume 10 of the series, Matthew Dirst edits a collection of groundbreaking essays exploring various aspects of Bach's organ-related activities. Lynn Edwards Butler reconsiders Bach's report on Johann Scheibe's organ at St. Paul's Church in Leipzig. Robin Leaver clarifies the likely provenance and purpose of a collection of chorale harmonizations copied in Dresden. George Stauffer investigates the ways various independent trio movements served Bach as an artist and teacher. In separate contributions, Christoph Wolff and Gregory Butler seek the origins of concerted Bach cantata movements spotlighting the organ and propose family trees of both parent works and offspring. Finally, Matthew Cron provides a broad cultural frame for such pieces and notes how their components engage in a larger discourse about the German Baroque organ's intimation of heaven.
Johann Sebastian Bach was a Lutheran and much of his music was for Lutheran liturgical worship. As these insightful essays in the twelfth volume of Bach Perspectives demonstrate, he was also influenced by--and in turn influenced--different expressions of religious belief. The vocal music, especially the Christmas Oratorio, owes much to medieval Catholic mysticism, and the evolution of the B minor Mass has strong Catholic connections. In Leipzig, Catholic and Lutheran congregations sang many of the same vernacular hymns. Internal squabbles were rarely missing within Lutheranism, for example Pietists' dislike of concerted church music, especially if it employed specific dance forms. Also investigated here are broader issues such as the close affinity between Bach's cantata libretti and the hymns of Charles Wesley; and Bach's music in the context of the Jewish Enlightenment as shaped by Protestant Rationalism in Berlin. Contributors: Rebecca Cypess, Joyce L. Irwin, Robin A. Leaver, Mark Noll, Markus Rathey, Derek Stauff, and Janice B. Stockigt.
Scholars and performers have long noted J.S. Bach's abundant use of parody procedures: that is, the recycling and reworking of pre-existing material from his own compositions or from other sources. Laura Buch edits essays exploring how the composer parodied the work of others and how other composers did the same with him. The contributors delve into the works of Baroque-era composers from Bach himself to C. P. E. Bach, Johann Caspar Ferdinand Fischer, and Ferruccio Busoni. But they also cast a wider net, investigating the ways Bach's music cross-pollinates with contemporary composer-performers John Lewis and the Modern Jazz Quartet, and keyboardist Bernie Worrell and Parliament-Funkadelic. The diverse contexts illuminate a broad range of parody techniques, from structural scaffolding and contrapuntal elaboration to integration with stylistic languages far removed from the Baroque.
An insightful look at how composers build on each other's work, Bach Reworked reveals how nuanced understandings of parody procedures can fuel both musical innovation and historically informed performance.
Contributors: Stephen A. Crist, Ellen Exner, Moira Leanne Hill, Erinn E. Knyt, and Markus Zepf
As the official publication of the American Bach Society, Bach Perspectives has pioneered new areas of research in the life, times, and music of Bach since its first appearance in 1995. In a series long known for its major essays by leading Bach scholars and performers, Bach Perspectives, Volume 6 is no exception.
This volume opens with Joshua Rifkin’s seminal study of the early source history of the B-minor orchestral suite. It not only elaborates on Rifkin’s discovery that the work in its present form for solo flute goes back to an earlier version in A minor, ostensibly for solo violin, but also takes this discovery as the point of departure for a wide-ranging discussion of the origins and extent of Bach's output in the area of concerted ensemble music.
Jeanne Swack presents an enlightening comparison of Georg Phillip Telemann’s and Bach's approach to the French overture as concerted movements in their church cantatas, and Steven Zohn views the B-minor orchestral suite from the standpoint of the "concert en ouverture," responding to Rifkin by suggesting that the early version of the B-minor orchestral suite may also have been scored for flute.
Correspondence capturing Dreiser's own take on his long and eventful life
In addition to his novels, short stories, plays, poetry, and a flood of journalism, Theodore Dreiser is estimated to have written an astonishing 20,000 letters. A Picture and a Criticism of Life presents a selection from his previously unpublished letters and shows Dreiser in every mood and circumstance, from crisply professional to happily unbuttoned. Meticulously annotated by Donald Pizer, the selections often shed significant new light on the writer's beliefs and activities during the various stages of his long career.
A volume in the series The Dreiser Edition, edited by Thomas P. Riggio
As the official publication of the American Bach Society, Bach Perspectives has pioneered new areas of research in the life, times, and music of Bach since its first appearance in 1995. Volume 8 of Bach Perspectives emphasizes the place of Bach's oratorios in their repertorial context.
These essays consider Bach's oratorios from a variety of perspectives: in relation to models, antecedents, and contemporary trends; from the point of view of musical and textual types; and from analytical vantage points including links with instrumental music and theology.
Christoph Wolff suggests the possibility that Bach's three festive works for Christmas, Easter, and Ascension Day form a coherent group linked by liturgy, chronology, and genre. Daniel R. Melamed considers the many ways in which Bach's passion music was influenced by the famous poetic passion of Barthold Heinrich Brockes. Markus Rathey examines the construction and role of oratorio movements that combine chorales and poetic texts (chorale tropes). Kerala Snyder shows the connections between Bach's Christmas Oratorio and one of its models, Buxtehude's Abendmusiken spread over many evenings. Laurence Dreyfus argues that Bach thought instrumentally in the composition of his passions at the expense of certain aspects of the text. And Eric Chafe demonstrates the contemporary theological background of Bach's Ascension Oratorio and its musical realization
This provocative addition to the Bach Perspectives series offers a counternarrative to the isolated genius status that J.S. Bach and his music currently enjoy. Contributors contextualize Bach by examining the output, reputation, and compositional practices of his contemporaries in Germany whose work was widely played and enjoyed in his time, including Georg Philipp Telemann, Christoph Graupner, Gottlieb Muffat, and Johann Adolf Scheibe. Essays place Bach and his work in relation to his peers, examining avenues of composition they took while he did not and showing how differing treatments of the same subjects or texts resulted in markedly different compositional results and legacies. By looking closely at how Bach's contemporaries addressed the tasks and challenges of their time, this project provides a more nuanced view of the musical world of Bach's time while revealing in more specific terms than ever how and why Bach's own music remains fresh and compelling.
Contributors are Alison Dunlop, Wolfgang Hirschmann, Michael Maul, Andrew Talle, and Steven Zohn.
In July 1909 twenty-one-year-old Elizabeth Corey left her Iowa farm to stake her claim to a South Dakota homestead. Over the next ten years, as she continued her schoolteaching career and carved out a home for herself in this inhospitable territory, she sent a steady stream of letters to her family back in Iowa. From the edge of modern America, Bess wrote long, gossipy accounts—"our own continuing adventure story," according to her brother Paul—of frontier life on the high plains west of the Missouri River. Irrepressible, independent-minded, and evidently fearless, the self-styled Bachelor Bess gives us a firsthand, almost daily account of her homesteading adventures. We can all stake a claim in her energetic letters.
The Bachelor of Arts
R. K. Narayan University of Chicago Press, 1978 Library of Congress PR9499.3.N3B3 1980 | Dewey Decimal 823
"There are writers—Tolstoy and Henry James to name two—whom we hold in awe, writers—Turgenev and Chekhov—for whom we feel a personal affection, other writers whom we respect—Conrad for example—but who hold us at a long arm's length with their 'courtly foreign grace.' Narayan (whom I don't hesitate to name in such a context) more than any of them wakes in me a spring of gratitude, for he has offered me a second home. Without him I could never have known what it is like to be Indian."—Graham Greene
Offering rare insight into the complexities of Indian middle-class society, R. K. Narayan traces life in the fictional town of Malgudi. The Dark Room is a searching look at a difficult marriage and a woman who eventually rebels against the demands of being a good and obedient wife. In Mr. Sampath, a newspaper man tries to keep his paper afloat in the face of social and economic changes sweeping India. Narayan writes of youth and young adulthood in the semiautobiographical Swami and Friends and The Bachelor of Arts. Although the ordinary tensions of maturing are heightened by the particular circumstances of pre-partition India, Narayan provides a universal vision of childhood, early love and grief.
"The experience of reading one of his novels is . . . comparable to one's first reaction to the great Russian novels: the fresh realization of the common humanity of all peoples, underlain by a simultaneous sense of strangeness—like one's own reflection seen in a green twilight."—Margaret Parton, New York Herald Tribune
For a lot of people, thoughts about the sexual politics of Playboy run along the lines of what Gloria Steinem reportedly once told Hugh Hefner: “A woman reading Playboy feels a little like a Jew reading a Nazi manual.” Hefner’s magazine celebrates men as swinging bachelors and women as objects of desire; ergo, it’s sexist.
Not so fast, says Carrie Pitzulo. With Bachelors and Bunnies, she delves into the history of the magazine to reveal its surprisingly strong record of support for women’s rights and the modernization of sexual and gender roles. Taking readers behind the scenes of Playboy’s heyday, Pitzulo shows how Hefner’s own complicated but thoughtful perspective on modern manhood, sexual liberation, and feminism played into debates—both in the editorial offices and on the magazine’s pages—about how Playboy’s trademark “girl next door” appeal could accommodate, acknowledge, and even honor the changing roles and new aspirations of women in postwar America. Revealing interviews with Hugh Hefner and his daughter (and later Playboy CEO) Christie Hefner, as well as with a number of editors and even Playmates, show that even as the magazine continued to present a romanticized notion of gender difference, it again and again demonstrated a commitment to equality and expanded opportunities for women.
Offering a surprising new take on a twentieth-century icon, Bachelors and Bunnies goes beyond the smoking jacket and the centerfold to uncover an unlikely ally for the feminist cause.
Over the past four decades, French sociologist Pierre Bourdieu produced one of the most imaginative and subtle bodies of social theory of the postwar era. When he died in 2002, he was considered to be the most influential sociologist in the world and a thinker on a par with Foucault and Lévi-Strauss—a public intellectual as important to his generation as Sartre was to his.
Bourdieu’s final book, The Bachelors’ Ball, sees him return to Béarn, the region where he grew up, to examine the gender dynamics of rural France. This personal connection adds poignancy to Bourdieu’s ethnographic account of the way the influence of urban values has precipitated a crisis for male peasants. Tied to the land through inheritance, these bachelors find themselves with little to offer the women of Béarn who, like the young Bourdieu himself, abandon the country for the city in droves.
“This is a splendid diary of a man and physician during the late antebellum years, sure to interest not only historians of medicine but also historians of gender, the South, and antebellum politics. . . . An exceptionally useful historical document as well as a good read.” —Steven M. Stowe, Indiana University
Elijah Millington Walker began to keep a diary midway through his medical apprenticeship in Oxford, Mississippi. He composed a lengthy preface to the diary, in which he remembered his life from the time of his family’s arrival in north Mississippi in 1834, when he was ten years old, until late 1848, when the University of Mississippi opened and Walker’s diary begins.
On one level, the diary records the life of a bachelor, chronicling the difficulties of an ambitious young physician who would like to marry but is hampered by poverty and his professional aspirations. Walker details the qualities he desires in a wife and criticizes women who do not measure up; a loyal wife, in Walker’s highly romanticized image, remains a true helpmeet even to the most debased drunkard. On another level, Walker describes various medical cases, giving readers an idea of the kinds of diseases prevalent in the lower South at mid-century, as well as their treatment by orthodox physicians. In this vivid chronicle of everyday life in antebellum Mississippi, Walker also finds space to comment on a wide range of topics that affected the state and the region, including pioneer life in north Mississippi, evangelical Protestantism, the new state university at Oxford, the threat of secession in 1849–50, Henry Clay’s Compromise of 1850, foreign affairs, and local railroad development. A strong defender of the Union at mid-century, Walker nonetheless defended slavery and distinctively Southern institutions.
A Bachelor’s Life in Antebellum Mississippi brings to the public one of the few diaries of a very intelligent yet “ordinary” man, a non-elite member of a society dominated by a planter aristocracy. The author’s frankness and flair for writing reflect a way of life not often seen; this volume will thus prove a valuable addition to the body of primary documents from the early republic.
Lynette Boney Wrenn has taught history at Memphis State University and Southwestern College. She is the author of Crisis and Commission Government in Memphis: Elite Rule in a Gilded Age City and Cinderella of the New South: A History of the Cottonseed Industry, 1855–1955. Wrenn lives in Greensboro, North Carolina.
Naomi Zack begins this extraordinary book with the premise that if one is to understand Western conceptions of racialized and gendered identity, one needs to go back to a period when such categories were not salient and examine how notions of identity in the seventeenth century were fundamentally different from subsequent constructions. The seventeenth century is the last time, for example, that Europeans had any contact with non-Europeans without racializing them. From the eighteenth century onward, race becomes a central category for Europeans in their transactions with a different world, and gender undergoes radical transformation.
Zack takes the reader through a lucid tour of the lives, times, and writings of such key "bachelors of Science" as Bacon, Descartes, Newton, and Gassendi. The book situates these empiricist philosophers and their canonical reputations within the larger framework of the de facto "masculinization of science" and "scientizing of masculinity" in the seventeenth century, arguing for a more nuanced understanding of these key thinkers of the period.
Other fascinating issues examined in this book include pre-racial conceptions of slavery, witchcraft trials and their connection to homosociality, and the highly sexualized nature of women's identity in the seventeenth century. Zack points out the link between elite bachelorhood, the profession of philosophy, and scientific pursuit as recreational activity. This book is a must for understanding the historical and philosophical precedents of modern scientific identity, race, and gender.
A storyteller and avid fly fisherman, Jeff Metcalf is, for compelling personal reasons, an enhanced observer of the human condition, who finds himself often in the streams of the American West. Not only rivers run through his essays, his cancer does too. But so do camaraderie, adventures, reveling in nature and outdoor devotions, and the sheer bliss of focused engagement with the fish and the cast. Metcalf’s keenly observed companions are river guides, small-town locals, academics, and other city folk, all like him among those who run to the river for solace and joy.
These essays are much more than fish stories; they reveal the community and communion of fishing and the bonds to place the author nurtured through it. Whether he recalls carousing and tale-swapping with friends or excellence found through the challenge of the cast, Metcalf’s words, sometimes roiling and turbulent, sometimes calm and reflective, like a western river, vividly convey the pull of the steelhead and the fight for survival. Whether or not you fish, Metcalf’s sharp-eyed, open and honest look at life will draw you in.
"These waters have been my home, and I fish them more than most. In truth, they have saved my life on more than a few occasions. I seek refuge in the quiet solitude of rivers, and in dark hours of my life—including this particular year—I need desperately to be fly-fishing." —From the book
After twenty years in New York City, a prize-winning writer takes a "long look back" at his hometown of Mobile, Alabama.
In Back Home: Journeys through Mobile, Roy Hoffman tells stories—through essays, feature articles, and memoir—of one of the South's oldest and most colorful port cities. Many of the pieces here grew out of Hoffman's work as Writer-in-Residence for his hometown newspaper, the Mobile Register, a position he took after working in New York City for twenty years as a journalist, fiction writer, book critic, teacher, and speech writer. Other pieces were first published in the New York Times, Southern Living, Preservation, and other publications. Together, this collection comprises a long, second look at the Mobile of Hoffman's childhood and the city it has since become.
Like a photo album, Back Home presents close-up portraits of everyday places and ordinary people. There are meditations on downtown Mobile, where Hoffman's grandparents arrived as immigrants a century ago; the waterfront where longshoremen labor and shrimpers work their nets; the back roads leading to obscure but intriguing destinations. Hoffman records local people telling their own tales of race relations, sports, agriculture, and Mardi Gras celebrations. Fishermen, baseball players, bakers, authors, political figures--a strikingly diverse population walks across the stage of Back Home.
Throughout, Hoffman is concerned with stories and their enduring nature. As he writes, "When buildings are leveled, when land is developed, when money is spent, when our loved ones pass on, when we take our places a little farther back every year on the historical time-line, what we have still are stories."
Fifty years ago, students who were parents were a rarity in college classrooms, but by the beginning of the twenty-first century, over a quarter of all undergraduate students were parents. In Back in School, A. Fiona Pearson explores how these student parents navigate cultural norms and institutional resources, forging pathways as they journey to become better parents and successful students. Back in School examines how policy makers, professors, college administrators, counselors, and social workers provide or deny access to child care, tutoring, financial aid, or other campus- or community-based resources. Pearson further explores how social norms and governmental and organizational policies influence access to these resources and student parents’ experiences on campus and at home.
"Robert A. Slayton's Back of the Yards is one of the finest accounts I have ever read on an urban, working-class neighborhood in twentieth-century America. Its focus on family, politics, and worklife is penetrating and its conclusions reinforce an emerging scholarly picture of ordinary people exercising unique forms of power."—John Bodnar, author of The Transplanted: A History of Immigrants in Urban America
The threat of statism has reemerged in force. The federal government has seized on the economic crisis to radically expand its power—through bailouts, “stimulus” packages, a trillion-dollar health care plan, “jobs bills,” massive expansions of the money supply, and much more. But such interventionism did not suddenly materialize with the recent collapse. The dangerous trends of government growth, debt increases, encroachments on individual liberty, and attacks on the free market began years earlier and continued no matter which political party was in power.
This shift toward statism “will not end happily,” declares bestselling author Thomas E. Woods. In Back on the Road to Serfdom, Woods brings together ten top scholars to examine why the size and scope of government has exploded, and to reveal the devastating consequences of succumbing to the statist temptation.
Spanning history, economics, politics, religion, and the arts, Back on the Road to Serfdom shows: ul>
•How government interventionism endangers America’s prosperity and the vital culture of entrepreneurship
•The roots of statism: from the seminal conflict between Thomas Jefferson and Alexander Hamilton to the vast expansion of federal power in the twentieth century
•Why the standard explanation for the recent economic crisis is so terribly wrong—and why the government’s frenzied responses to the downturn only exacerbate the problems
•Why the European welfare state is not a model to aspire to but a disaster to be avoided
•How an intrusive state not only harms the economy but also imperils individual liberty and undermines the role of civil society
•The fatal flaws in the now-common arguments against free markets and free trade
•How big business is helping government pave the road to serfdom
•Why the Judeo-Christian tradition does not demand support for the welfare state, but in fact values the free market
•How the arrogance of government power extends even to the cultural realm—and how central planning is just as inefficient and destructive there
It’s been more than sixty-five years since F. A. Hayek published his seminal work The Road to Serfdom. Now this impeccably timed book provides another desperately needed warning about—and corrective to—the dangers of statism.
Strap on your snake chaps and slap on some sunscreen as biologist Jennifer Bové takes you out to the field in the company of biologists working on the frontlines of wildlife studies, botany, and resource management. This exuberant and entertaining collection of stories ranges from Myanmar to the Midwest, from Argentina to Alaska and many points in between, offering tales that are by turns thoughtful, funny, tragic, and just-plain-crazy.
During five years of working in snake-ridden sloughs and rough northern seas, Jennifer Bové often asked herself 'Why am I doing this?' Realizing her own experiences were only the tip of the iceberg, she invited friends and colleagues to answer the same question. The result is stories that include deadly snakebites, a plague of marmots, special delivery skunk oil, bald eagle wrangling, and a mountain goat loose in the galley of a research vessel. These adventures are the details behind the data collected by these men and women driven to unlock nature’s truths. In The Back Road to Crazy, seasoned researchers and novices alike reveal the impulse to trade the comfort of a more sheltered career for demanding physical labor, whims of weather, and the company of unruly creatures.
Joan Weimer had spent three years researching the life of nineteenth-century novelist Constance Fenimore Woolson for a critical biography when a devastating back injury left her virtually immobile. Pain reshaped her research as she discovered more about Woolson's writing, family, and grief. The imaginative relationship she developed with Woolson—chronicled in this heart-felt book— helped Weimer to escape her physical disability as she wrestled with the question of how to redefine herself.
In this elegant, humorous, and brutally frank memoir, Weimer's discoveries—documentative and imaginative, historical and personal—reveal much about what motivates research, and what motivates healing.
An engaging story of a man who demonstrated faith in his city, his region, and its people
During the 1960s, Birmingham, Alabama, became a major battleground in the struggle for human rights in the American South. As one of the most segregated cities in the United States, the city of Birmingham became known for its violence against blacks and the callous suppression of black civil rights.
In October of 1979, the city that had once used dogs and fire hoses to crush protest demonstrations elected a black mayor, Richard Arrington Jr. A man of quiet demeanor, Arrington was born in the small rural town of Livingston, Alabama, and moved to Birmingham as a child. Although he did not play a direct part in the civil rights movement in the 1960s, Arrington was destined to bring about some fundamental changes in a city that once defied racial progress.
Professor Franklin’s book is guided by the assumption that Americans everywhere can find satisfaction in understanding the dynamics of social and political change, and they can be buoyed by the individual triumph of a person who beat the odds. Ultimately, Back to Birmingham will, perhaps, enable the reader to measure the distance black southerners have traveled over the decades.
Nevada sheep rancher Joe Juaristi spoke for years about making a trip back to the Spanish Basque Country that he left sixty years earlier, but each time the subject came up the discussion evolved into a family debate about the scope and members of the journey. Finally Joe's son, Vince, secretly resolved to organize the trip that his father wanted and needed--the two of them, traveling alone, making a quiet reunion with Joe's twin sister, who suffers from Alzheimer's, visiting other aging siblings and friends, and recounting the places that formed Joe's memories of his youth.
Back to Bizkaia is part travel book, part memoir of two men exploring their mutual roots and their unique father-son bond. The narrative intertwines an engaging account of the contemporary Basque Country with Joe's experiences as an immigrant making his way in a new country and Vince's memories of growing up in a close Basque-American community in the American West. This is a book about Basques and their American families, but on another level it is every immigrant's story of return to a beloved homeland.
After decades of decline during the twentieth century, breastfeeding rates began to rise again in the 1970s, a rebound that has continued to the present. While it would be easy to see this reemergence as simply part of the naturalism movement of the ’70s, Jessica Martucci reveals here that the true story is more complicated. Despite the widespread acceptance and even advocacy of formula feeding by many in the medical establishment throughout the 1940s, ’50s, and ’60s, a small but vocal minority of mothers, drawing upon emerging scientific and cultural ideas about maternal instinct, infant development, and connections between the body and mind, pushed back against both hospital policies and cultural norms by breastfeeding their children. As Martucci shows, their choices helped ideologically root a “back to the breast” movement within segments of the middle-class, college-educated population as early as the 1950s.
That movement—in which the personal and political were inextricably linked—effectively challenged midcentury norms of sexuality, gender, and consumption, and articulated early environmental concerns about chemical and nuclear contamination of foods, bodies, and breast milk. In its groundbreaking chronicle of the breastfeeding movement, Back to the Breast provides a welcome and vital account of what it has meant, and what it means today, to breastfeed in modern America.
In Back to the Dance Itself, Sondra Fraleigh edits essays that illuminate how scholars apply a range of phenomenologies to explore questions of dance and the world; performing life and language; body and place; and self-knowing in performance. Some authors delve into theoretical perspectives, while others relate personal experiences and reflections that reveal fascinating insights arising from practice. Collectively, authors give particular consideration to the interactive lifeworld of making and doing that motivates performance. Their texts and photographs study body and the environing world through points of convergence, as correlates in elemental and constant interchange modeled vividly in dance. Selected essays on eco-phenomenology and feminism extend this view to the importance of connections with, and caring for, all life. Contributors: Karen Barbour, Christine Bellerose, Robert Bingham, Kara Bond, Hillel Braude, Sondra Fraleigh, Kimerer LaMothe, Joanna McNamara, Vida Midgelow, Ami Shulman, and Amanda Williamson.
For many, “going back to the land” brings to mind the 1960s and 1970s—hippie communes and the Summer of Love, The Whole Earth Catalog and Mother Earth News. More recently, the movement has reemerged in a new enthusiasm for locally produced food and more sustainable energy paths. But these latest back-to-the-landers are part of a much larger story. Americans have been dreaming of returning to the land ever since they started to leave it. In Back to the Land, Dona Brown explores the history of this recurring impulse. ?
Back-to-the-landers have often been viewed as nostalgic escapists or romantic nature-lovers. But their own words reveal a more complex story. In such projects as Gustav Stickley’s Craftsman Farms, Frank Lloyd Wright’s “Broadacre City,” and Helen and Scott Nearing’s quest for “the good life,” Brown finds that the return to the farm has meant less a going-backwards than a going-forwards, a way to meet the challenges of the modern era. Progressive reformers pushed for homesteading to help impoverished workers get out of unhealthy urban slums. Depression-era back-to-the-landers, wary of the centralizing power of the New Deal, embraced a new “third way” politics of decentralism and regionalism. Later still, the movement merged with environmentalism. To understand Americans’ response to these back-to-the-land ideas, Brown turns to the fan letters of ordinary readers—retired teachers and overworked clerks, recent immigrants and single women. In seeking their rural roots, Brown argues, Americans have striven above all for the independence and self-sufficiency they associate with the agrarian ideal.
Best Books for General Audiences, selected by the American Association of School Librarians
The image of the Jew solely as urbanite may stem from the period of 1880 to 1920, when two million Jews left their homes in Eastern Europe and established themselves in the urban centers of America. Lesser known are the agrarian efforts of Jewish immigrants. In Back to the Soil, Robert Goldberg focuses on the attempt of one such Jewish colony in Clarion, Utah. In 1911, eighty-one families left eastern cities to farm the Clarion tract. Jewish families funded the venture, the governor of Utah en-couraged it, and the Mormon Church financially aided the community. Despite these efforts, Clarion died as an organizational entity in 1916, with the dozen remaining families departing by the mid-1920s.
Goldberg sheds light on the values and ideals of the colonists, the daily rhythm of life, the personalities of the settlers, and the struggle for and eventual collapse of their dream. Of all the attempts to establish a Jewish colony on the land, Clarion was the largest and had the longest existence of any colony west of the Appalachians. The Clarion fragment, lost and forgotten, thus becomes a crucial part of the larger mosaic of Jewish history in the West.
Release of this new paperback edition is timed to coincide with the celebration of the centennial of the founding of the Clarion colony.
Wayman Hogue’s stories of growing up in the Ozarks, according to a 1932 review in the New York Times, “brilliantly illuminate mountain life to its very heart and in its most profound aspects.” A standout among the Ozarks literature that was popular during the Great Depression, this memoir of life in rural Arkansas in the decades following the Civil War has since been forgotten by all but a few students of Arkansas history and folklore.
Back Yonder is a special book. Hogue, like his contemporary Laura Ingalls Wilder, weaves a narrative of a family making its way in rugged, impoverished, and sometimes violent places. From one-room schoolhouses to moonshiners, the details in this story capture the essence of a particular time and place, even as the characters reflect a universal quality that will endear them to modern readers.
Historian Brooks Blevins’s new introduction explores the life of Charles Wayman Hogue, analyzes the people and events that inspired the book, and places the volume in the context of America’s discovery of the Ozarks in the years between the World Wars. The University of Arkansas Press is proud to reissue Back Yonder as the first book in the Chronicles of the Ozarks series, making this Arkansas classic available again, ready to be discovered and rediscovered by readers sure to find the book as interesting and entertaining as ever.
“Many of us probably would be better fishermen if we did not spend so much time watching and waiting for the world to become perfect.”-Norman Maclean
Though Maclean writes of an age-old focus of all anglers—the day’s catch—he may as well be speaking to another, deeper accomplishment of the best fishermen and fisherwomen: the preservation of natural resources.
Backcasts celebrates this centuries-old confluence of fly fishing and conservation. However religious, however patiently spiritual the tying and casting of the fly may be, no angler wishes to wade into rivers of industrial runoff or cast into waters devoid of fish or full of invasive species like the Asian carp. So it comes as no surprise that those who fish have long played an active, foundational role in the preservation, management, and restoration of the world’s coldwater fisheries. With sections covering the history of fly fishing; the sport’s global evolution, from the rivers of South Africa to Japan; the journeys of both native and nonnative trout; and the work of conservation organizations such as the Federation of Fly Fishers and Trout Unlimited, Backcasts casts wide.
Highlighting the historical significance of outdoor recreation and sports to conservation in a collection important for fly anglers and scholars of fisheries ecology, conservation history, and environmental ethics, Backcasts explores both the problems anglers and their organizations face and how they might serve as models of conservation—in the individual trout streams, watersheds, and landscapes through which these waters flow.
What would an account of early America look like if it were based on examining rural insurrections or Native American politics instead of urban republican literature? Offering a new interpretation of eighteenth-century America, The Backcountry and the City focuses on the agrarian majority as distinct from the elite urban minority.
Ed White explores the backcountry-city divide as well as the dynamics of indigenous peoples, bringing together two distinct bodies of scholarship: one stressing the political culture of the Revolutionary era, the other taking an ethnohistorical view of white–Native American contact. White concentrates his study in Pennsylvania, a state in which the majority of the population was rural, and in Philadelphia, a city that was a center of publishing and politics and the national capital for a decade. Against this backdrop, White reads classic political texts such as Crèvecoeur’s Letters from an American Farmer, Franklin’s Autobiography, and Paine’s “Agrarian Justice,” alongside missionary and captivity narratives, farmers’ petitions, and Native American treaties. Using historical and ethnographic sources to enrich familiar texts, White demonstrates the importance of rural areas in the study of U.S. nation formation and finds unexpected continuities between the early colonial period and the federal ascendancy of the 1790s.
Ed White is associate professor of English at the University of Florida.
This is as closely-knit an anthology as you are ever likely to see. It is as though a large, extended family were drawing on the same store of family stories, jokes, symbols, landscapes, animals, trees, language, and vernacular. How many snakes are in this book? How many foxes, possums? Fossils? And how very many coal mines? But it is not merely local references that unites these writers. There is a larger vision that ties these works together.
"The connection is not so much in mutual influence, though there is some of that, but in each writer’s total immersion in place. Even those writers who no longer live in the state remember the feel, the physical texture, the overwhelming and enfolding vegetal surround of the place." Editor, Irene McKinney
This new book brings to life the material-culture heritage of southwest Virginia and northeast Tennessee. In Backcountry Makers, Betsy K. White expands on her previous study of the region’s rich decorative arts legacy, Great Road Style, to offer a closer look at the individual artisans responsible for the diverse works that constitute that legacy.
Beautifully illustrated with some 230 photographs, most of them in color, this volume includes biographical sketches of seventy-five makers—potters, weavers, spinners, quilters, embroiderers, cabinetmakers, metalsmiths, clocksmiths, gunsmiths, and artists—who worked in the region from the earliest eighteenth-century settlement days to the late twentieth century. The entry for each artisan is accompanied by one or more images of a signed or marked work, or, in a number of instances, an unmarked work with certain provenance.
These vignettes offer a fascinating glimpse of the people behind the various pieces, describing their background, family life, and where they learned their trade. Using census records and other documentary evidence, White has traced the earliest of these artisans from their origins in such places as Europe and Philadelphia down through the Great Valley of Virginia to their ultimate destinations in southwest Virginia and northeast Tennessee. Along with the photos displaying the products of their craftsmanship, the book also includes a number of evocative images of the artists and their homes and towns, thus giving the reader a fuller sense of the region where these gifted people lived and worked.
One of the few studies to addresses handmade objects in this locale—and one of the even fewer works to focus on the artisans themselves— Backcountry Makers will be of great value not only to scholars of material culture and the arts in Appalachia but also to those who collect regional antiques and crafts and want to know more about the individuals who made them.
Betsy K. White is the author of Great Road Style: The Decorative Arts Legacy of Southwest Virginia and Northeast Tennessee. Until her retirementin 2008, she was director of the William King Regional Arts Center (now William King Museum) in Abingdon, Virginia.
When people get together around southern Arizona, there's a good chance that somebody will say, "That reminds me of the time I flew with Ike Russell. . . . " A backcountry pilot famous for his jaunts into the wildest, most remote regions of the borderlands, Alexander "Ike" Russell has become something of a legend since his death in 1980, and the stories surrounding his flights never fail to amaze.
This book combines biography and oral history by offering a wide range of anecdotes and remembrances about Ike by friends and family. Many describe the great adventures and gut-wrenching close calls that have become enshrined in local folklore as classic "Ike Russell stories," in all their hair-raising and hilarious splendor.
Russell was an easterner who moved to Arizona for his health and got his pilot's license in 1948—despite suffering from a respiratory disorder that would have kept other men firmly anchored to the ground. Over the years he flew scientists and other scholars to remote field locations in Mexico's Gulf of California and Sierra Madre Occidental that otherwise might not have been investigated. He often landed on short and dangerous airstrips and never seemed to mind running out of gas, getting caught without provisions, or attempting night landings in unlighted terrain. He took along a teapot wherever he went—and wherever he stopped, his first priority was to brew a quick cup.
Backcountry Pilot is the story of a larger-than-life adventurer, with those who knew Ike sharing tales tall and true about his famous exploits, brushes with fate, and sometimes narrow escapes from the jaws of disaster. It includes reminiscences by such scientists and friends as botanist Richard Felger, whom Ike frequently flew down to Seriland; ethnohistorian Bernard Fontana, whom Ike took to Tarahumara country; and paleoecologist Paul Martin, who talked Ike into a nine-month trip through Africa over totally unfamiliar terrain. A concluding chapter by Thomas Bowen offers a brief biographical sketch of Russell.
Ike Russell was a central figure for a generation of people who studied the southwestern desert and who helped others see it as a biological treasure rather than a wasteland. More than a highly skilled bush pilot, he was an extraordinary human being who touched the lives of everyone he met. For those who never got the chance, Backcountry Pilot secures Ike Russell's legacy in the desert skies.
Backflash: A Parker Novel
Richard Stark University of Chicago Press, 2011 Library of Congress PS3573.E9B4 2011 | Dewey Decimal 813.54
After the publication of Butcher's Moon in 1974, Donald Westlake said, “Richard Stark proved to me that he had a life of his own by simply disappearing. He was gone.” And readers waited.
But nothing bad is truly gone forever, and Parker’s as bad as they come. According to Westlake, one day in 1997, “suddenly, he came back from the dead, with a chalky prison pallor”—and the novels that followed showed that neither Parker nor Stark had lost a step.
Backflash finds Parker checking out the scene on a Hudson River gambling boat. Parker’s no fan of either relaxation or risk, however, so you can be sure he’s playing with house money—and he’s willing to do anything to tilt the odds in his favor. Featuring a great cast of heisters, a striking setting, and a new introduction by Westlake’s close friend and writing partner, Lawrence Block, this classic Parker adventure deserve a place of honor on any crime fan’s bookshelf.
The Background of Swedish Emigration to the United States was first published in 1930. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.The author, for three years a fellow of the Laura Spelman Rockefeller Memorial, examines the movement that, about the middle of the nineteenth century, swept over Sweden like an epidemic and carried away a large portion of her youth to America. Some of the more important chapters discuss the character of group emigration, the pattern of mass emigration, the background of agricultural emigration, the selection of emigrants, the industrial emigration, the professional emigration, the return of the emigrants, and the cessation of emigration.
Background of Thomson's Seasons was first published in 1942. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
There have been many valuable scattered studies of James Thomson's famous Seasons,but this is the first comprehensive book on the subject to be published in this country. This most popular long poem published in England in the eighteenth century well deserves reexamination. It is interesting not only to students of literature but also to those concerned with the history of ideas and the relationship of the fields of human knowledge.
Thomson's Seasons reflects the trends of his time in literature, philosophy, science, history, and religion. Professor McKillop presents an illuminating and systematic analysis of the general philosophic and literary situation in which Thomson worked. Then he discusses Thomson's use of the natural sciences and of the literature of history, geography, and travel. He shows that the poet was also concerned with the patterns of human society, both primitive and civilized.
The author reveals clearly how Thomson was indebted to the classical tradition; to the literary inspiration of Milton; to the scientific discussions and theories of Newton, Halley, Burnet, and the writers of popular physico-theological manuals; to the philosophical discussions of Shaftesbury and Locke; to the contemporary periodical essay; to the religious works of Blackmore and Hill; to the descriptions of remote regions and peoples in such writers as Scheffer, Varenius, and Maupertuis. All Thomson's borrowings and characteristic ideas fall into the framework of his poem.
As this book was leaving the bindery, discovery was made in Glasgow of a catalogue of Thomson's library. The document substantiates many of Professor McKillop's deductions.
Backgrounds of English Literature, 1700-1760 was first published in 1953. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.The five studies collected in this volume have the common purpose of establishing a background for an understanding of eighteenth-century English literature. Some of the most popular ideas and ideals of the period are traced to their sources in contemporary philosophy, science, politics, and religion.All of the studies relate in some way to what the seventeenth century called the climate of opinion. They confirm the observation of Shelley that all writers are subjected to “a common influence which arises out of an infinite combination of circumstances belonging to the time in which they live.” All the studies belong to that older style of literary investigation to which scholarship owes its name and to which every student interested in basic ideas and the origins of concepts will sooner or later wish to turn.The first two studies, “Shaftesbury and the Ethical Poets” and “The Return to Nature in English Poetry of the Eighteenth Century,” throw as much light on the Romantic poetry of the nineteenth century as they do on the poetry of the eighteenth. The nature worship that one thinks of as peculiarly Wordsworthian is shown to lie at the heart of deism, the rationalistic philosophy of a century earlier.In “Whig Panegyric Verse,” the ideals of the Whig party, as expressed by poets of the time, are examined in relation to Shaftesbury’s moral philosophy. In “John Dunton: Pietist and Impostor,” the morbid gloom familiar in the “graveyard poets” is seen to reflect a widespread popular taste. That the melancholia of the period was so common as to be considered a national characteristic appears from “The English Malady,” which is largely concerned with the medical literature of the time.
Subversive, funny, and effortlessly droll, Jules Feiffer’s cartoons were all over New York in the 1960s and ’70s—featured in the Village Voice, but also cut out and pinned to bulletin boards in offices and on refrigerators at home. Feiffer describes himself as “lucking into the zeitgeist,” and there’s some truth to the sentiment; Feiffer’s brand of satire reflected Americans’ ambivalence about the Vietnam War, changing social mores, and much more.
Feiffer’s memoir, Backing into Forward, like his cartoons, is sharply perceptive with a distinctive bite of mordant humor. Beginning with his childhood in Brooklyn, Feiffer paints a picture of a troubled kid with an overbearing mother and a host of crippling anxieties. From there, he discusses his apprenticeship with his hero, Will Eisner, and his time serving in the military during the Korean War, which saw him both feigning a breakdown and penning a cartoon narrative called “Munro” that solidified his distinctive aesthetic as an artist. While Feiffer’s voice grounds the book, the sheer scope of his artistic accomplishment, from his cartoons turning up in the New Yorker, Playboy, and the Nation to his plays and film scripts, is remarkable and keeps the narrative bouncing along at a speedy clip. A compelling combination of a natural sense of humor and a ruthless dedication to authenticity, Backing into Forward is full of wit and verve, often moving but never sentimental.
“Jules Feiffer’s original and neurotic voice. . . . reinvented comics in the 1950s and made possible what’s now called the ‘graphic novel.’ His engaging new memoir is told in that same witty and perceptive New York cadence, mellowed and laced with wisdom. He’s an inspiration.”—Art Spiegelman
For civil rights lawyers who toiled through the 1980s in the increasingly barren fields of race and sex discrimination law, the approval of the Americans with Disabilities Act in 1990 by a nearly unanimous U.S. House and Senate and a Republican President seemed almost fantastic. Within five years of the Act's effective date, however, observers were warning of an unfolding assault on the ADA by federal judges, the media, and other national opinion-makers. A year after the Supreme Court issued a trio of decisions in the summer of 1999 sharply limiting the ADA's reach, another decision invalidated an entire title of the act as it applied to the states. By this time, disability activists and disability rights lawyers were speaking openly of a backlash against the ADA.
What happened, why did it happen, and what can we learn from the patterns of public, media, and judicial response to the ADA that emerged in the 1990s? In this book, a distinguished group of disability activists, disability rights lawyers, social scientists and humanities scholars grapple with these questions. Taken together, these essays construct and illustrate a new and powerful theoretical model of sociolegal change and retrenchment that can inform both the conceptual and theoretical work of scholars and the day-to-day practice of social justice activists.
Contributors include Lennard J. Davis, Matthew Diller, Harlan Hahn, Linda Hamilton Krieger, Vicki A. Laden, Stephen L. Percy, Marta Russell, and Gregory Schwartz.
Backlash Against the ADA will interest disability rights activists, lawyers, law students and legal scholars interested in social justice and social change movements, and students and scholars in disability studies, political science, media studies, American studies, social movement theory, and legal history.
Linda Hamilton Krieger is Professor of Law, University of California School of Law, Berkeley.
Even today, in an era of cheap travel and constant connection, the image of young people backpacking across Europe remains seductively romantic. In Backpack Ambassadors, Richard Ivan Jobs tells the story of backpacking in Europe in its heyday, the decades after World War II, revealing that these footloose young people were doing more than just exploring for themselves. Rather, with each step, each border crossing, each friendship, they were quietly helping knit the continent together.
From the Berlin Wall to the beaches of Spain, the Spanish Steps in Rome to the Pudding Shop in Istanbul, Jobs tells the stories of backpackers whose personal desire for freedom of movement brought the people and places of Europe into ever-closer contact. As greater and greater numbers of young people trekked around the continent, and a truly international youth culture began to emerge, the result was a Europe that, even in the midst of Cold War tensions, found its people more and more connected, their lives more and more integrated. Drawing on archival work in eight countries and five languages, and featuring trenchant commentary on the relevance of this period for contemporary concerns about borders and migration, Backpack Ambassadors brilliantly recreates a movement that was far more influential and important than its footsore travelers could ever have realized.
Backpacking in Michigan
Jim DuFresne University of Michigan Press, 2007 Library of Congress GV199.42.M5113B34 2007 | Dewey Decimal 796.5109774
With 65 photographs and 77 detailed maps, this indispensable guide to the state's hiking trails gives beginners to advanced hikers all the information they need to plan their next Michigan overnight or weekend backpacking trip. Featuring 50 trails---27 in the Lower Peninsula---ranging from one-hour to multiple-day treks in both the Upper and Lower Peninsulas, Backpacking in Michigan has something for every hiker.
Information on hike length and difficulty, elevation gain, the amount of time needed to complete the hike, camping facilities, and nearby towns accompanies each of the trail listings. The author also provides extensive reference maps along with a description of scenic highlights. In addition to backcountry explorations of remote trails, Backpacking in Michigan includes classic Michigan adventures such as the Lakeshore Trail in Pictured Rocks National Lakeshore, the Greenstone Ridge Trail in Isle Royale National Park, North Manitou Island in Sleeping Bear Dunes National Lakeshore, and Jordan River Pathway in the Mackinaw State Forest.
While Backpacking in Michigan focuses primarily on the trails themselves, it also makes planning your Michigan adventure as easy as possible by providing important information on routes to and from the trailhead, as well as park fees and reservation information for shelters, walk-in cabins, rental yurts, and overnight camping.
Jim DuFresne is a Michigan native and author of more than a dozen wilderness, travel, and hiking guidebooks. He is author of Isle Royale National Park: Foot Trails and Water Routes; 50 Hikes in Michigan: The Best Walks, Hikes, and Backpacks in the Lower Peninsula; Best Hikes with Children: Michigan; Porcupine Mountains Wilderness State Park: A Backcountry Guide for Hikers, Campers, Backpackers, and Skiers; as well as The Complete Guide to Michigan Sand Dunes, copublished by the University of Michigan Press and Petoskey Publishing.
Elizabeth D. Hailman University of Wisconsin Press, 2000 Library of Congress GV199.42.W6H35 2000 | Dewey Decimal 917.750443
Wisconsin is a premier backpacking state, with outstanding opportunities for weekend trips. With its Great Lakes and river boundaries, national and state parks and forests, and stunning geological diversity, it offers a variety of experiences for both novice and experienced backpackers. In Backpacking Wisconsin Jack and Liz Hailman, drawing on years of personal experience, provide first-hand information for trails in every corner of the state—from the wooded Apostle Islands National Lakeshore, inhabited by whitetailed deer and black bears, to picturesque Newport State Park in Door County, set upon Silurian-age limestone laid down over 100 million years ago.
For each backpacking site you’ll find:
• information on entrance fees and permits, campsites, & contact sources
• directions to the location
• detailed trail maps with keys that pinpoint roads, parking, trail shelters, water supplies, outhouses
• ratings for trails, scenery, quiet, solitude, and interest
• background information on history, geology, and terrain
• trail notes describing trees, shrubs, wildflowers, birds, and animals you may encounter.
Backpacking Wisconsin also provides an overview of the backpacking experience, tips for the beginner and the expert, hints on how to choose equipment (boots, packs, tents, sleeping bags, rain gear, stoves), notes on troublesome plants and animals, a list of state areas that no longer offer backpacking, schedules of fees, a checklist for backpacks, and a list of trail, outdoor, and conservation organizations. For those hesitant to venture deep into wilderness, the Hailmans spotlight “quasi-backpacking” sites. All you have to do is pick a trail!
Mark Di Ionno is a Jersey guy through and through. He’s lived in fifteen different towns in six different New Jersey counties. He’s been a journalist for the state’s top newspapers, currently the Star-Ledger, where his first job was to go out and write about things that were “interesting.” Who better to take readers on a personal tour of the backroads of New Jersey?
In Backroads, New Jersey, Di Ionno leads readers off the congested interstates with their commonplace scenery to the seldom-explored secondary roads, where the real life of the state can be found. These inter-county or 500 series roads are a 6,788-mile network of mostly one-lane highways. Marked by blue-and-yellow five-sided shields bearing county names, they make up more than 20 percent of New Jersey’s public roads. They are never the fastest or most direct way to get anywhere, but when you break out of the towns and hit the country, they are a pleasure to drive.
Travel with Di Ionno as he takes readers to see the state’s amazing beauty¾from the dizzying cliffs of the Palisades, to the blunted peaks of the Highlands and Kittatinny Ridges, to the rolling hills of Morris, Hunterdon, and Somerset counties, to the topsoil-wealthy agricultural belts of Monmouth and the southern counties, to the flat, sandy beaches of the 127-mile Jersey Shore. Travel with him as he shows us the homes of New Jersey’s culturally diverse population, whose men and women work at everything from farms to pharmacies, from banks to auto assembly lines. And travel with him as he recounts the history made along the back country roads in towns like Rocky Hill, where George Washington wrote his farewell orders. Di Ionno calls New Jersey “a place of infinite natural beauty, a place of intricate human patterns. A place where you can see a lot in a little time. This is, simply put, the overriding theme of this book. New Jersey is a restless state for restless people. A state for wanderers to explore.” Backroads, New Jersey is a rare chance to see it all through the eyes of a well-traveled Jerseyan. Happy wandering!
Peterson, Levi Signature Books, 2013 Library of Congress PS3566.E7694B3 2012 | Dewey Decimal 813.54
Recognized as a Mormon classic twenty years after its release,The Backslider features longstanding Christian conflicts played out in a scenic, sparsely populated area of southern Utah. A young ranch-hand, Frank Windham, conceives of God as an implacable enemy of human appetite. He is a dedicated sinner until family tragedy catapults him into an arcane form of penitence preached among frontier Mormons. He is saved by an epiphany that has proved controversial among readers, either interpreting it as an extreme impiety or celebrating it as a moving and entirely plausible rendering of a biblical theme in a Western setting.
Frank comes into contact with a host of rural and urban characters. Of central importance is his Lutheran girlfriend, Marianne, whom Frank seduces, begrudgingly marries, and eventually loves. Frank’s extended family is just a generation removed from polygamy and still energized by old-time grudges and deprivations. Along the way Frank encounters a closeted secular humanist, a polygamist prophet, a psychiatrist, a Mason, government employees, college professors, lawyers, and entrepreneurs—all drawn with heightened realism reminiscent of Charles Dickens or the grotesque forms of William Faulkner and Flannery O’Connor.
The story engages readers as it alternates almost imperceptibly between Frank’s naïve consciousness and the more informed awareness of its narrator. It can be read as a love story, a satiric comedy, or a dark and sobering study of self-mutilation. Shifting from one to another, it builds suspense and elicits
complex emotions, among them a profound sense of compassion. More joyous than cynical, it sympathizes deeply with the plight of all of God’s backsliders.
On July 14, 1789, a crowd of angry French citizens en route to the Bastille broke into the Paris Opera and helped themselves to any sturdy weapon they could find. Yet despite its long association with the royal court, its special privileges, and the splendor of its performances, the Opera itself was spared, even protected, by Revolutionary officials. Victoria Johnson’s Backstage at the Revolution tells the story of how this legendary opera house, despite being a lightning rod for charges of tyranny and waste, weathered the most dramatic political upheaval in European history.
Sifting through royal edicts, private letters, and Revolutionary records of all kinds, Johnson uncovers the roots of the Opera’s survival in its identity as a uniquely privileged icon of French culture—an identity established by the conditions of its founding one hundred years earlier under Louis XIV. Johnson’s rich cultural history moves between both epochs, taking readers backstage to see how a motley crew of singers, dancers, royal ministers, poet entrepreneurs, shady managers, and the king of France all played a part in the creation and preservation of one of the world’s most fabled cultural institutions.
It may be that the song most baby boomers identify from July 1956 is a simple twelve-bar blues, hyped on national television by a twenty-one-year-old Elvis Presley and his handlers. But it is a very different song, with its elongated fourteen-bar choruses of rhythm and dissonance, played on the night of July 7, 1956, by a fifty-seven-year-old Duke Ellington and his big band that got everybody on their feet and moving as one. More than fifty years later, “Diminuendo and Crescendo in Blue,” recorded at the 1956 Newport Jazz Festival, still makes a profound statement about postwar America—how we got there and where it all went.
Backstory in Blue is a behind-the-scenes look at this epic moment in American cultural history. It is the story of who and what made Ellington’s composition so compelling and how one piece of music reflected the feelings and shaped the sensibilities of the postwar generation. As John Fass Morton explains, it was music expressed as much by those who performed offstage as by those who performed on.
Written from the point of view of the audience, this unique account draws on interviews with fans and music professionals of all kinds who were there and whose lives were touched, and in some cases changed, by the experience. Included are profiles of George Avakian, who recorded and produced Ellington at Newport 1956; Paul Gonsalves, the tenor sax player responsible for the legendary twenty-seven choruses that enabled the rebirth of Ellington’s career; and the “Bedford Blonde,” Elaine Anderson, whose dance ignited both the band and the crowd.
Duke Ellington once remarked, “I was born at Newport.” Here we learn that Newport was much more than the turning point for Ellington’s career. It was the tipping point for a generation and a musical genre.
Agents or victims, liberated or oppressed, "bad girls" or "good girls." What do these labels mean and do they further or hinder women's progress? How are today's visions of female sexuality and power like or unlike those of the past? How do younger women define feminism? Isn't the personal still political?
Dismayed by the media's tendency to reduce the feminist enterprise to labels and superstars, Donna Perry and Nan Bauer Maglin decided to find out what a diverse group of feminists think about women, sex, and power in the nineties. The result is a provocative and varied collection of twenty-four essays by second- and third-wave feminists; artists and activists; professors and graduate students; professional journalists and just-published writers; mothers and daughters. By focusing on society's construction, containment, and exploitation of female sexuality, in particular, these essays offer fresh perspectives on women's agency or lack of it.
The contributors focus on the oversimplifications and false dichotomies in current discussions of female sexuality, as well as the privileged perspective and individualism that currently dominate the popularized feminist message. Individual writers--including Emma Amos, bell hooks, Ann Jones, Lisa Jones, Paula Kamen, Matuschka, Marge Piercy, Katha Pollitt, Anna Quindlen, Elayne Rapping, Lillian S. Robinson, and Ellen Willis--reexamine women's empowerment in the light of issues like AIDS, battering, acquaintance rape, narratives of childhood sexual abuse, and pornography. Several draw political conclusions from their personal struggles, while others read stories and texts--from history, the art world, the media, popular culture, and social science research--in new and controversial ways.
Backward Glances reveals that the passionate love one woman feels for another occupies a position of unsuspected centrality in contemporary Chinese mass cultures. By examining representations of erotic and romantic love between women in popular films, elite and pulp fiction, and television dramas, Fran Martin shows how youthful same-sex love is often framed as a universal, even ennobling, feminine experience. She argues that a temporal logic dominates depictions of female homoeroticism, and she traces that logic across texts produced and consumed in mainland China, Hong Kong, and Taiwan during the twentieth century and the early twenty-first. Attentive to both transnational cultural flows and local particularities, Martin shows how loving relations between women in mass culture are usually represented as past experiences. Adult protagonists revel in the repeated, mournful narration of their memories. Yet these portrayals do not simply or finally consign the same-sex loving woman to the past—they also cause her to reappear ceaselessly in the present.
As Martin explains, memorial schoolgirl love stories are popular throughout contemporary Chinese cultures. The same-sex attracted young woman appears in both openly homophobic and proudly queer-affirmative narratives, as well as in stories whose ideological valence is less immediately clear. Martin demonstrates that the stories, television programs, and films she analyzes are not idiosyncratic depictions of marginal figures, but manifestations of a broader, mainstream cultural preoccupation. Her investigation of representations of same-sex love between women sheds new light on contemporary Chinese understandings of sex, love, gender, marriage, and the cultural ordering of human life.
Backward Glances is an exploration of the history of male street cruising. Too often in discussions of urban space and interpretations of urban culture, streetwalking implies a rigid model for the way we inhabit the streets. Beginning with the simple premise that we all walk the streets differently, Mark Turner suggests that male cruising operates through encounter and connection rather than alienation, and that it is the defining experience of what it means to be modern.
Backward Glances is the first gay urban history of its kind, examining these issues across a range of cultural material, including novels, poems, pornography, journalism, gay guides, paintings, the internet, and fragments of writing about the city such as Whitman's notebooks and David Hockney's graffiti. It provides a new way of understanding what it means for a man to walk the streets of the modern Western city.
Backward Glances is aimed at all those interested in the culture of the city, queer cultural history and the appropriation of public space.
The best-selling script analysis book for thirty-five years
Considered an essential text since its publication thirty-five years ago, this guide for students and practitioners of both theater and literature complements, rather than contradicts or repeats, traditional methods of literary analysis of scripts.
Ball developed his method during his work as literary director at the Guthrie Theater, building his guide on the crafts playwrights of every period and style use to make their plays stageworthy. The text is full of tools for students and practitioners to use as they investigate plot, character, theme, exposition, imagery, conflict, theatricality, and the other crucial parts of the superstructure of a play. Also included are guides for discovering what the playwright considers a play’ s most important elements, thus permitting interpretation based on the foundation of the play rather than its details.
Using Shakespeare’s Hamlet as illustration, Ball assures a familiar base for clarifying script-reading techniques as well as exemplifying the kinds of misinterpretation readers can fall prey to by ignoring the craft of the playwright. Of immense utility to those who want to put plays on the stage (actors, directors, designers, production specialists) Backwards & Forwards is also a fine playwriting manual because the structures it describes are the primary tools of the playwright.
The writings of William Gilmore Simms (1806–1870) provide a sweeping fictional portrait of the colonial and antebellum South in all of its regional diversity. Simms’s account of the region is more comprehensive than that of any other author of his time; he treats the major intellectual and social issues of the South and depicts the bonds and tensions among all of its inhabitants. By the mid-1840s Simms’s novels were so well known that Edgar Allan Poe could call him “the best novelist which this country has, on the whole, produced.” The twelfth volume in the ongoing Arkansas Edition of the works of William Gilmore Simms, Backwoods Tales brings together three of the best examples of his comic writing. All were written during the last decade of Simms’s life, when he had become a master of his craft. These three tales belong in the tradition of southern backwoods humor, a genre that flourished before the Civil War and produced classic tales by such authors as George Washington Harris, Johnson Jones Hooper, and Thomas Bangs Thorpe. Paddy McGann, “Sharp Snaffles,” and “Bill Bauldy” are all frame tales, told by rustic narrators in authentic dialect, with frequent pauses for libation and comment. These three pieces of writing, never before published together, stand among the best examples of American humor of the nineteenth century.
The West Virginia University Mountaineers and the University of Pittsburgh Panthers, separated by less than eighty miles of highway, have battled it out on the football field for more than one hundred years. Now, with Pitt announcing its departure from the Big East Conference to join the Atlantic Coast Conference and West Virginia becoming a member of the Big 12 Conference, this intense rivalry has come to an abrupt end. Thousands of players and dozens of coaches - some among the very best to ever play the game - have been a part of this famous series known as the “Backyard Brawl.” With fantastic tales about this feud’s star-studded rosters, including White, Slaton, Harris, Luck, Huff, Nehlen, and Rodriguez for West Virginia and Fitzgerald, Marino, Dorsett, Green, Majors, and Sherrill for Pitt, The Backyard Brawl celebrates the tradition, heritage, and pride of two outstanding universities. With unparalleled access, John Antonik, a 20-year West Virginia University athletic administrator and WVU alumnus, unearths the fascinating and humorous stories that make up this revered, colorful, and cherished football game-and more importantly, the great passion and pride these schools exhibit every time they take the field.
An Important Account of the Greek State That Ruled the Hindu Kush for Centuries in the Wake of Alexander the Great
“If through the Bactrian Empire European ideas were transmitted to the Far East, through that and similar channels Asiatic ideas found their way to Europe.”—Intellectual Development of Europe
Following the Macedonian invasion of Persian in the fourth century B.C., an independent Greek-ruled empire emerged over an area encompassing modern Afghanistan, eastern Iran, and northern Pakistan. This ancient empire, called Bactria, is recorded in texts, both Asian and European, as well as through coins, inscriptions, and architectural remnants. Bactria served as a contact point between Europe, South Asia, and the Far East for more than two hundred years before disappearing under the pressure of a resurgent Persia to the west and Indian states to the east. In Bactria: The History of a Forgotten Empire, historian Hugh G. Rawlinson begins with the early history of Bactria and its subjugation by Persia, and then describes the conquest of Iran by Alexander the Great and the establishment of an independent Bactria ruled by Greeks. The Bactrians adopted Buddhism early on and helped establish the religion throughout the area. The author then follows the history of the empire through its rulers, including Menander, until Greek rule was extinguished around 135 B.C. Finally, the author discusses the effects of Greek occupation on the region. Based on meticulous research in ancient texts from Greece, Persia, and India, and using material evidence of the time, this history, which won the Hare University Prize at Cambridge in 1909, remains relevant today, providing a fascinating portrait of a little-known connection between East and West.
With wit and intelligence, Leo Katz seeks to understand the basic rules and concepts underlying the moral, linguistic, and psychological puzzles that plague the criminal law.
"Bad Acts and Guilty Minds . . . revives the mind, it challenges superficial analyses, it reminds us that underlying the vast body of statutory and case law, there is a rationale founded in basic notions of fairness and reason. . . . It will help lawyers to better serve their clients and the society that permits attorneys to hang out their shingles."—Edward N. Costikyan, New York Times Book Review
A Bad and Stupid Girl
Jean McGarry University of Michigan Press, 2006 Library of Congress PS3563.C3636B33 2006 | Dewey Decimal 813.54
Siri is a legacy admission, rich and spoiled and destined to flunk out of her freshman year at college. Esther, her roommate, is a scholarship student from humble means, brilliant and driven to succeed.
Brought together by chance, the girls soon become partners in a struggle to find their way in a world where neither Esther’s brains nor Siri’s beauty is enough. Never having been forced to work hard at anything, Siri must rely on Esther to teach her to learn and attend class. But as Siri wakes from her dream world to discover the life of the mind, Esther begins shedding her rational bonds to explore the mysteries of the soul. For both, some of the most devastating lessons in the attainment of worldly knowledge come from love.
Deadpan funny and bittersweet, A Bad and Stupid Girl is above all else a moving portrait of two friends helping each other to uncover the potential splendor of their lives.
Jean McGarry is the author of six previous books of fiction: Airs of Providence, The Very Rich Hours, The Courage of Girls, Home at Last, Gallagher's Travels, and Dream Date. She is a professor of fiction at The Writing Seminars at Johns Hopkins University. A Bad and Stupid Girl is her third novel.
“Jean McGarry's novel is a lovely locket of a book, with the picture inside not at all faded. Focused in close-up, succinct and convincing, it's a story about friendship and maturation, and about how our studies, alone, do not define us.”
“Jean McGarry’s A Bad and Stupid Girl is an uncommonly Good and Bright-Indeed Novel, sharply written from start to finish and entertaining as Hell.”
“Everything in life is arbitrary yet must be over-determined in literature. Jean McGarry knows how to tell a persuasive tale illuminating these truths.”
In the shadow of the fallen Old Man of the Mountain, on a lonely stretch of mountain road, two men lay dead. A spasm of violence that took only a few minutes to play out leaves a community divided and searching for answers. From the author of newly released Boston Strong: A City’s Triumph Over Tragedy, about the 2013 Boston Marathon bombings, Bad Blood is the riveting account of the long-standing feud between Franconia, New Hampshire, police officer Bruce McKay, 48, and Liko Kenney, 24. In May 2007, Kenney shot and killed Officer McKay, following a dramatic chase that began with a routine traffic stop. Kenney, cousin of ski legend Bode Miller, was then shot and killed by a shadowy passerby. Almost immediately, the tragic incident revealed deep tensions within this otherwise quiet community in the White Mountains with charges that Kenney was a hell-raiser and mentally unstable and counter-charges that Officer McKay was a rogue cop who dispensed justice as a way to settle personal scores. Striving to get at the truth of the story, the author uncovers a complicated mix of personalities and motivations. Local and statewide interests clash while regional and national media— and even YouTube viewers— supply ready stereotypes to fit their agendas. Amid larger questions of the meaning of individual freedom we are, ultimately, helpless witnesses to an inevitable clash of characters.
In 1937, the Great Depression was still lingering, but at baseball parks across the country there was a sense of optimism. Major League attendance was on a sharp rise. Tickets to an Indians game at League Park on Lexington and East 66th were $1.60 for box seats, $1.35 for reserve seats, and $.55 for the bleachers. Cleveland fans were particularly upbeat—Bob Feller, the teenage phenomenon, was a farm boy with a blistering fast ball. Night games were an exciting development. Better days were ahead.
But there were mounting issues facing the Indians. For one thing, it was rumored that the team had illegally signed Feller. Baseball Commissioner Judge Kenesaw Mountain Landis was looking into that matter and one other. Issues with an alcoholic catcher, dugout fights, bats thrown into stands, injuries, and a player revolt kept things lively.
In Bad Boys, Bad Times: The Cleveland Indians and Baseball in the Prewar Years, 1937–1941—the follow-up to his No Money, No Beer, No Pennants: The Cleveland Indians and Baseball in the Great Depression—baseball historian Scott H. Longert writes about an exciting period for the team, with details and anecdotes that will please fans all over.
Statistics show that black males are disproportionately getting in trouble and being suspended from the nation's school systems. Based on three years of participant observation research at an elementary school, Bad Boys offers a richly textured account of daily interactions between teachers and students to understand this serious problem. Ann Arnett Ferguson demonstrates how a group of eleven- and twelve-year-old males are identified by school personnel as "bound for jail" and how the youth construct a sense of self under such adverse circumstances. The author focuses on the perspective and voices of pre-adolescent African American boys. How does it feel to be labeled "unsalvageable" by your teacher? How does one endure school when the educators predict one's future as "a jail cell with your name on it?" Through interviews and participation with these youth in classrooms, playgrounds, movie theaters, and video arcades, the author explores what "getting into trouble" means for the boys themselves. She argues that rather than simply internalizing these labels, the boys look critically at schooling as they dispute and evaluate the meaning and motivation behind the labels that have been attached to them. Supplementing the perspectives of the boys with interviews with teachers, principals, truant officers, and relatives of the students, the author constructs a disturbing picture of how educators' beliefs in a "natural difference" of black children and the "criminal inclination" of black males shapes decisions that disproportionately single out black males as being "at risk" for failure and punishment.
Bad Boys is a powerful challenge to prevailing views on the problem of black males in our schools today. It will be of interest to educators, parents, and youth, and to all professionals and students in the fields of African-American studies, childhood studies, gender studies, juvenile studies, social work, and sociology, as well as anyone who is concerned about the way our schools are shaping the next generation of African American boys.
Ann Arnett Ferguson is Assistant Professor of Afro-American Studies and Women's Studies, Smith College.
Black males are disproportionately "in trouble" and suspended from the nation’s school systems. This is as true now as it was when Ann Arnett Ferguson’s now classic Bad Boys was first published. Bad Boys offers a richly textured account of daily interactions between teachers and students in order to demonstrate how a group of eleven- and twelve-year-old males construct a sense of self under adverse circumstances. This new edition includes a foreword by Pedro A. Noguera, and an afterword and bibliographic essay by the author, all of which reflect on the continuing relevance of this work nearly two decades after its initial publication.
In Bad Colonists Nicholas Thomas and Richard Eves provide a window into the fantasies and realities of colonial life by presenting separate sets of letters by two late-nineteenth-century British colonists of the South Pacific: Vernon Lee Walker and Louis Becke. Thomas and Eves frame the letters—addressed mostly to the colonists’ mothers—with commentary that explores colonial degeneration in the South Pacific. Using critical anthropology and theories of history-making to view the letter as artifact and autobiography, they examine the process whereby men and women unraveled in the hot, violent, uncivil colonial milieu. An obscure colonial trader, Walker wrote to his mother in England from Australia, the New Hebrides (now Vanuatu), and New Caledonia—and also from ships in between those places—during the 1870s and 1880s. Becke was a trader, too, but he was also a successful author of popular fiction that drew on his experiences in the Pacific. Written from Micronesia in the early 1880s, Becke’s letters are like Walker’s in that they report one setback after another. Both collections vividly evoke the day-to-day experiences of ordinary late-nineteenth-century colonists and open up new questions concerning the making and writing of selves on the colonial periphery. Exposing insecurities in an epoch normally regarded as one of imperial triumph, Bad Colonists will appeal to students and scholars of anthropology, colonial history, cultural studies, and Pacific history and culture.
The Bad Conscience
Vladimir Jankélévitch University of Chicago Press, 2014 Library of Congress BJ1471.J313 2015 | Dewey Decimal 171.6
Vladimir Jankélévitch was one of the most distinctive voices in twentieth-century philosophy. In The Bad Conscience—published in 1933 and subsequently revised and expanded—Jankélévitch lays the foundations for his later work, Forgiveness, grappling with the conditions that give rise to the moral awareness without which forgiveness would make no sense. Remorse, or “the bad conscience,” arises from the realization that the acts one has committed become irrevocable. This realization, in turn, gives rise to an awareness of moral virtues and values, as well as freedom and the responsibilities freedom entails. Thus, while the majority of moral systems try to shield us from remorse, the remedy for the bad conscience lies not in repentance but in the experience of remorse itself.
To this careful and sensitive English-language translation of The Bad Conscience, translator Andrew Kelley has added a substantial introduction situating the work in historical and intellectual context. Notes throughout indicate differences between this and earlier editions. A thought-provoking critique of standard conceptions of moral philosophy, The Bad Conscience restores this work by an important philosopher who has only recently begun to receive his due from the English-speaking world.
Traces a tradition of ironic and irreverent environmentalism, asking us to rethink the movement’s reputation for gloom and doom
Activists today strive to educate the public about climate change, but sociologists have found that the more we know about alarming issues, the less likely we are to act. Meanwhile, environmentalists have acquired a reputation as gloom-and-doom killjoys. Bad Environmentalism identifies contemporary texts that respond to these absurdities and ironies through absurdity and irony—as well as camp, frivolity, irreverence, perversity, and playfulness.
Nicole Seymour develops the concept of “bad environmentalism”: cultural thought that employs dissident affects and sensibilities to reflect critically on our current moment and on mainstream environmental activism. From the television show Wildboyz to the short film series Green Porno, Seymour shows that this tradition of thought is widespread—spanning animation, documentary, fiction film, performance art, poetry, prose fiction, social media, and stand-up comedy since at least 1975. Seymour argues that these texts reject self-righteousness and sentimentality, undercutting public negativity toward activism and questioning basic environmentalist assumptions: that love and reverence are required for ethical relationships with the nonhuman and that knowledge is key to addressing problems like climate change.
Funny and original, Bad Environmentalism champions the practice of alternative green politics. From drag performance to Indigenous comedy, Seymour expands our understanding of how environmental art and activism can be pleasurable, even in a time of undeniable crisis.
Bad Faith Good Faith
Ronald E. Santoni Temple University Press, 1995 Library of Congress B2430.S34S314 1995 | Dewey Decimal 128
From the beginning to the end of his philosophizing, Sartre appears to have been concerned with "bad faith"—our "natural" disposition to flee from our freedom and to lie to ourselves. Virtually no aspect of his monumental system has generated more attention. Yet bad faith has been plagued by misinterpretation and misunderstanding. At the same time, Sartre's correlative concepts of "good faith" and "authenticity" have suffered neglect or insufficient attention, or been confused and wrongly identified by Sartre scholars, even by Sartre himself.
Ronald E. Santoni takes on the challenge of distinguishing these concepts, and of showing whether either or both existential "attitudes" afford deliverance from the hell of Sartre's bad faith. He offers the first fill-scale analysis, reconstruction, and differentiation of these ways of existing as they develop in Sartre's early works (1937-1947).
Although he attempts to redeem Sartre's slighted concept of good faith, Santoni warns that it must not be viewed interchangeably with authenticity. Further, in one of the earliest and most sustained studies of Sartre's Notebooks for an Ethics available in English, Santoni shows how Sartre's posthumously published notes for an "ethics of Salvation" confirm his differentiation and argument. The way out of Sartrean hell, Santoni insists, is authenticity—living "with fidelity" to our unjustifiable freedom and assuming responsibility for it.
A daring, deep investigation into ethnographic cinema that challenges standard ways of writing film history and breaks important new ground in understanding archives
Bad Film Histories is a vital work that unsettles the authority of the archive. Katherine Groo daringly takes readers to the margins of the film record, addressing the undertheorization of film history and offering a rigorous corrective. Taking ethnographic cinema as a crucial case study, Groo challenges standard ways of thinking and writing about film history and questions widespread assumptions about what film artifacts are and what makes them meaningful. Rather than filling holes, Groo endeavors to understand the imprecisions and absences that define film history and its archives.
Bad Film Histories draws on numerous works of ethnographic cinema, from Edward S. Curtis’s In the Land of the Head Hunters, to a Citroën-sponsored “croisière” across Africa, to the extensive archives of the Maison Lumière and the Musée Albert-Kahn, to dozens of expedition films from the 1910s and 1920s. The project is deeply grounded in poststructural approaches to history, and throughout Groo draws on these frameworks to offer innovative and accessible readings that explain ethnographic cinema’s destabilizing energies.
As Groo describes, ethnographic works are mostly untitled, unauthored, seemingly infinite in number, and largely unrestored even in their digital afterlives. Her examination of ethnographic cinema provides necessary new thought for both film scholars and those who are thrilled by cinema’s boundless possibilities. In so doing, she boldly reexamines what early ethnographic cinema is and how these films produce meaning, challenging the foundations of film history and prevailing approaches to the archive.
Bad guys are not allowed to have birthdays, pick blueberries, or disturb the baby. So say the four-year-olds who announce life's risks and dangers as they play out the school year in Vivian Paley's classroom.
Their play is filled with warnings. They invent chaos in order to show that everything is under control. They portray fear to prove that it can be conquered. No theme is too large or too small for their intense scrutiny. Fantasy play is their ever dependable pathway to knowledge and certainty.
" It . . . takes a special teacher to value the young child's communications sufficiently, enter into a meaningful dialogue with the youngster, and thereby stimulate more productivity without overwhelming the child with her own ideas. Vivian Paley is such a teacher."—Maria W. Piers, in the American Journal of Education
"[Mrs. Paley's books] should be required reading wherever children are growing. Mrs. Paley does not presume to understand preschool children, or to theorize. Her strength lies equally in knowing that she does not know and in trying to learn. When she cannot help children—because she can neither anticipate nor follow their thinking—she strives not to hinder them. She avoids the arrogance of adult to small child; of teacher to student; or writer to reader."—Penelope Leach, author of Your Baby & Child in the New York Times Book Review
"[Paley's] stories and interpretation argue for a new type of early childhood education . . . a form of teaching that builds upon the considerable knowledge children already have and grapple with daily in fantasy play."—Alex Raskin, Los Angeles Times Book Review
"Through the 'intuitive language' of fantasy play, Paley believes, children express their deepest concerns. They act out different roles and invent imaginative scenarios to better understand the real world. Fantasy play helps them cope with uncomfortable feelings. . . . In fantasy, any device may be used to draw safe boundaries."—Ruth J. Moss, Psychology Today
At the core of this nuanced book is the question that ecocritics have been debating for decades: what is the relationship between aesthetics and activism, between art and community? By using a pastoral lens to examine ten fictional narratives that chronicle the dialogue between human culture and nonhuman nature on the Great Plains, Matthew Cella explores literary treatments of a succession of abrupt cultural transitions from the Euroamerican conquest of the “Indian wilderness” in the nineteenth century to the Buffalo Commons phenomenon in the twentieth. By charting the shifting meaning of land use and biocultural change in the region, he posits this bad land—the arid West—as a crucible for the development of the human imagination.
Each chapter deals closely with two novels that chronicle the same crisis within the Plains community. Cella highlights, for example, how Willa Cather reconciles her persistent romanticism with a growing disillusionment about the future of rural Nebraska, how Tillie Olsen and Frederick Manfred approach the tragedy of the Dust Bowl with strikingly similar visions, and how Annie Proulx and Thomas King use the return of the buffalo as the centerpiece of a revised mythology of the Plains as a palimpsest defined by layers of change and response. By illuminating these fictional quests for wholeness on the Great Plains, Cella leads us to understand the intricate interdependency of people and the places they inhabit.
Cella uses the term “pastoralism” in its broadest sense to mean a mode of thinking that probes the relationship between nature and culture: a discourse concerned with human engagement—material and nonmaterial—with the nonhuman community. In all ten novels discussed in this book, pastoral experience—the encounter with the Beautiful—leads to a renewed understanding of the integral connection between human and nonhuman communities. Propelling this tradition of bad land pastoralism are an underlying faith in the beauty of wholeness that comes from inhabiting a continuously changing biocultural landscape and a recognition of the inevitability of change. The power of story and language to shape the direction of that change gives literary pastoralism the potential to support an alternative series of ideals based not on escape but on stewardship: community, continuity, and commitment.
The Bad Lands: A Novel
Oakley Hall University of Chicago Press, 2016 Library of Congress PS3558.A373B33 2015 | Dewey Decimal 813.54
It’s 1883 in Johnson County, in the old Dakota Territory—a rugged, wide-open landscape of rolling, red earth, prairie, and cattle as far as the eye can see. But the land is closing, the “Beef Bonanza” is ending, and the free-range cattlemen are stuck watching a way of life disappear in a blaze of drought and gunfire.
An action-packed western from one of the masters of the genre, Oakley Hall’s The Bad Lands blends roundups and rustlers, whorehouses and land grabs, shoot-outs and the threat of hangings in a tale of the war between the cowboys and the cattle barons. But more than this, it is an elegy to the wild beauty of the badlands before the ranchers moved in, chased off the free-rangers, the trappers, and the tribes, and fenced it all in.
In Bad Language, Naked Ladies, and Other Threats to the Nation, Anne Rubenstein examines how comic books—which were overwhelmingly popular but extremely controversial in post-revolutionary Mexico—played an important role in the development of a stable, legitimate state. Studying the relationship of the Mexican state to its civil society from the 1930s to the 1970s through comic books and their producers, readers, and censors, Rubenstein shows how these thrilling tales of adventure—and the debates over them—reveal much about Mexico’s cultural nationalism and government attempts to direct, if not control, social change. Since their first appearance in 1934, comic books enjoyed wide readership, often serving as a practical guide to life in booming new cities. Conservative protest against the so-called immorality of these publications, of mass media generally, and of Mexican modernity itself, however, led the Mexican government to establish a censorship office that, while having little impact on the content of comic books, succeeded in directing conservative ire away from government policies and toward the Mexican media. Bad Language, Naked Ladies, and Other Threats to the Nation examines the complex dynamics of the politics of censorship occasioned by Mexican comic books, including the conservative political campaigns against them, government and industrial responses to such campaigns, and the publishers’ championing of Mexican nationalism and their efforts to preserve their publishing empires through informal influence over government policies. Rubenstein’s analysis suggests a new Mexican history after the revolution, one in which negotiation over cultural questions replaced open conflict and mass-media narrative helped ensure political stability. This book will engage readers with an interest in Mexican history, Latin American studies, cultural studies, and popular culture.