A SCHOLARLY BOOK REPOSITORY303 start with F start with F
In this stimulating and innovative synthesis of New York's artistic and literary worlds, Lytle Shaw uses the social and philosophical problems involved in “reading” a coterie to propose a new language for understanding the poet, art critic, and Museum of Modern Art curator Frank O'Hara (1926-1966).
O'Hara's poems are famously filled with proper names---from those of his immediate friends and colleagues in the New York writing and art worlds (John Ashbery, Kenneth Koch, Grace Hartigan, Willem de Kooning, and many musicians, dancers, and filmmakers) to a broad range of popular cultural and literary heroes (Apollinaire to Jackie O). But rather than understand O'Hara's most commonly referenced names as a fixed and insular audience, Shaw argues that he uses the ambiguities of reference associated with the names to invent a fluid and shifting kinship structure---one that opened up radical possibilities for a gay writer operating outside the structure of the family.
As Shaw demonstrates, this commitment to an experimental model of association also guides O'Hara's art writing. Like his poetry, O'Hara's art writing too has been condemned as insular, coterie writing. In fact, though, he was alone among 1950s critics in his willingness to consider abstract expressionism not only within the dominant languages of existentialism and formalism but also within the cold war political and popular cultural frameworks that anticipate many of the concerns of contemporary art historians. Situating O'Hara within a range of debates about art's possible relations to its audience, Shaw demonstrates that his interest in coterie is less a symptomatic offshoot of his biography than a radical literary and artistic invention.
“In addition to his accomplishments as a talented novelist, a thorough historian, and an excellent essayist, Frank Waters is that rare breed of man who has merged heart and mind early in his life and moved forward to confront ultimate questions. This dilemma of faith and heritage, religion and identity, and commitment and comfort has never been resolved intellectually. Even with profound faith and rigorous discipline of self, mystics have found it difficult to resolve through action and prayer…I look at the life and writing of Frank Waters…and find…a remarkable journey of inquiry spanning nearly a century and illuminating questions which I did not think possible to formulate.”
—Vine Deloria, Jr., editor
Contributors to this volume are Alvin M. Josephy, Jr., Bobby Bridger, Steven Wall, Will Wright, William Eastlake, Larry Evers, David Jongeward, Max Evans, Win Blevins, Barbara Waters, Rudolfo Anaya, Thomas J. Lyon, Joe Gordon, Robert Kostka, Charles Adams, Father Peter J. Powell, Quay Grigg, Alexander Blackburn, and T. N. Luther.
Over the course of his life, Frank Waters amassed a body of work that has few equals in the literature of the American West. Because his was a writing that touched every facet of the Western experience, his voice still echoes throughout that region’s literary world.
Swallow Press is especially proud to present this generous sampling of Frank Waters’s writings. A Frank Waters Reader encompasses the full range of his work and draws from both his nonfiction and his many novels. It stands as a testament to his singular achievement and proof of the talent that established him as the foremost writer in the Southwest.
This collection spanning forty years of writing provides an excellent introduction for the uninitiated as well as a retrospective for those already familiar with this giant talent. His gift for achieving a delicate balance among the many contrary forces at work in the land and the people who inhabit it is as true and enduring as the region that inspired him.
Over the course of his life, Frank Waters amassed a body of work that has few equals in the literature of the American West. Because his was a writing that touched every facet of the Western experience, his voice still echoes throughout that region’s literary world.
Swallow Press is especially proud to present this generous sampling of Frank Waters’s writings. A Frank Waters Reader encompasses the full range of his work and draws from both his nonfiction and his many novels. It stands as a testament to his singular achievement and proof of the talent that established him as the foremost writer in the Southwest.
This collection spanning forty years of writing provides an excellent introduction for the uninitiated as well as a retrospective for those already familiar with this giant talent. His gift for achieving a delicate balance among the many contrary forces at work in the land and the people who inhabit it is as true and enduring as the region that inspired him.
As science penetrates the secrets of nature, with each discovery generating new questions, Mary Shelley's Frankenstein will sound its note of warning. Many scientific developments have provoked references to Frankenstein, a story that, for nearly two centuries, has gripped our imaginations and haunted our nightmares. How can society balance the benefits of medical discoveries against the ethical or spiritual questions posed?
Frankenstein: Penetrating the Secrets of Nature accompanies a traveling exhibit of the same name. This lavishly illustrated volume begins by highlighting Shelley's novel and the context in which she conceived it. It next focuses on the redefinition of the Frankenstein myth in popular culture. Here, the fate of the monster becomes a moral lesson illustrating the punishment for ambitious scientists who seek to usurp the place of God by creating life. The final section examines the continuing power of the Frankenstein story to articulate present-day concerns raised by new developments in biomedicine such as cloning and xenografting (the use of animal organs in human bodies), and the role scientists and citizens play in determining acceptable limits of scientific and medical advances.
Winner, Wayland D. Hand Prize, American Folklore Society, 2018
Originating in a homicide in St. Louis in 1899, the ballad of “Frankie and Johnny” became one of America’s most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown.
In this innovative book, Stacy I. Morgan explores why African American folklore—and “Frankie and Johnny” in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan’s research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.
Roberts examines the liminal and transitional space of slave escape in order to develop a theory of freedom as marronage, which contends that freedom is fundamentally located within this space—that it is a form of perpetual flight. He engages a stunning variety of writers, including Hannah Arendt, W. E. B. Du Bois, Angela Davis, Frederick Douglass, Samuel Taylor Coleridge, and the Rastafari, among others, to develop a compelling lens through which to interpret the quandaries of slavery, freedom, and politics that still confront us today. The result is a sophisticated, interdisciplinary work that unsettles the ways we think about freedom by always casting it in the light of its critical opposite.
Friends of the Dallas Public Library Award, 2006
Best Book on East Texas, East Texas Historical Association, 2007
In the decades following the Civil War, nearly a quarter of African Americans achieved a remarkable victory—they got their own land. While other ex-slaves and many poor whites became trapped in the exploitative sharecropping system, these independence-seeking individuals settled on pockets of unclaimed land that had been deemed too poor for farming and turned them into successful family farms. In these self-sufficient rural communities, often known as "freedom colonies," African Americans created a refuge from the discrimination and violence that routinely limited the opportunities of blacks in the Jim Crow South.
Freedom Colonies is the first book to tell the story of these independent African American settlements. Thad Sitton and James Conrad focus on communities in Texas, where blacks achieved a higher percentage of land ownership than in any other state of the Deep South. The authors draw on a vast reservoir of ex-slave narratives, oral histories, written memoirs, and public records to describe how the freedom colonies formed and to recreate the lifeways of African Americans who made their living by farming or in skilled trades such as milling and blacksmithing. They also uncover the forces that led to the decline of the communities from the 1930s onward, including economic hard times and the greed of whites who found legal and illegal means of taking black-owned land. And they visit some of the remaining communities to discover how their independent way of life endures into the twenty-first century.
"Freedom in Fulani Social Life richly documents how the ethnographer's own personal and cultural background is implicated in the research process. . . . For this reason, [Riesman's] book will be of paramount interest to all ethnographers."—Philip L. Kilbride, Reviews in Anthropology
"A remarkably well-written and insightful account of Fulani life. . . . In addition to using the conventional approaches of participating in and observing the daily activities of the Jelgobe . . . Riesman enriches his account by examining his personal feelings about particular incidents."—Library Journal
"An interesting and provocative study."—Choice
At the time of his death in 1988, Paul Riesman was an anthropologist who taught at Carleton College.
Much has been written about black urban empowerment and about the candidates—particularly the winning candidates—who are the public face of such shifts in power. Authors invariably mention the important role played by black political organizations in electing black officials or organizing communities, but Micah W. Kubic goes further, making, for the first time, one such organization the focus of a book-length study. Kubic tells the story of black political empowerment in Kansas City through the prism of Freedom, Inc., the nation’s oldest existing black political organization.
Using interviews and observation of participants as well as archival research, Kubic offers historical and political analysis of Freedom, Inc. from its founding in 1962 through its role in municipal elections of 2007. Kubic asserts that strong local organizations are living, dynamic organisms and that they, rather than charismatic candidates or interracial alliances, are the crucial players in both determining political outcomes and advancing black interests in urban areas.
Freedom Is a Constant Struggle is also the first book of its kind to detail the activities of white supremacists in Mississippi, revealing how white repression and intimidation sparked black activism and simultaneously undermined the movement's ability to achieve far-reaching goals. Andrews shows that the federal government's role was important but reactive as federal actors responded to the sustained struggles between local movements and their opponents. He tracks the mobilization of black activists by the NAACP, the creation of Freedom Summer, efforts to galvanize black voters, the momentous desegregation of public schools and the rise of all-white private academies, and struggles over the economic development of black communities. From this complex history, Andrews shows how the civil rights movement built innovative organizations and campaigns that empowered local leadership and had a lasting legacy in Mississippi and beyond.
Based on an original and creative research design that combines extensive archival research, interviews with activists, and quantitative historical data, Freedom Is a Constant Struggle provides many new insights into the civil rights struggle, and it presents a much broader theory to explain whether and how movements have enduring impacts on politics and society. What results is a work that will be invaluable to students of social movements, democratic politics, and the struggle for racial freedom in the U.S.
Led by the Office of Economic Opportunity, Lyndon Johnson's War on Poverty reflected the president's belief that, just as the civil rights movement and federal law tore down legalized segregation, progressive government and grassroots activism could eradicate poverty in the United States. Yet few have attempted to evaluate the relationship between the OEO and the freedom struggles of the 1960s. Focusing on the unique situation presented by Texas, Freedom Is Not Enough examines how the War on Poverty manifested itself in a state marked by racial division and diversity—and by endemic poverty.
Though the War on Poverty did not eradicate destitution in the United States, the history of the effort provides a unique window to examine the politics of race and social justice in the 1960s. William S. Clayson traces the rise and fall of postwar liberalism in the Lone Star State against a backdrop of dissent among Chicano militants and black nationalists who rejected Johnson's brand of liberalism. The conservative backlash that followed is another result of the dramatic political shifts revealed in the history of the OEO, completing this study of a unique facet in Texas's historical identity.
For many of the 200,000 black soldiers sent to Europe with the American Expeditionary Forces in World War I, encounters with French civilians and colonial African troops led them to imagine a world beyond Jim Crow. They returned home to join activists working to make that world real. In narrating the efforts of African American soldiers and activists to gain full citizenship rights as recompense for military service, Adriane Lentz-Smith illuminates how World War I mobilized a generation.
Black and white soldiers clashed as much with one another as they did with external enemies. Race wars within the military and riots across the United States demonstrated the lengths to which white Americans would go to protect a carefully constructed caste system. Inspired by Woodrow Wilson’s rhetoric of self-determination but battered by the harsh realities of segregation, African Americans fought their own “war for democracy,” from the rebellions of black draftees in French and American ports to the mutiny of Army Regulars in Houston, and from the lonely stances of stubborn individuals to organized national campaigns. African Americans abroad and at home reworked notions of nation and belonging, empire and diaspora, manhood and citizenship. By war’s end, they ceased trying to earn equal rights and resolved to demand them.
This beautifully written book reclaims World War I as a critical moment in the freedom struggle and places African Americans at the crossroads of social, military, and international history.
The Freedom to Remember examines contemporary literary revisions of slavery in the United States by black women writers. The narratives at the center of this book include: Octavia E. Butler’s Kindred, Sherley Anne Williams’s Dessa Rose, Toni Morrison’s Beloved, J. California Cooper’s Family, and Lorene Cary’s The Price of a Child.
Recent studies have investigated these works only from the standpoint of victimization. Angelyn Mitchell changes the conceptualization of these narratives, focusing on the theme of freedom, not slavery, defining these works as “liberatory narratives.” These works create a space to problematize the slavery/freedom dichotomy from which contemporary black women writers have the “safe” vantage point to reveal aspects of enslavement that their ancestors could not examine. The nineteenth-century female emancipatory narrative, by contrast, was written to aid the cause of abolition by revealing the unspeakable realitiesof slavery. Mitchell shows how the liberatory narrative functions to emancipate its readers from the legacies of slavery in American society: by facilitating a deeper discussion of the issues and by making them new through illumination and interrogation.
Freedom’s Ballot is the history of three generations of African American activists—the ministers, professionals, labor leaders, clubwomen, and entrepreneurs—who transformed twentieth-century urban politics. This is a complex and important story of how black political power was institutionalized in Chicago in the half-century following the Civil War. Margaret Garb explores the social and political fabric of Chicago, revealing how the physical makeup of the city was shaped by both political corruption and racial empowerment—in ways that can still be seen and felt today.
Doyle brings together authors often separated by nation, race, and period, including Aphra Behn, Eliza Haywood, Olaudah Equiano, Nathaniel Hawthorne, Harriet Wilson, Pauline Hopkins, George Eliot, and Nella Larsen. In so doing, she reassesses the strategies of early women novelists, reinterprets the significance of rape and incest in the novel, and measures the power of race in the modern English-language imagination.
Freedoms Given, Freedoms Won explores the ways Afro-Brazilians in two major cities adapted to the new conditions of life after the abolition of slavery and how they confronted limitations placed on their new freedom. The book sets forth new ways of understanding why the abolition of slavery did not yield equitable fruits of citizenship, not only in Brazil, but throughout the Americas and the Caribbean.
Afro-Brazilians in Sao Paulo and Salvador lived out their new freedom in ways that raise issues common to the entire Afro-Atlantic diaspora. In Sao Paulo, they initiated a vocal struggle for inclusion in the creation of the nation's first black civil rights organization and political party, and they appropriated a discriminatory identity that isolated blacks. In contrast, African identity prevaled over black identity in Salvador, where social protest was oriented toward protecting the right of cultural pluralism.
Of all the eras and issues studied in Afro-Brazilian history, post-abolition social and political action has been the most neglected. Butler provides many details of this period for the first time in English and supplements published sources with original oral histories, Afro-Brazilian newspapers, and new state archival documents currently being catalogued in Bahia. Freedoms Given, Freedoms Won sets the Afro-Brazilian experience in a national context as well as situating it within the Afro-Atlantic diaspora through a series of explicit parallels, particularly with Cuba and Jamaica.
He shows how it grew from a transient aggregate of individuals, many fresh from slavery, to a strong, overwhelmingly free community less wracked by class and intraracial divisions than were other cities. Almost from the start, Phillips states, Baltimore's African Americans forged their own freedom and actively defended it--in a state that maintained slavery and whose white leadership came to resent the liberties the city's black people had achieved.
Freeing Charles recounts the life and epic rescue of captured fugitive slave Charles Nalle of Culpeper, Virginia, who was forcibly liberated by Harriet Tubman and others in Troy, New York, on April 27, 1860. Scott Christianson follows Nalle from his enslavement by the Hansborough family in Virginia through his escape by the Underground Railroad and his experiences in the North on the eve of the Civil War. This engaging narrative represents the first in-depth historical study of this crucial incident, one of the fiercest anti-slavery riots after Harpers Ferry. Christianson also presents a richly detailed look at slavery culture in antebellum Virginia and probes the deepest political and psychological aspects of this epic tale. His account underscores fundamental questions about racial inequality, the rule of law, civil disobedience, and violent resistance to slavery in the antebellum North and South. As seen in New York Times and on C-Span’s Book TV.
In the early nineteenth century, as slavery gradually ended in the North, a village in New York State invented a new form of unfreedom: the profit-driven prison. Uniting incarceration and capitalism, the village of Auburn built a prison that enclosed industrial factories. There, “slaves of the state” were leased to private companies. The prisoners earned no wages, yet they manufactured furniture, animal harnesses, carpets, and combs, which consumers bought throughout the North. Then one young man challenged the system.
In Freeman’s Challenge, Robin Bernstein tells the story of an Afro-Native teenager named William Freeman who was convicted of a horse theft he insisted he did not commit and sentenced to five years of hard labor in Auburn’s prison. Incensed at being forced to work without pay, Freeman demanded wages. His challenge triggered violence: first against him, then by him. Freeman committed a murder that terrified and bewildered white America. And white America struck back—with aftereffects that reverberate into our lives today in the persistent myth of inherent Black criminality. William Freeman’s unforgettable story reveals how the North invented prison for profit half a century before the Thirteenth Amendment outlawed slavery “except as a punishment for crime”—and how Frederick Douglass, Harriet Tubman, and other African Americans invented strategies of resilience and resistance in a city dominated by a citadel of unfreedom.
Through one Black man, his family, and his city, Bernstein tells an explosive, moving story about the entangled origins of prison for profit and anti-Black racism.
Albert Coryer, the grandson of a fur trade voyageur-turned-farmer, had a gift for storytelling. Born in 1877, he grew up in Prairie du Chien hearing tales of days gone by from his parents, grandparents, and neighbors who lived in the Frenchtown area. Throughout his life, Albert soaked up the local oral traditions, including narratives about early residents, local landmarks, interesting and funny events, ethnic customs, myths, and folklore.
Late in life, this lively man who had worked as a farm laborer and janitor drew a detailed illustrated map of the Prairie du Chien area and began to write his stories out longhand, in addition to sharing them in an interview with a local historian and folklore scholar. The map, stories, and interview transcript provide a colorful account of Prairie du Chien in the late nineteenth century, when it was undergoing significant demographic, social, and economic change. With sharp historical context provided by editors Lucy Eldersveld Murphy and Mary Elise Antoine, Coryer’s tales offer an unparalleled window into the ethnic community comprised of the old fur trade families, Native Americans, French Canadian farmers, and their descendants.
Fretwork hazards a response to its dilemma by turning, skeptically and resiliently, toward the materials of lyric poetry and empathetic action, however fragmented and fragile. Glazer’s poems are sculpted word by word, their forms evoking both organic process and machined exactness. Their voice blends command and humility, openness and terseness, generosity and rigor, gravity and mordant humor.
Friday Night Fighter relives a lost moment in American postwar history, when boxing ruled as one of the nation's most widely televised sports. During the 1950s and 1960s, viewers tuned in weekly, sometimes even daily, to watch widely recognized fighters engage in primordial battle; the Gillette Cavalcade of Sports Friday Night Fights was the most popular fight show. Troy Rondinone follows the dual narratives of the Friday Night Fights show and the individual story of Gaspar "Indio" Ortega, a boxer who appeared on prime-time network television more than almost any other boxer in history. From humble beginnings growing up poor in Tijuana, Mexico, Ortega personified the phenomenon of postwar boxing at its greatest, appearing before audiences of millions to battle the biggest names of the time, such as Carmen Basilio, Tony DeMarco, Chico Vejar, Benny "Kid" Paret, Emile Griffith, Kid Gavilan, Florentino Fernández, and Luis Manuel Rodriguez.
Rondinone explores the factors contributing to the success of televised boxing, including the rise of television entertainment, the role of a "reality" blood sport, Cold War masculinity, changing attitudes toward race in America, and the influence of organized crime. At times evoking the drama and spectacle of the Friday Night Fights themselves, this volume is a lively examination of a time in history when Americans crowded around their sets to watch the main event.
In Friends Disappear Barr goes back to her old neighborhood and pieces together a history of Evanston with a particular emphasis on its neighborhoods, its schools, and its work life. She finds that there is a detrimental myth of integration surrounding Evanston despite bountiful evidence of actual segregation, both in the archives and from the life stories of her subjects. Curiously, the city’s own desegregation plan is partly to blame. The initiative called for the redistribution of students from an all-black elementary school to institutions situated in white neighborhoods. That, however, required busing, and between the tensions it generated and obvious markers of class difference, the racial divide, far from being closed, was widened. Friends Disappear highlights how racial divides limited the life chances of blacks while providing opportunities for whites, and offers an insider’s perspective on the social practices that doled out benefits and penalties based on race—despite attempts to integrate.
A Frieze of Girls speaks with a fresh voice from an American era long past. This is more than Allan Seager's story of what happened; it is also about how "the feel of truth is very like the feel of fiction, especially when either is at all strange."
Seager gives us his coming-of-age story, from a high-school summer as a sometime cowboy in the Big Horn mountains to a first job at seventeen managing an antiquated factory in Memphis to a hard-drinking scholarship year in Oxford, cut short by tuberculosis. At once funny with an undercurrent of pain, the stories in A Frieze of Girls remind us of the realities we create to face the world and the past, and in turn of the realities of the world we must inevitably also confront. "Time makes fiction out of our memories," writes Seager. "We all have to have a self we can live with and the operation of memory is artistic---selecting, suppressing, bending, touching up, turning our actions inside out so that we can have not necessarily a likable, merely a plausible identity." A Frieze of Girls is Allan Seager at the top of his form, and a reminder that great writing always transcends mere fashion.
Allan Seager was Professor of English at the University of Michigan and author of many highly praised short stories and novels, including Amos Berry. He died in Tecumseh, Michigan, in 1968. Novelist Charles Baxter is the author of Saul and Patsy.
Finalist in the Culinary History category of the 2016 Gourmand World Cookbook Awards
From Canton Restaurant to Panda Express takes readers on a compelling journey from the California Gold Rush to the present, letting readers witness both the profusion of Chinese restaurants across the United States and the evolution of many distinct American-Chinese iconic dishes from chop suey to General Tso’s chicken. Along the way, historian Haiming Liu explains how the immigrants adapted their traditional food to suit local palates, and gives readers a taste of Chinese cuisine embedded in the bittersweet story of Chinese Americans.
Treating food as a social history, Liu explores why Chinese food changed and how it has influenced American culinary culture, and how Chinese restaurants have become places where shared ethnic identity is affirmed—not only for Chinese immigrants but also for American Jews. The book also includes a look at national chains like P. F. Chang’s and a consideration of how Chinese food culture continues to spread around the globe.
Drawing from hundreds of historical and contemporary newspaper reports, journal articles, and writings on food in both English and Chinese, From Canton Restaurant to Panda Express represents a groundbreaking piece of scholarly research. It can be enjoyed equally as a fascinating set of stories about Chinese migration, cultural negotiation, race and ethnicity, diverse flavored Chinese cuisine and its share in American food market today.
In From Codex to Hypertext, scholars from multiple disciplines engage with both of these strands. This volume includes essays that consider how changes such as the mounting ubiquity of digital technology and the globalization of structures of publication and book distribution are shaping the way readers participate in the encoding and decoding of textual meaning. Contributors also examine how and why reading communities cohere in a range of contexts, including prisons, book clubs, networks of zinesters, state-funded programs designed to promote active citizenship, and online spaces devoted to sharing one's tastes in books.
As concerns circulate in the media about the ways that reading—for so long anchored in print culture and the codex—is at risk of being irrevocably altered by technological shifts, this book insists on the importance of tracing the historical continuities that emerge between these reading practices and those of previous eras.
In addition to the volume editor, contributors include Daniel Allington, Bethan Benwell, Jin Feng, Ed Finn, Danielle Fuller, David S. Miall, Julian Pinder, Janice Radway, Julie Rak, DeNel Rehberg Sedo, Megan Sweeney, Joan Bessman Taylor, Molly Abel Travis, and David Wright.
Austin argues that the resettled students transformed the attempts at assimilation to create their own meanings and suit their own purposes, and succeeded in reintegrating themselves into the wider American society without sacrificing their connections to community and their Japanese cultural heritage.
During the early part of the Cold War, Japan emerged as a model ally, and Japanese Americans were seen as a model minority. From Confinement to Containment examines the work of four Japanese and Japanese/American artists and writers during this period: the novelist Hanama Tasaki, the actor Yamaguchi Yoshiko, the painter Henry Sugimoto, and the children’s author Yoshiko Uchida. The backgrounds of the four figures reveal a mixing of nationalities, a borrowing of cultures, and a combination of domestic and overseas interests.
Edward Tang shows how the film, art, and literature made by these artists revealed to the American public the linked processes of U.S. actions at home and abroad. Their work played into—but also challenged—the postwar rehabilitated images of Japan and Japanese Americans as it focused on the history of transpacific relations such as Japanese immigration to the United States, the Asia-Pacific War, U.S. and Japanese imperialism, and the wartime confinement of Japanese Americans. From Confinement to Containment shows the relationships between larger global forces as well as how the artists and writers responded to them in both critical and compromised ways.
In his groundbreaking new book Charles Pete Banner-Haley explores the history of African American intellectualism and reveals the efforts of black intellectuals in the ongoing struggle against racism, showing how they have responded to Jim Crow segregation, violence against black Americans, and the more subtle racism of the postintegration age. Banner-Haley asserts that African American intellectuals—including academicians, social critics, activists, and writers—serve to generate debate, policy, and change, acting as a moral force to persuade Americans to acknowledge their history of slavery and racism, become more inclusive and accepting of humanity, and take responsibility for social justice.
Other topics addressed in this insightful study include the disconnection over time between black intellectuals and the masses for which they speak; the ways African American intellectuals identify themselves in relation to the larger black community, America as a whole, and the rest of the world; how black intellectuals have gained legitimacy in American society and have accrued moral capital, especially in the area of civil rights; and how that moral capital has been expended. Among the influential figures covered in the book are W. E. B. Du Bois, Ralph Ellison, Richard Wright, James Weldon Johnson, E. Franklin Frazier, Ralph Bunche, Oliver C. Cox, George S. Schuyler, Zora Neale Hurston, Martin Luther King, Jr., Jesse Jackson, Cornel West, Toni Morrison, bell hooks, Charles Johnson, and Barack Obama.
African American intellectuals, as Banner-Haley makes clear, run the political gamut from liberal to conservative. He discusses the emergence of black conservatism, with its accompanying questions about affirmative action, government intervention on behalf of African Americans, and the notion of a color-blind society. He also looks at how popular music—particularly rap and hip-hop—television, movies, cartoons, and other media have functioned as arenas for investigating questions of identity, exploring whether African American intellectuals can also be authentically black.
A concluding discussion of the so-called browning of America, and the subsequent rise in visibility and influence of black intellectuals culminates with the historic election of President Barack Obama, an African American intellectual who has made significant contributions to American society through his books, articles, and speeches. Banner-Haley ponders what Obama’s election will mean for the future of race relations and black intellectualism in America.
In From Edward Brooke to Barack Obama, Dennis S. Nordin navigates the history of biracial elections by examining the experiences of a variety of African American politicians from across the country, revealing how voters, both black and white, respond to the issue of race in an election.
From Edward Brooke to Barack Obama investigates the implications of race in politics, a highly relevant topic in today’s American society. It offers readers a chronological overview of the progress made over the last several decades as well as shows where there is room for growth in the political arena. By taking a pertinent topic for the era and placing it in the context of history, Nordin successfully chronicles the roles of race and race relations in American politics.
From Charles Chesnutt’s The Marrow of Tradition to Toni Morrison’s The Bluest Eye, Black writers, some of whom worked as maids themselves, have manipulated the stereotype in a strategic way as a figure to comment on Black-white relations or to dramatize the conflicts of the Black protagonists. In fact, the characters themselves, like real-life maids, often use the stereotype to their advantage or to trick their oppressors.
Harris combines folkloristic, sociological, historical, and psychological analyses with literary ones, drawing on her own interviews with Black women who worked as domestics. She explores the differences between Northern and Southern maids and between “mammy” and “militant.” Her invaluable book provides a sweeping exploration of Black American writers of the twentieth century, with extended discussion of works by Charles Chesnutt, Kristin Hunter, Toni Morrison, Richard Wright, Ann Petry, William Melvin Kelley, Alice Childress, John A. Williams, Douglas Turner Ward, Barbara Woods, Ted Shine, and Ed Bullins. Often privileging political statements over realistic characterization in the design of their texts, the authors in Harris’s study urged Black Americans to take action to change their powerless conditions, politely if possible, violently if necessary. Through their commitment to improving the conditions of Black people in America, these writers demonstrate the connectedness of art and politics.
In her new afterword, “From Militants to Movie Stars,” Harris looks at domestic workers in African American literature after the original publication of her book in 1982. Exploring five subsequent literary treatments of Black domestic workers from Ernest J. Gaines’s A Lesson Before Dying to Lynn Nottage’s By the Way, Meet Vera Stark, Harris tracks how the landscape of representation of domestic workers has broken with tradition and continues to transform into something entirely new.
From Charles Chesnutt’s The Marrow of Tradition to Toni Morrison’s The Bluest Eye, Black writers, some of whom worked as maids themselves, have manipulated the stereotype in a strategic way as a figure to comment on Black-white relations or to dramatize the conflicts of the Black protagonists. In fact, the characters themselves, like real-life maids, often use the stereotype to their advantage or to trick their oppressors.
Harris combines folkloristic, sociological, historical, and psychological analyses with literary ones, drawing on her own interviews with Black women who worked as domestics. She explores the differences between Northern and Southern maids and between “mammy” and “militant.” Her invaluable book provides a sweeping exploration of Black American writers of the twentieth century, with extended discussion of works by Charles Chesnutt, Kristin Hunter, Toni Morrison, Richard Wright, Ann Petry, William Melvin Kelley, Alice Childress, John A. Williams, Douglas Turner Ward, Barbara Woods, Ted Shine, and Ed Bullins. Often privileging political statements over realistic characterization in the design of their texts, the authors in Harris’s study urged Black Americans to take action to change their powerless conditions, politely if possible, violently if necessary. Through their commitment to improving the conditions of Black people in America, these writers demonstrate the connectedness of art and politics.
In her new afterword, “From Militants to Movie Stars,” Harris looks at domestic workers in African American literature after the original publication of her book in 1982. Exploring five subsequent literary treatments of Black domestic workers from Ernest J. Gaines’s A Lesson Before Dying to Lynn Nottage’s By the Way, Meet Vera Stark, Harris tracks how the landscape of representation of domestic workers has broken with tradition and continues to transform into something entirely new.
From Outlaw to Classic presents a sweeping history of the forces that have shaped, and continue to shape, the American poetry canon. Students, scholars, critics, and poets will welcome this enlightening and impressively documented book.
Recent writings by critics and theorists on literary canons have dealt almost exclusively with prose; Alan Golding shows that, like all canons, those of American poetry are characterized by conflict. Choosing a series of varied but representative instances, he analyzes battles and contentions among poets, anthologists, poetry magazine editors, and schools of thought in university English departments. The chapters:
• present a history of American poetry anthologies
• compare competing models of canon-formation, the aesthetic (poet-centered) and the institutional (critic-centered)
• discuss the influence of the New Critics, emphasizing their status as practicing poets, their anti-nationalist reading of American poetry, and the landmark textbook, Understanding Poetry by Cleanth Brooks and Robert Penn Warren
• examine the canonizing effects of an experimental “little magazine,” Origin
• trace how the Language poets address, in both their theory and their method, the canonizing institutions and canonical assumptions of the age.
In addition to the editors, contributors include Rebecca Rego Barry, Susann Bishop, Ben de Bruyn, Erin Hazard, Caroline Hellman, Michelle McClellan, Mara Scanlon, and Klara-Stephanie Szlezák.
How does a relatively powerless ethnic group deal with the problems of economic inequality and racial discrimination? How do they gain power in the community? From Peones to Politicos examines these questions in detail, focusing on the changes in Mexicano-Anglo relations in one small South Texas community called North Town. These changes are typical of evolving Mexicano-Anglo relations in much of Texas and the Southwest.
The authors divide their study into three historical periods: the rancho era (1900–1930), the colonia era (1930–1970), and the contemporary period (1970–1977). They trace how Mexicano-Anglo relations have evolved away from the extremely exploitative, paternalistic sharecropper system of the rancho era, when open racism, strict social segregation, and effective Anglo political machines prevailed. They reveal, by contrast, how Mexicanos have become a power to be reckoned with by developing their own economic and political leaders and ethnic political organizations and challenging the Anglo control of the city, school, and county governments. The study also shows how Mexican American family practices have been changed by this transformation of the local political economy.
This revised edition of From Peones to Politicos presents updated fieldwork and additional discussion of class theory and the study of racial orders. Of special interest are reactions to the study by North Town residents themselves, which appear in the new Part IV.
To answer these questions, From Power to Prejudice examines American academia—both black and white—in the 1940s and ’50s. Gordon presents four competing visions of “the race problem” and documents how an individualistic paradigm, which presented white attitudes as the source of racial injustice, gained traction. A number of factors, Gordon shows, explain racial individualism’s postwar influence: individuals were easier to measure than social forces; psychology was well funded; studying political economy was difficult amid McCarthyism; and individualism was useful in legal attacks on segregation. Highlighting vigorous midcentury debate over the meanings of racial justice and equality, From Power to Prejudice reveals how one particular vision of social justice won out among many contenders.
The struggle for civil rights among black Americans has moved into the voting booth. How such a shift came about—and what it means—is revealed in this timely reflection on black presidential politics in recent years.
Since 1984, largely as a result of Jesse Jackson’s presidential bid, blacks have been galvanized politically. Drawing on a substantial national survey of black voters, Katherine Tate shows how this process manifested itself at the polls in 1984, 1988, and 1992. In an analysis of the black presidential vote by region, income, age, and gender, she is able to identify unique aspects of the black experience as they shape political behavior, and to answer longstanding questions about that behavior.
Unique in its focus on the black electorate, this study illuminates a little-understood and tremendously significant aspect of American politics. It will benefit those who wish to understand better the subtle interplay of race and politics, at the voting booth and beyond.
From barbershop encounters with Malcolm X to death threats at Illinois State University and gunfire at Towson State, Pruitt provides a powerful narrative poised at the intersection of social justice, higher education and politics. He recounts leadership experiences at HBCUs and public universities across the country, as he advocated for autonomy at Morgan State and fought to preserve Tennessee State University.
His steadfast activism, integrity and courage led to groundbreaking work in providing access to higher education for working adults and the military.
From his days as a student protester in high school and college to his appearances on Capitol Hill, Pruitt has earned the reputation as a candid and influential leader in higher education.
Puerto Rican migration to the mainland following World War II took place for a range of reasons -- globalization of the economy, the colonial relationship between the United States and Puerto Rico, state policies, changes in regional and local economies, social networks, and, not least, the decisions made by individual immigrants. In this wide-ranging book, Carmen Whalen weaves them all into a tapestry of Puerto Rican immigration to Philadelphia.
Like African Americans and Mexicans, Puerto Ricans were recruited for low-wage jobs, only to confront racial discrimination as well as economic restructuring. As Whalen shows, they were part of that wave of newcomers who came from areas in the Caribbean, Latin America, and Asia characterized by a heavy U.S. military and economic presence, especially export processing zones looking for a new life in depressed urban environments already populated by earlier labor migrants. But Puerto Rican in-migration was also unique, especially in its regional and gender dimensions. Many migrants came as part of contract labor programs shaped by competing agendas.
By the 1990s, economic conditions, government policies, and racial ideologies had transformed Puerto Rican labor migrants into what has been called "the other underclass." The author analyzes this continuation of "culture and poverty" interpretations and contrasts it with the efforts of Philadelphia's Puerto Ricans to recreate their communities and deal with the impact of economic restructuring and residential segregation in the City of Brotherly Love.
Author Barry B. Witham reclaims the work of Manny Fried, an essential American playwright so thoroughly blacklisted after he defied the House Committee on Un-American Activities in 1954, and again in 1964, that his work all but completely disappeared from the canon. Witham details Manny Fried’s work inside and outside the theatre and examines his three major labor plays and the political climate that both nurtured and disparaged their productions. Drawing on never-before-published interview materials, Witham reveals the details of how the United States government worked to ruin Fried’s career.
From Red-Baiting to Blacklisting includes the complete text of Fried’s major labor plays, all long out of print. In Elegy for Stanley Gorski, Fried depicts one of the many red-baiting campaigns that threatened countless unions in the wake of the Taft-Hartley Act and the collusion of the Catholic Church with these activities. In Drop Hammer, Fried tackles the issues of union dues, misappropriation, and potential criminal activities. In the third play, The Dodo Bird, perhaps his most popular, Fried achieves a remarkable character study of a man outsourced from his job by technology and plant closures.
Manny Fried’s plays portray the hard edges of capitalism and government power and illuminate present-day struggles with hostility to labor unions and the passage in several states of right-to-work laws. Fried had no illusions about the government’s determination to destroy communism and unionism—causes to which he was deeply committed.
Originally published in a small-press edition, from Sand Creek makes a large statement about injustices done to Native peoples in the name of Manifest Destiny. It also makes poignant reference to the spread of that ambition in other parts of the world—notably in Vietnam—as Ortiz asks himself what it is to be an American, a U.S. citizen, and an Indian. Indian people have often felt they have had no part in history, Ortiz observes, and through his work he shows how they can come to terms with this feeling. He invites Indian people to examine the process they have experienced as victims, subjects, and expendable resources—and asks people of European heritage to consider the motives that drive their own history and create their own form of victimization.
Through the pages of this sobering work, Ortiz offers a new perspective on history and on America. Perhaps more important, he offers a breath of hope that our peoples might learn from each other:
This America
has been a burden
of steel and mad
death,
but, look now,
there are flowers
and new grass
and a spring wind
rising
from Sand Creek.
In this innovative study, Leo Cabranes-Grant analyzes four intercultural events in the Viceroyalty of New Spain that took place between 1566 and 1690. Rather than relying on racial labels to describe alterations of identity, Cabranes-Grant focuses on experimentation, rehearsal, and the interaction between bodies and objects. His analysis shows how scenarios are invested with affective qualities, which in turn enable cultural and semiotic change. Central to his argument is Bruno Latour’s Actor-Network Theory, which figures society as a constantly evolving web of relationships among objects, people, and spaces. In examining these scenarios, Cabranes-Grant attempts to discern the reasons why the conditions of an intensified moment within this ceaseless flow take on a particular value and inspire their re-creation. Cabranes-Grant offers a fresh perspective on Latour’s theory and reorients debates concerning history and historiography in the field of performance studies.
Koritha Mitchell analyzes canonical texts by and about African American women to lay bare the hostility these women face as they invest in traditional domesticity. Instead of the respectability and safety granted white homemakers, black women endure pejorative labels, racist governmental policies, attacks on their citizenship, and aggression meant to keep them in "their place."
Tracing how African Americans define and redefine success in a nation determined to deprive them of it, Mitchell plumbs the works of Frances Harper, Zora Neale Hurston, Lorraine Hansberry, Toni Morrison, Michelle Obama, and others. These artists honor black homes from slavery and post-emancipation through the Civil Rights era to "post-racial" America. Mitchell follows black families asserting their citizenship in domestic settings while the larger society and culture marginalize and attack them, not because they are deviants or failures but because they meet American standards.
Powerful and provocative, From Slave Cabins to the White House illuminates the links between African American women's homemaking and citizenship in history and across literature.
In his cogent and groundbreaking book, From Slave Ship to Supermax, Patrick Elliot Alexander argues that the disciplinary logic and violence of slavery haunt depictions of the contemporary U.S. prison in late twentieth-century Black fiction. Alexander links representations of prison life in James Baldwin’s novel If Beale Street Could Talk to his engagements with imprisoned intellectuals like George Jackson, who exposed historical continuities between slavery and mass incarceration. Likewise, Alexander reveals how Toni Morrison’s Beloved was informed by Angela Y. Davis’s jail writings on slavery-reminiscent practices in contemporary women’s facilities. Alexander also examines recurring associations between slave ships and prisons in Charles Johnson’s Middle Passage, and connects slavery’s logic of racialized premature death to scenes of death row imprisonment in Ernest Gaines’ A Lesson Before Dying.
Alexander ultimately makes the case that contemporary Black novelists depict racial terror as a centuries-spanning social control practice that structured carceral life on slave ships and slave plantations—and that mass-produces prisoners and prisoner abuse in post–Civil Rights America. These authors expand free society’s view of torment confronted and combated in the prison industrial complex, where discriminatory laws and the institutionalization of secrecy have reinstated slavery’s system of dehumanization.
Helen Walker-Hill's unique study provides a carefully researched examination of the history and scope of musical composition by African American women composers from the nineteenth and twentieth centuries. Focusing on the effect of race, gender, and class, From Spirituals to Symphonies notes the important role played by individual personalities and circumstances in shaping this underappreciated category of American art. The study also provides in-depth exploration of the backgrounds, experiences, and musical compositions of eight African American women including Margaret Bonds, Undine Smith Moore, and Julia Perry, who combined the techniques of Western art music with their own cultural traditions and individual gifts. Despite having gained national and international recognition during their lifetimes, the contributions of many of these women are today forgotten.
In this bold new collection of poems, Belin presents a startling vision of urban California—particularly Los Angeles—contrasted with Navajo life in the Four Corners region. She presents aspects of Diné life and history not normally seen by readers accustomed to accounts written by Navajos brought up on the reservation.
Her work reveals a difference in experience but a similarity in outlook. Belin's poems put familiar cultural forms in a new context, as Coyote "struts down east 14th / feeling good / looking good / feeling the brown." Her character Ruby dramatizes the gritty reality of a Native woman's life ("I laugh / sit / smoke a Virginia Slim / and talk to the spirits"). Her use of Diné language and poignant descriptions of family life will remind some of Joy Harjo's work, but with every turn of the page, readers will know that Belin is making her own mark on Native American literature.
From the Belly of My Beauty is also a ceremony of affirmation and renewal for those Native Americans affected by the Federal Indian Relocation Program of the 1950s and '60s, with its attempts to "assimilate" them into the American mainstream. They have survived by remembering who they were and where they came from. And they have survived so that they might bear witness, as Esther Belin so powerfully does. Belin holds American culture accountable for failing to treat its indigenous peoples with respect, but speaks for the ability of Native culture to survive and provide hope, even for mixed-blood or urban Indians. She is living proof that Native culture thrives wherever its people are found.
Song
for Thom Gunn
There is no east or west
in the wood you fear and seek,
stumbling past a gate of moss
and what you would not take.
And what you thought you had
(the Here that is no rest)
you make from it an aid
to form no east, no west.
No east. No west. No need
for given map or bell,
vehicle, screen, or speed.
Forget the house, forget the hill.
Taking its title from a set of writings found in the Dead Sea Scrolls, From the Book of Giants retunes the signal broadcast from these ancient fragments, transmitting a new sound in the shape of a Roman drain cover, in imitations of Dante and Martial, in the voice of a cricket and the hard-boiled American photographer Weegee, in elegies both public and personal, and in poems that range from the social speech of letters to the gnomic language of riddles. Out of poetry’s “complex of complaint and praise,” Joshua Weiner discovers, in one poem, his own complicity in Empire during his son’s baseball game at the White House. In another, an embroidered parrot sings a hermetic nursery rhyme to an infant after 9/11.
In addressing the postmodernist claim that history works no differently than fiction, Timothy Parrish rejects the implication that history is dead or hopelessly relativistic. Rather, he shows how the best postmodern novelists compel their readers to accept their narratives as true in the same way that historians expect their readers to accept their narratives as true. These novelists write history as a form of fiction.
If the great pre-modernist American historians are Francis Parkman, George Bancroft, and Henry Adams, who are the great modernist or postmodernist historians? In the twentieth century, Parrish argues, the most powerful works of American history were written by William Faulkner, Toni Morrison, Thomas Pynchon, Don DeLillo, Joan Didion, and Cormac McCarthy. What survives a reading of these novels is the sense that writers otherwise identified as multicultural or postmodern share the view that nothing matters more than history and what one believes its possibilities to be. In other words, Parrish concludes, history, not identity, is the ground of postmodern American fiction.
In From the Fire Hills, poet Chad Davidson shows us an Italy that is far from the romanticized notions of sun-drenched fields and self-discovery. Instead we see a maelstrom of chaos and contradiction, a place where the frenetic pace of modernity is locked in a daily struggle with recalcitrant history.
This autobiographical collection explores the myriad ways in which Italian culture survives its own parodies and evokes a modern ferocity that harkens back to Italy’s barbarian past. As the narrator, rendered vulnerable by language, embarks on his journey, lines of location, time, and perception blur. From the siren song of Dante’s grave to the heights of San Luca, from streets where policemen with Uzis tread a hair’s breadth away from the macabre remains of Capuchin monks, Davidson’s Italy is a study in contrast between the contemporary and the classical, the sacred and the profane. Within these poems sensual and savage revelations unfold, exposing new, uncanny, and often uncomfortable spaces to explore in this well-traveled realm of Western imagination.
Throughout the volume loom “the fire hills”: the scorched mountains of Sicily in summer; the memories of Italians living near the Gothic Line outside Bologna, where the Germans dug in and received heavy bombing at the close of World War II; even the wildfires igniting the San Gabriel foothills in southern California; all the way back to the burning city of Carthage in Virgil’s Aeneid. As the ash settles and the smoke clears, we realize that what we remember is often just remains, shells, and burned out wreckage, as if there were another type of memory.
The contributors illuminate the breadth of developments that led to Brown, from the parallel struggles for social justice among African Americans in the South and Mexican, Asian, and Native Americans in the West during the late nineteenth century to the political and legal strategies implemented by the National Association for the Advancement of Colored People (naacp) in the twentieth century. Describing the decision’s impact on local communities, essayists explore the conflict among African Americans over the implementation of Brown in Atlanta’s public schools as well as understandings of the ruling and its relevance among Puerto Rican migrants in New York City. Assessing the legacy of Brown today, contributors analyze its influence on contemporary law, African American thought, and educational opportunities for minority children.
Contributors
Tomiko Brown-Nagin
Davison M. Douglas
Raymond Gavins
Laurie B. Green
Christina Greene
Blair L. M. Kelley
Michael J. Klarman
Peter F. Lau
Madeleine E. Lopez
Waldo E. Martin Jr.
Vicki L. Ruiz
Christopher Schmidt
Larissa M. Smith
Patricia Sullivan
Kara Miles Turner
Mark V. Tushnet
One of Chicano literature's premier poets, Alarcón has brought his luminous images to the page in such acclaimed volumes as Sonnets to Madness and Other Misfortunes and Snake Poems. Now he has assembled the best of his work from fifteen years, along with fourteen new poems, in a book that distills his magical sense of reality into a cup brimming with passion.
Raised in Guadalajara and now living in the San Francisco Bay area, Alarcón sees that " 'Mexican' / is not / a noun / or an / adjective / 'Mexican' / is a life / long / low-paying / job." Participating in a poetic tradition that goes back to the mystic Spanish poets of the sixteenth century, he brings us sonnets infused with romance and tenderness—and shorter poems that are direct and hard-hitting commentaries on American society, as he cries out for "a more godlike god," one "who spends nights / in houses / of ill repute / and gets up late / on Saturdays."
Alarcón invokes both the mysteries of Mesoamerica and the "otherness" of his gay identity. "My skin is dark / as the night / in this country / of noontime," he writes, "but my soul / is even darker / from all the light / I carry inside." In lyrical poems open to wide interpretation, he transcends ethnic concerns to address social, sexual, and historical issues of concern to all Americans. The fourteen new poems in From the Other Side of Night offer startling new commentaries on life and love, sex and AIDS.
Shifting effortlessly between English and Spanish—and even Nahuatl—Alarcón demonstrates the gift of language that has earned him both a wide readership and the admiration of fellow poets. With this book, he invites new readers to meet him where the darkness is palpable and the soul burns bright.
The experience of Central Americans in the United States is marked by a vicious contradiction. In entertainment and information media, Salvadorans, Guatemalans, Nicaraguans, and Hondurans are hypervisible as threatening guerrillas, MS-13 gangsters, maids, and “forever illegals.” Central Americans are unseen within the broader conception of Latinx community, foreclosing avenues to recognition.
Yajaira M. Padilla explores how this regime of visibility and invisibility emerged over the past forty years—bookended by the right-wing presidencies of Ronald Reagan and Donald Trump—and how Central American immigrants and subsequent generations have contested their rhetorical disfiguration. Drawing from popular films and TV, news reporting, and social media, Padilla shows how Central Americans in the United States have been constituted as belonging nowhere, imagined as permanent refugees outside the boundaries of even minority representation. Yet in documentaries about cross-border transit through Mexico, street murals, and other media, US Central Americans have counteracted their exclusion in ways that defy dominant paradigms of citizenship and integration.
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With anecdote peppered discussions ranging from specific literary texts and movies to the future of higher education and the efficacy of unions, From Walden Pond to Jurassic Park entertains even as it offers a twenty-first century account of how and why Americanists at home and abroad now do what they do. Drawing on his forty-five years of teaching and research as well as his experience as a political activist and a cultural radical, Lauter shows how a multifaceted increase in the United States’ global dominion has infused a particular political urgency into American Studies. With its military and economic influence, its cultural and linguistic reach, the United States is—for better or for worse—too formidable and potent not to be understood clearly and critically.
In 1842 Charles Lewis Cocke arrived in Roanoke, Virginia, with sixteen slaves; there, he founded Hollins College, an elite woman's school. Many of the early students also brought their slaves to the college with them. Upon Emancipation some of the African Americans of the community "mostly women" stayed on as servants, forming what is now called the Hollins Community. Although the servants played an integral part in the college's success, students were strongly discouraged from acknowledging them as people. Rules forbidding any "familiarity" with the servants perpetuated a prejudicial attitude toward the African American community that would persist well into the 1940s.
Determined to give voice to the African American community that served as the silent workforce for Hollins College, Ethel Morgan Smith succeeded in finding individuals to step forward and tell their stories. From Whence Cometh My Help examines the dynamics of an institution built on the foundations of slavery and so steeped in tradition that it managed to perpetuate servitude for generations. Interviewing senior community members, Smith gives recognition to the invisible population that provided and continues to provide the labor support for Hollins College for more than 150 years.
Although African American students have been admitted to the college for roughly thirty years, to date only one person from the Hollins Community has graduated from the college. From Whence Cometh My Help explores the subtle and complex relationship between the affluent white world of Hollins College and the proud African American community that has served it since its inception. Interweaving personal observations, historical documents, and poetry throughout a revealing oral history, Smith shares her fascinating discoveries and the challenges involved in telling a story silenced for so long.
Brigitte Georgi-Findlay presents a range of writings that reflects the diversity of the western experience. Beginning with the narratives of Caroline Kirkland and other women of the early frontier, she reviews the diaries of the overland trails; letters and journals of the wives of army officers during the Indian wars; professional writings, focusing largely on travel, by women such as Caroline Leighton from the regional publishing cultures that emerged in the Far West during the last quarter of the century; and late-nineteenth- and early-twentieth-century accounts of missionaries and teachers on Indian reservations. Most of the writers were white, literate women who asserted their own kind of cultural authority over the lands and people they encountered. Their accounts are not only set in relation to a masculine frontier myth but also investigated for clues about their own involvement with territorial expansion. By exploring the various ways in which women writers actively contributed to and at times rejected the development of a national narrative of territorial expansion based on empire building and colonization, the author shows how their accounts are implicated in expansionist processes at the same time that they formulate positions of innocence and detachment.
Georgi-Findlay has drawn on American studies scholarship, feminist criticism, and studies of colonial discourse to examine the strategies of women's representation in writing about the West in ways that most theorists have not. She critiques generally accepted stereotypes and assumptions--both about women's writing and its difference of view in particular, and about frontier discourse and the rhetoric of westward expansion in general--as she offers a significant contribution to literary studies of the West that will challenge scholars across a wide range of disciplines.
A fresh portrayal of one of the architects of the African American intellectual tradition, whose faith in the subversive power of education will inspire teachers and learners today.
“As departments…scramble to decolonize their curriculum, Givens illuminates a longstanding counter-canon in predominantly black schools and colleges.”
—Boston Review
“Informative and inspiring…An homage to the achievement of an often-forgotten racial pioneer.”
—Glenn C. Altschuler, Florida Courier
“A long-overdue labor of love and analysis…that would make Woodson, the ever-rigorous teacher, proud.”
—Randal Maurice Jelks, Los Angeles Review of Books
“Fascinating, and groundbreaking. Givens restores Carter G. Woodson, one of the most important educators and intellectuals of the twentieth century, to his rightful place alongside figures like W. E. B. Du Bois and Ida B. Wells.”
—Imani Perry, author of May We Forever Stand: A History of the Black National Anthem
Black education was subversive from its inception. African Americans pursued education through clandestine means, often in defiance of law and custom, even under threat of violence. They developed what Jarvis Givens calls a tradition of “fugitive pedagogy”—a theory and practice of Black education epitomized by Carter G. Woodson—groundbreaking historian, founder of Black History Month, and legendary educator under Jim Crow.
Givens shows that Woodson succeeded because of the world of Black teachers to which he belonged. Fugitive Pedagogy chronicles his ambitious efforts to fight what he called the “mis-education of the Negro” by helping teachers and students to see themselves and their mission as set apart from an anti-Black world. Teachers, students, families, and communities worked together, using Woodson’s materials and methods as they fought for power in schools. Forged in slavery and honed under Jim Crow, the vision of the Black experience Woodson articulated so passionately and effectively remains essential for teachers and students today.
In Fugitive Texts, Michaël Roy offers the first book-length study of the slave narrative as a material artifact. Drawing on a wide range of sources, he reconstructs the publication histories of a number of famous and lesser-known narratives, placing them against the changing backdrop of antebellum print culture. Slave narratives, he shows, were produced through a variety of print networks. Remarkably few were published under the full control of white-led antislavery societies; most were self-published and distributed by the authors, while some were issued by commercial publishers who hoped to capitalize on the success of Harriet Beecher Stowe’s Uncle Tom’s Cabin. The material lives of these texts, Roy argues, did not end within the pages. Antebellum slave narratives were “fugitive texts” apt to be embodied in various written, oral, and visual forms.
Published to rave reviews in French, Fugitive Texts illuminates the heterogeneous nature of a genre often described in monolithic terms and ultimately paves the way for a redefinition of the literary form we have come to recognize as “the slave narrative.”
Best also argues that legal principles dealing with fugitives and indebted persons provided a sophisticated precursor to intellectual property law as it dealt with rights in appearance, expression, and other abstract aspects of personhood. In this conception of property as fleeting, indeed fugitive, American law preserved for much of the rest of the century slavery's most pressing legal imperative: the production of personhood as a market commodity. By revealing the paradoxes of this relationship between fugitive slave law and intellectual property law, Best helps us to understand how race achieved much of its force in the American cultural imagination. A work of ambitious scope and compelling cross-connections, The Fugitive's Properties sets new agendas for scholars of American literature and legal culture.
Pawn of the U.S. government. Right-hand man to the mob. Iron-fisted dictator. For decades, public understanding of the pre-Revolutionary Cuban dictator Fulgencio Batista has been limited to these stereotypes. While on some level they all contain an element of truth, these superficial characterizations barely scratch the surface of the complex and compelling career of this important political figure.
Second only to Fidel Castro, Batista is the most controversial leader in modern Cuban history. And yet, until now, there has been no objective biography written about him. Existing biographical literature is predominantly polemical and either borders on hero worship or launches a series of attacks aimed at denigrating his entire legacy.
In this book, the first of two volumes, Frank Argote-Freyre provides a full and balanced portrait of this historically shadowed figure. He describes Batista's rise to power as part of a revolutionary movement and the intrigues and dangers that surrounded him. Drawing on an extensive review of Cuban newspapers, government records, memos, oral history interviews, and a selection of Batista's personal documents, Argote-Freyre moves beyond simplistic caricatures to uncover the real man-one with strengths and weaknesses and with a career marked by accomplishments as well as failures.
This volume focuses on Batista's role as a revolutionary leader from 1933 to 1934 and his image as a "strongman" in the years between 1934 and 1939. Argote-Freyre also uses Batista as an interpretive prism to review an entire era that is usually ignored by scholars-the Republican period of Cuban history. Bringing together global and local events, he considers the significance and relationship of the worldwide economic depression, the beginnings of World War II, and in Cuba, the Revolution of 1933, the expansion of the middle class, and the gradual development of democratic institutions.
Fulgencio Batista and most of Cuba's past prior to the Revolution of 1959 has been lost in the historical mists. Cuba had a rich and fascinating history before the Marxist Revolution and the reign of Fidel Castro. This captivating and long-overdue book uncovers it.
In meditations, songs, slapstick sequences, sonnets, narratives, and tightly carved fragments, Savich explores the conflicts between romance and reality, between inventing a new world and staying true to this one. Relishing both traditional and experimental poetics, he takes refreshing, ecumenical risks to show the “strange grace / of bells that ring with a rag’s polishing.” Like a Fourth of July band conductor guiding planes to land, his poetic wit alters what’s real. This book will change the ways that readers think about poetry, language’s expressive capacity, and the robust world around us.
Poet Roberto Tejada uses lyrical poems to explore and give a voice to the troubles of global citizenship, US–Mexico relations, Latino identity, and the political emotion of queer sexualities. His collection provides a holistic ground-level view of pivotal world events from the mid 1990s to a more recent present.
Tejada’s innovative work dramatically widens the scope of Latina/o literature, showing us exactly what it can accomplish. The poems move very much like a three-act play, in which the first act is one of origins; the second, a staging of desire; and the third, a symbiosis. These acts magnify one another when unified. Each poem within the collection positions itself within the avant-garde, in which the artful use of language aims to dazzle, surprise, and enliven. The poems dance by, preserving a tension between hurry and delay, momentum and stasis, and every line is like a newly launched firecracker, sending out startling patterns of spark and flare.
Tejada’s exuberant language stretches the limits of selfhood and the way it is represented in poetry. He illuminates the tangled webs that are woven when identities are linked to sexuality, nationality, privilege, and temporality. The concerns and obsessions voiced here turn the construction of desire on its head, forcing us to ask ourselves what is worthy of our attentions.
The Function of Criticism: Problems and Exercises brings together five essays by Yvor Winters: “Problems for the Modern Critic of Literature,” “The Audible Reading of Poetry,” “The Poetry of Gerard Manley Hopkins,” “Robert Frost, Or the Spiritual Drifter as Poet,” and “English Literature in the Sixteenth Century.”
Stallings uses funk to highlight the importance of the erotic and eroticism in Black cultural and political movements, debunking "the truth of sex" and its histories. Brandishing funk as a theoretical tool, Stallings argues that Western theories of the erotic fail as universally applicable terms or philosophies, and thus lack utility in discussions of black bodies, subjects, and culture. In considering the Victorian concept of freak in black funk, Stallings proposes that black artists across all media have fashioned a tradition that embraces the superfreak, sexual guerrilla, sexual magic, mama's porn, black trans narratives, and sex work in a post-human subject position. Their goal: to ensure survival and evolution in a world that exploits black bodies in capitalist endeavors, imperialism, and colonization.
Revitalizing and wide-ranging, Funk the Erotic offers a needed examination of black sexual cultures, a discursive evolution of black ideas about eroticism, a critique of work society, a reexamination of love, and an articulation of the body in black movements.
Furious Lullaby is both a celebration of and a eulogy to the body in the twenty-first century. The collection, which examines the larger concepts of salvation and temptation in a world of blossoming strife, includes a series of aubades – dramatic poems culminating with the separation of lovers at dawn. The lovers suffer a metaphysical crisis, seeking to know what is good, what is evil, and how to truly know the difference. Knowing, however, invites the terrible into their world. The Devil, a seductive trickster, haunts the landscape as a voice who dares each inquisitor to learn about mortality, morality, the beautiful, and the unspeakable through direct experience. Furious Lullaby offers a departure from the lighter prose poetry of de la Paz’s Names above Houses and preserves the author’s concern with the nature of human grace.
'A timely, future-oriented and necessary contribution which provides clarity to the multivalent tendencies in this field' - Carole Boyce Davies
The marginalization of Black voices from the academy is a problem in the Western world. But Black Studies, where it exists, is a powerful, boundary-pushing discipline, grown out of struggle and community action. Here, Abdul Alkalimat, one of the founders of Black Studies in the US, presents a reimagining of the future trends in the study of the Black experience.
Taking Marxism and Black Experientialism, Afro-Futurist and Diaspora frameworks, he projects a radical future for the discipline at this time of social crisis. Choosing cornerstones of culture, such as the music of Sun Ra, the movie Black Panther and the writer Octavia Butler, he looks at the trajectory of Black liberation thought since slavery, including new research on the rise in the comparative study of Black people all over the world.
Turning to look at how digital tools enhance the study of the discipline, this book is a powerful read that will inform and inspire students and activists.
This selection of unusual storeis by important American writers-Hawthorne, Melville, Poe, Bellamy and Twain-and by less well-known tellers such as Ambrose Bierce, S. Weir Mitchell and Fitz-James O'Brien, challenges the commonly held belief that science fiction is a twenthiethcentury phenomenon, or that it began with Jule Verne and H,. G. Wells. Here are tales of marvelous inventions, automanta, biolgocial and psychological experiments, utopias, extra-sensory perception and time and space travel. Many of them have been out of print since before World War I, but they remain high in intrinsic interest of the general reader and for the specialist.
The accompanying critical essays explore the relationships between science fiction and other financial modes, and illuminate the nataure of the bonds betwen science and society and fantasies and social aspirations. Professor Franklin also offers an original, theoretical definition of science ficiton. This book comes as a revelatin. One of the best-edited anthologies I have ever encountered...Mr. Franklin's critical introductions, containing much valuable information about many works not included in this book, are as interesting as the stories he prints.
Selected contributors. Dahlak Brathwaite, adrienne maree brown, Jeff Chang, Tameca Cole, Ofelia Esparza, Antoine Hunter, Nobuko Miyamoto, Wendy Red Star, Spel, Jose Antonio Vargas, Carrie Mae Weems, Hinaleimoana Kwai Kong Wong-Kalu
Factory fires, chemical explosions, and aerial pollutants have inexorably shaped South Baltimore into one of the most polluted places in the country. In Futures after Progress, anthropologist Chloe Ahmann explores the rise and fall of industrial lifeways on this edge of the city and the uncertainties that linger in their wake. Writing from the community of Curtis Bay, where two hundred years of technocratic hubris have carried lethal costs, Ahmann also follows local efforts to realize a good future after industry and the rifts competing visions opened between neighbors.
Examining tensions between White and Black residents, environmental activists and industrial enthusiasts, local elders and younger generations, Ahmann shows how this community has become a battleground for competing political futures whose stakes reverberate beyond its six square miles in a present after progress has lost steam. And yet—as one young resident explains—“that’s not how the story ends.” Rigorous and moving, Futures after Progress probes the deep roots of our ecological predicament, offering insight into what lies ahead for a country beset by dreams deferred and a planet on the precipice of change.
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