In 1980, with the Sandinistas newly in power, tailor and pig farmer Bernardo Martinez witnesses an extraordinary thing: an otherworldly glow about the statue of the Virgin Mary in the church where he works as sacristán. Soon the Holy Virgin appears. She tells Bernardo to forget his money problems and fear of ridicule and spread her message of peace and faith to his neighbors. Though a work of fiction, Bernardo and the Virgin is based on actual events in Bernardo Martinez's life. The visitation of the Virgin Mary at Cuapa, Nicaragua, remains one of the few such events accepted by the Roman Catholic Church in the last sixty years.
Silvio Sirias' sweeping novel tells many stories: that of a humble man touched by the transcendent; that same man as a devout boy denied the priesthood because of poverty; and those in his orbit, past and present. It is also the stormy epic of Nicaragua through the long Somoza years to the Sandinista revolution. Sirias' beautiful language mixes English with Spanish and details of dusty village life with wondrous images of Catholic mysticism. His portrayal of the rich recent past of Central America resonates with the experiences of both the natives and the thriving communities of Nicaraguans, Salvadorans, and others putting down roots in the United States.
John le Carré is viewed by many critics as one of the best spy and espionage novel writers. His most famous works are The Spy Who Came in from the Cold; Tinker, Tailor, Soldier, Spy; and The Little Drummer Girl.
Peter Wolfe has produced an informative study of le Carré’s works, showing how le Carré’s five years in the Service (British Intelligence) helped him become a keen observer, social historian, and expert in bureaucratic politics. He has supplanted the technological flair marking much of today's spy fiction with moral complexity and psychological depth. He shows us what spies are like, how they feel about spying, and how spying affects their minds and hearts.
Drumming For The Gods
Maria Velez Temple University Press, 2000 Library of Congress ML419.G363V45 2000 | Dewey Decimal 786.9092
"I am Felipe Garcia Villamil" begins Drumming for the Gods, the life history of the Afro-Cuban artist whose music has survived both political and personal upheaval. "Balogun for thirty years. Oluana, of Matanzas, Cuba, for about forty years. Omoana for almost forty-five years. OluIyesa [he knows the secrets of the Iyesa drums]." A practitioner of sacred drumming for almost his entire life, Felipe practiced his trade in Cuba both before and after the Revolution and brought it with him to New York, where he continues to play for the gods.
This book focuses on three periods of Felipe's life, each marked by changes in his personal life and by important historical events. The first period covers his formative years during which he received his initial training. Through Felipe's story, we explore the legacy of slavery in Cuba, the nature of Afro-Cuban religions and their musical traditions, and the history of bata drums. The second period covers the critical years of the Cuban Revolution. Here we see the effect of social turmoil both n music and religious practice (santero, palero, and abakua). The third period covers Felipe's life in New York as a refugee/immigrant, and the role of music in rebuilding his identity. Felipe's story illuminates his cultural practices and beliefs as well as the ways in which an individual musician selects and modifies the elements of his cultural heritage to create a voice that is personal and unique. Felipe not only lives through history but also makes history, shaping an identity that cannot be described as "Cuban immigrant," "Afro-Cuban," "religious drummer," or "santeria initiate," but is composed of all of them.
Through Felipe's experiences, Maria Teresa Velez reveals the interaction between social, political, economic, and cultural forces and an individual's own actions. The professionalization of musicians in Cuba following the Revolution and the plight of Afro-Cuban immigrants in New York are seen as large historical and social problems to which Felipe must personally respond. A noted ethnomusicologist, Velez provides the most insightful and comprehensive English-language study of an individual Cuban religious drummer available.
Drumming for the Gods is a must-read for those interested in ethnomusicology, Caribbean studies, and Afro-Cuban religions and culture.
Though well-known for his founding of the avant-garde Situationist International movement and his prominent political and cultural activism, Guy Debord was nonetheless a surprisingly elusive and enigmatic figure, spending his last years in an isolated farmhouse in Champot, France. Andy Merrifield's Guy Debord pushes back the farmhouse shutters and opens a window onto Debord's life, theory, and art.
Merrifield explores the dynamics of Debord's ideas and works, including the groundbreaking Howls for Sade and his 1967 classic, The Society of the Spectacle. Debord understood life as art, Merrifield argues, and through that lens he chronicles Debord's stint as a revolutionary leader in the 1950s and 1960s, his time in Spain and Italy during the 1970s and the reclusive years leading up to his death in 1994.
Dada and Surrealism's legacy and punk rock's god, Guy Debord spun theories on democracy, people, and political power that still resonate today, making Merrifield's concise yet comprehensive study an invaluable resource on one of the foremost intellectual revolutionaries of the twentieth century.
Robert Morris, a leading figure in postwar American art, is best known as a pioneer of minimalist sculpture, process art, and earthworks. Yet Morris has resisted affiliation with any one movement or style. An extraordinarily versatile artist, he has produced dances, performance pieces, prints, paintings, drawings, and installations, working with materials including plywood, felt, dirt, aluminum, steel mesh, fiberglass, and encaustic. Throughout his career, Morris has written influential critical essays, commenting on his own work as well as that of other artists, and exploring through text many of the theoretical concerns addressed in his artwork—about perception, materiality, space, and the process of artmaking. Have I Reasons presents seventeen of Morris’s essays, six of which have never been published before. Written over the past fifteen years, the essays, along with the volume’s many illustrations, provide an invaluable record of the recent thought of a major American artist.
The writings are arranged chronologically, beginning with “Indiana Street,” a vivid autobiographical account of the artist’s early years in Kansas City, Missouri. Have I Reasons includes reflections on Morris’s own site-specific installations; transcripts of seminars he conducted in conjunction with exhibitions; and the textual element of The Birthday Boy, the two-screen video-and-sound piece he installed at the Galleria dell’Accademia in Florence, Italy, on the occasion of the five hundredth anniversary of Michelangelo’s David. Essays range from original interpretations of Cézanne’s Mont Sainte-Victoire paintings and Jasper Johns’ early work to engagements with one of Morris’s most significant interlocutors, the philosopher Donald Davidson. Have I Reasons conveys not only Morris’s enduring deep interest in philosophy and issues of resemblance and representation but also his more recent turn toward directly addressing contemporary social and political issues such as corporate excess and preemptive belligerence.
In recent decades, much of the most vital literature written in English has come from the former colonies of Great Britain. But while postcolonial novelists such as Chinua Achebe, Salman Rushdie, and V. S. Naipaul have been widely celebrated, the achievements of postcolonial poets have been strangely neglected.
In The Hybrid Muse, Jahan Ramazani argues that postcolonial poets have also dramatically expanded the atlas of literature in English, infusing modern and contemporary poetry with indigenous metaphors and creoles. A rich and vibrant poetry, he contends, has issued from the hybridization of the English muse with the long resident muses of Africa, India, and the Caribbean. Starting with the complex case of Ireland, Ramazani closely analyzes the work of leading postcolonial poets and explores key questions about the relationship between poetry and postcolonialism. As inheritors of both imperial and native cultures, poets such as W. B. Yeats, Derek Walcott, Louise Bennett, A. K. Ramanujan, and Okot p'Bitek invent compelling new forms to articulate the tensions and ambiguities of their cultural in-betweeness. They forge hybrid figures, vocabularies, and genres that embody the postcolonial condition.
Engaging an array of critical topics, from the aesthetics of irony and metaphor to the politics of nationalism and anthropology, Ramazani reconceptualizes issues central to our understanding of both postcolonial literatures and twentieth-century poetry. The first book of its kind, The Hybrid Muse will help internationalize the study of poetry, and in turn, strengthen the place of poetry in postcolonial studies.
Frank Dolson Temple University Press, 1998 Library of Congress GV865.B83D65 1998 | Dewey Decimal 796.357092
Jim Bunning began as a $150-a-month rookie in Richmond, Indiana, spent seven years in the minor leagues, and still made it to the Hall of Fame. He pitched a no-hitter against the Boston Red Sox in Fenway Park, even though the first-base coach was relaying his catcher's signs to the batters, retiring Ted Williams for the final out. Bunning also pitched an historic perfect game against the New York Mets and performed spectacularly in a succession of All-Star Game appearances.
He was the second pitcher in major league history to win 100 games in each league. The first was CY Young. He was the second pitcher to strike out 1000 in each league; again, only Cy Young beat hims to it. When Bunning retired at the end of the 1971 season, only one man -- Walter Johnson -- had more career strikeouts.
A proud, intensely competitive man, Bunning relished his duels with Ted Williams, Micky Mantle, and other slugging superstars of the day. What he didn't relish was dealing with sportswriter who didn't do their homework and with baseball leaders whose mismanagement, Bunning felt, jeopardized the game's place in the nation's heart. He waged battles with the likes of former commissioner Peter Ueberroth and club-owner-turned-interim-commissioner Bud Selig.
But Bunning did more than play baseball. He was a driving force in the early years of the Players Association, one of the men responsible for choosing Marvin Miller as head of the union. Bunning also was a manager in the minor leagues and in Puerto Rico and the Dominican Republic and was even a player's agent for a time. His baseball career behind him, he began a second career in politics. With a huge assist from his wife, Mary, the mother of their nine children, he waged an unsuccessful gubernational campaign in Kentucky and then became a six-term congressman. Bunning is currently running for the U.S. Senate seat in Kentucky.
This is an analysis of the first 10 post—Cold Warnovels of one of the most significant ethicists in contemporary fiction.
This book challenges distinctions between “popular” and “serious” literature by recognizing le Carré as one of the most significant ethicists in contemporary fiction, contributing to an overdue reassessment of his literary stature. Le Carré’s ten post–Cold War novels constitute a distinctive subset of his espionage fiction in their response to the momentous changes in geopolitics that began in the 1990s. Through a close reading of these novels, Snyder traces how—amid the “War on Terror” and transnationalism—le Carré weighs what is at stake in this conflict of deeply invested ideologies.
Artemy Kalinovsky Harvard University Press, 2011 Library of Congress DK68.7.A6K35 2011 | Dewey Decimal 958.1045
Why did the USSR linger so long in Afghanistan? What makes this account of the Soviet-Afghan conflict both timely and important is its focus on the factors that prevented the Soviet leadership from ending a demoralizing and costly war and on the long-term consequences for the Soviet Union and the region.
Summer 1948. In the scenic, remote river town of Oregon, Illinois, a young couple visiting the local lovers’ lane is murdered. The shocking crime garners headlines from Portland, Maine, to Long Beach, California. But after a sweeping manhunt, no one is arrested and the violent deaths of Mary Jane Reed and Stanley Skridla fade into time’s indifference.
Fast forward fifty years. Eccentric entrepreneur Michael Arians moves to Oregon, opens a roadhouse, gets elected mayor, and becomes obsessed with the crime. He comes up with a scandalous conspiracy theory and starts to believe that Mary Jane’s ghost is haunting his establishment. He also reaches out to the Chicago Tribune for help.
Arians’s letter falls on the desk of general assignment reporter Ted Gregory. For the next thirteen years, while he ricochets from story to story and his newspaper is deconstructed around him, Gregory remains beguiled by the case of the teenaged telephone operator Mary Jane and twenty-eight-year-old Navy vet Stanley—and equally fascinated by Arians’s seemingly hopeless pursuit of whoever murdered them. Mary Jane’s Ghost is the story of these two odysseys.
After working all day at the LDS Hospital in Salt Lake City, twenty-one-year-old Laurine Ekstrom would return home to find that her parents had rearranged the furniture again to accommodate Rulon Allred, a homeopath, who used their home to assist women in giving birth. Charismatic and unconventional, Allred was also president and prophet of the Mormon fundamentalist Church known as the Apostolic United Brethren. One day when Allred was delayed, Laurine offered what help she could to the expecting mother, and before long the baby was born. Laurine was soon on her way to becoming the most sought-after midwife in Utah despite the fact that it was against the law for a licensed practical nurse to deliver babies.
Another illegal aspect of her life was her marriage to Leon Kingston, son of another Mormon fundamentalist leader, Charles Elden Kingston. Determined to live the principle of polygamy, Leon married Laurine’s sister Rowenna as well. Leon could not have foreseen that his sister wives would one day become activists, sheltering and advising young polygamist women who had been abused by their husbands. This activism made the sisters unpopular with some extended family. Leon, however, stood by his wives.
Laurine was born in rural Idaho in the 1930s. Her family moved to Bountiful, Utah, and then Salt Lake City in the late 1930s and mid-1940s. In this captivating biography, we learn of her struggle as a teenager to obtain a college education and to succeed as a nurse. More importantly, we learn about the methodology and lore of a modern midwife and the personality of a woman whose comforting way and advocacy of natural childbirth has made her a heroine to many. The same gift that allowed her to understand and assist women dealing with troubled marriages made her a successful midwife.
Unique in ethnography, Nurturing Doubt documents the transforming
effects of field experiences on a young Mennonite who went to Argentina
to work with the Toba, first as a missionary and later as an anthropologist.
Elmer Miller insightfully probes the documents--diaries, field journals,
and letters--of both his lives, revealing as he does the ways in which
his perceptions of the Toba--and theirs of him--changed when his role
Deeply affected by an upbringing in which he had been taught that doubting
was "sinful," Miller gradually found that he doubted not only
the validity of the missionary mandate but also his ethnographic mandate
and the whole practice of anthropology. His exploration of how his doubt
was transformed from a negative activity into a positive philosophical
attitude underscores the richness of his relationships with the Toba.
In depicting the move from theological to anthropological discourse, Miller
contributes to current debates over the form and purpose of ethnographic
investigation and reporting.
Jo Jeffers; Foreword by Katherine Jensen University of Arizona Press, 1993 Library of Congress CT275.J45A3 1993 | Dewey Decimal 979.105092
When Jo Jeffers was a young girl suffering from asthma, she promised herself, "When I grow up, if I ever do, I shall go to Arizona and be a cowboy." She did both, and Ranch Wife tells the story of her life as wife and partner of a rancher in the high country of northeastern Arizona. Here she describes the routines of ranch life and vividly recalls the dust storms, plagues, and other hazards that challenged the young city-bred woman. It offers readers not only an insider's view of a working ranch but also an appreciation of how ranchers' wives help sustain such a rugged enterprise.
Reporting the Universe
E. L. Doctorow Harvard University Press, 2003 Library of Congress PS3554.O3Z475 2003 | Dewey Decimal 813.54
"The writer," according to Emerson, "believes all that can be thought can be written...In his eyes a man is the faculty of reporting, and the universe is the possibility of being reported." And what writer worth his name, E. L. Doctorow asks, will not seriously, however furtively, take on the universe? Human consciousness, personal history, American literature, religion, and politics--these are the far-flung coordinates of the universe that Doctorow reports here, a universe that uniquely and brilliantly reflects our contemporary scene.
Rich with philosophical asides, historical speculations, personal observations, and literary judgments, Reporting the Universe ranges from the circumstances of Doctorow's own boyhood and early work to the state of modern society. An account of the "Childhood of a Writer," along with pieces on Kenyon College and the author's first novel, comprise a pocket-sized memoir. In reflections on Emerson, on "texts that are sacred, texts that are not," and on literature and religion Doctorow concerns himself with the status and fate of literature. And in "Why We Are Infidels" and "The Politics of God" he engages some of the most pressing anxieties and ideologies of our day.
This series of reflections comes together as an artfully sustained meditation on American consciousness and experience, discrete episodes converging, as in the author's fiction, to form a luminous whole--a "report" by turns touching and funny, ironic and exalted, and, in its unique way, universally to the point.
Table of Contents:
Emerson Childhood of a Writer Kenyon Texts That Are Sacred, Texts That Are Not First Novel Deism The Little Bang Why We Are Infidels The Politics of God The Civil Religion Canto XXV Apprehending Reality Paradise Lost Literature as Religion
Reviews of this book: Whether he's contemplating the irony of our "God-soaked country" being officially secular, or his father's love of Edgar Allan Poe, "our greatest bad writer" (for whom he was named Edgar), or deriding the "mendacity" of politicians, Doctorow is here, as in his fiction, a wordsmith of the first order. It's a pleasure to read these essays--some autobiographical, some literary, some dealing with issues of the day--full of memorable phrases and evocative images, as well as incisive ideas. --Publishers Weekly
As Reporting the Universe (the phrase is Emerson's) unfolds with its piquant and enlightening blend of the personal, the aesthetic, and the political, Doctorow uses the axis between the secular and the religious to take measure of the transcendent powers of literature and key ethical issues in post-September 11 America. As he forthrightly contrasts the rigidity of fundamentalism with the fluidity of intellectual and artistic explorations, Doctorow, who always works on deep, even mythic levels, creating brilliant arguments out of breathtaking metaphors, perceives great danger in the current blurring of the line between church and state, and in the enormous influence of corporate interests on governmental policy. Ultimately, this potent collection of elegantly distilled essays offers a fresh perspective on our species' capacity for both the sublime and the horrific. --Donna Seaman, Booklist
Doctorow's essays...start as a personal memoir, and unfurl into a sharp look at the state of America, its soul and its literature, all perceptively portrayed via one another. On the way through this fascinating melange, Doctorow illuminates the business of writing and reading, the two central occupations of his own life, through which his America appears framed. --A. C. Grayling, Financial Times (UK)
Elegantly written and bracingly thoughtful. --Peter Terzian, Newsday
There hasn't been such a generous batch of essays in the decade since his own Jack London, Hemingway, and the Constitution. --John Leonard, New York Review of Books
In Strong Advocate, Thomas Strong, one of the most successful trial lawyers in Missouri’s history, chronicles his adventures as a contemporary personal injury attorney. Though the profession is held in low esteem by the general public, Strong entered the field with the right motives: to help victims who have been injured by defective products or through the negligence of others.
As a twelve-year-old in rural southwest Missouri during the Great Depression, Strong bought a cow, then purchased others as he could afford them, and eventually financed his education with the milk he sold. After graduating law school and serving in the Army’s Counter Intelligence Corps, he rejected offers to practice in New York and San Francisco and returned to his hometown of Springfield.
Strong exhibited his lifelong passion to represent the underdog early in his practice, the “trial by ambush” days when neither side was required to disclose witnesses or exhibits. He quickly became known for his audacious approach to trying cases. Tactics included asking a friend to ride on top of a moving car and hiring a local character called “Crazy Max” to recreate an automobile accident. One fraud case ended with Strong owning a bank and his opponent going to prison. When he sued a labor union for the wrongful death of his client’s spouse, he found his own life threatened.
With changes in the law that allowed discovery of information from an opponent’s files as well as the exhibits and witnesses to be used at trial, Strong and fellow personal injury attorneys forced a wide array of manufacturers to produce safer products. When witnesses of a terrible collision claimed both roadways had green lights simultaneously, Strong purchased the traffic light controller. After three months of continuous testing at a university, the controller failed, showing four green lights, and Strong learned that fail-safe devices were available but had not been implemented. These fail-safe devices are now standard on traffic lights throughout the country.
In his last venture, Strong represented the state of Missouri in its case against the tobacco industry, culminating in a settlement totaling billions of dollars.
He reflects on the changes—not always for the better—in his oft-maligned profession since he entered the field in the 1950s. Thomas Strong’s story of tenacity, quick wits, and humor demonstrates what made him such a creative and effective attorney. Lawyers and law students can learn much from this giant of the bar, and all readers will be entertained and heartened by his victories for the everyman.
“What does it mean to say that we live in a secular age?” This apparently simple question opens into the massive, provocative, and complex A Secular Age, where Charles Taylor positions secularism as a defining feature of the modern world, not the mere absence of religion, and casts light on the experience of transcendence that scientistic explanations of the world tend to neglect.
In Varieties of Secularism in a Secular Age, a prominent and varied group of scholars chart the conversations in which A Secular Age intervenes and address wider questions of secularism and secularity. The distinguished contributors include Robert Bellah, José Casanova, Nilüfer Göle, William E. Connolly, Wendy Brown, Simon During, Colin Jager, Jon Butler, Jonathan Sheehan, Akeel Bilgrami, John Milbank, and Saba Mahmood.
Varieties of Secularism in a Secular Age succeeds in conveying to readers the complexity of secularism while serving as an invaluable guide to a landmark book.
W. Raymond Wood played a leading role in the early days of Great Plains archaeology. In A White-Bearded Plainsman, he tells how his own career emerged, as the discipline of Plains archaeology developed during the post-World War II era. Readers will learn of the childhood influences that lead Wood to pursue the path of archaeologist, and of the events and people that shaped his professional life. In addition to telling Wood’s personal story, the book provides an intellectual history of the discipline of mid-continental archaeology over the last half century. It will thus be valuable to students and scholars in the field, as it describes how the paradigms in Plains and midwestern prehistory have changed over time. To understand the discipline, one must understand the cultural and intellectual underpinnings that shaped it. Wood’s book helps map for a new generation of archaeologists from whence they’ve come, and his role in the developments along the way.
Lively and unusual art inspired by baseball’s best all-around player.
As much as any other sports figure, Willie Mays embodies the changes that racial integration brought to America’s game fields and its larger culture in the mid-20th century. Playing baseball with grace, skill, flair, and obvious delight, Willie Mays broke color barriers for more than just himself. He combined the ability to stroke majestic home runs while with an equal ability to outrun and catch what would have been home runs for opponents most famously when he turned Vic Wertz’s titantic blast into a long out in the 1954 World Series. As is often said of great players but never more true than in his case, Willie Mays could do it all.
Assembled in this work are 40 representations of how contemporary artists respond to and portray the skill, fame, and sheer love of the game that make Mays so remarkable and memorable. The art includes a broad range of styles and media from impressionistic graphite pencil drawings on paper through realistic Kodachrome photographic prints to expressionistic colored acrylics on canvas or glass. Mike Shannon offers a perceptive introductory essay on Mays’s long career and places the art in the context of his times. First curated as a traveling exhibit to honor Willie Mays’s 75th birthday, the exhibit opened at the Louisville Slugger Museum in Louisville, Kentucky, and is currently on tour.
To a generation of fans, Willie Mays was the greatest ballplayer they had ever seen. The prowess and speed of the Say Hey Kid were unmatched on the diamond before his time, prompting Joe DiMaggio to label him, “ the closest you can come to perfection.” He was the first player to hit fifty home runs and steal twenty bases in a single season. Mays played for the New York Giants (1951– 1957), San Francisco Giants (1958– 1972), and New York Mets (1972– 1973), and in his glory days with the Giants he not only set the major league mark for consecutive seasons by appearing in 150 games or more but by winning his two MVP awards a record twelve seasons apart. When Mays retired, he ranked third in career home runs (behind Aaron and Ruth), a record of 660 soon to be surpassed by Mays’ s godson, Barry Bonds.
This twenty-fifth anniversary edition of the only ballplayer biography ever named a finalist for the Pulitzer Prize, Willie’ s Time: Baseball’ s Golden Age, restores to print Charles Einstein’ s vivid biography of one of the game’ s foremost legends. With a new preface from the author, this volume replays the most dramatic moments of the Say Hey Kid’ s career— from the 1951 Miracle Giants to the Amazing Mets of 1973— and takes us inside the lives of Ruth, DiMaggio, Aaron, Durocher, and others along the way. Einstein offers a compelling and complete look at Mays: as a youth in racist Birmingham, a triumphant symbol of African American success, a sports hero lionized by fans, and yet all the while, still a very human figure destined to play for two decades amid baseball’ s Golden Age.