Despite the proliferation of criticism on the cultural work of the Harlem Renaissance over the course of the past two decades, surprisingly few critics have focused on the ways in which religious contexts shaped the works of New Negro writers and artists during that time. In Goodbye Christ? Christianity, Masculinity, and the New Negro Renaissance, Peter Kerry Powers fills this scholarly void, exploring how the intersection of race, religion, and gender during the Harlem Renaissance impacted the rhetoric and imagination of prominent African American writers of the early twentieth century.
In order to best understand the secular academic thought that arose during the Harlem Renaissance period, Powers argues, readers must first understand the religious contexts from which it grew. By illustrating how religion informed the New Negro movement, and through his analysis of a range of texts, Powers delineates the ways in which New Negro writers of the early twentieth century sought to loosen the grip of Christianity on the racial imagination, thereby clearing a space for their own cultural work—and for the development of a secular African American intelligentsia generally.
In addition to his examination of well-known authors, including W. E. B. Du Bois, Langston Hughes, and Zora Neale Hurston, Powers also offers an illuminating perspective on lesser-known figures, including Reverdy Ransom and Frederick Cullen. In his exploration of the role of race and religion at the time, Powers employs an intersectional approach to religion and gender, and especially masculinity, that sets the discussion on fertile new ground.
Goodbye Christ? answers the call for a body of work that considers religion as a relevant precursor to the secular intelligentsia that grew during the Harlem Renaissance in the early 1900s. By offering a complete look at the tensions that arose between churches and Harlem Renaissance writers and artists, readers can gain a better understanding of the work that Harlem Renaissance writers undertook during the early decades of the twentieth century.
Good-bye, Son and Other Stories, Janet Lewis’s only collection of short fiction, was first published in 1946, but remains as quietly haunting today as it was then. Set in small communities of the upper Midwest and northern California in the ’30s and ’40s, these midcentury gems focus on the quiet cycles connecting youth and age, despair and hope, life and death. A mother’s encounters with her deceased son, an aging woman sitting with the new knowledge of her troubled older sister’s death, and a teenager disillusioned by her own mortality are among the characters, mostly women and girls, whom Lewis delivers. Her understated style and knack for unadorned observation embed us with them as they reckon with the disquieting forces—incomprehensible and destructive to some, enlightening to others—that move us from birth, through life, to death. In the process, Lewis has crafted a paean to the living.
This collection of five award-winning plays by Charles Smith includes Jelly Belly, Free Man of Color, Pudd’nhead Wilson, Knock Me a Kiss, and The Gospel According to James. Powerful, provocative, and entertaining, these plays have been produced by professional theater companies across the country and abroad. Four of the plays are based on historical people and events from W.E.B. Du Bois and Countee Cullen to the Harlem Renaissance. Accurate in the way they capture the political and cultural milieu of their historical settings, and courageous in the way they grapple with difficult questions such as race, education, religion, and social class, these plays jump off the page just as powerfully as they come to life on stage. This first-ever collection from one of the nation’s leading African American playwrights is a journey down the complex road of race and history.
Winner of the 2005 Donald Hall Prize in Poetry.
Grace is John Hodgen’s third book of poetry. He is a poet of extreme contrasts, offering us the dregs of despair, yet instantly recalling hope in the beauty of nature or in a moment in time when all is right, when we realize grace. In “For the Leapers” the narrator relates, “We will fall past the angels, / we will fall from such height, / our tears will lift up from our eyes. / We will fall straight through hell. / And then we will rise.” Hodgen’s poems roam through history, religion, man-made disasters, baseball, pop culture, and Wal-Marts, on paths that come full circle with remarkable completeness, maturity, and dexterity.
Grace Paley is a "writer's writer," admired by both scholars and the reading public for her originality and unique voice. In this first book-length study of her work, Jacqueline Taylor explores the source of Paley's originality, locating it in the way Paley transforms language to create strongly woman-centered stories.
Drawing on interviews with the author, as well as the stories themselves, Taylor emphasizes Paley's awareness that women's voices have been muted and their stories ignored or left untold in our culture's male-oriented dominant discourse. She watches Paley in the process of reshaping language at both the semantic and narrative levels to make it express women's perceptions and experiences. In Paley's stories, it becomes possible to ignore traditional heroic and dramatic themes and instead talk about women and children in such everyday settings as the playground, the kitchen, and the grocery store.
Some of the specific techniques Paley uses to accomplish this include identifying and repudiating sexist language in the dominant discourse and redefining ordinary words from the perspective of women. At the narrative level, Taylor reveals how she draws on women's oral traditions to tell open-ended stories that resist rigid beginning-middle-and-end structuring.
This transformed language enables Paley to construct a social world where woman-centered meanings can flourish. In her nontraditional stories, no single narrator or version of events dominates. Anyone can be a storyteller and no one has the last word.
Grand & Arsenal begins “Bless me I am not myself,” but it is not long before the probability of being blessed is revealed to be as remote as the concept of a whole self. Thus begins the book’s defining struggle, enacted by a multitude of voices which move from rush to stumble and back again—meanwhile using all the tools we as a culture use to hold fear at arm’s length.
We hear a familiar irony, as in “On a trip West, porn in the hotel room. I can take or leave it. The climax that puts me in the seats? World’s end.” We hear humor, as in “I believed in . . . / . . . a certain apocalypse not so much foretold as crafted / by large-brained monkeys.” We hear understatement, as in “knowing it does not matter / in the grand—she would say scheme, I would say / mishap—.” Most importantly, though, these poems allow for the fleeting triumph of an undefended voice, which appears often to emerge tentatively from a sort of exhausted collapse.
From the influential work of Los Bros Hernandez in Love & Rockets, to comic strips and political cartoons, to traditional superheroes made nontraditional by means of racial and sexual identity (e.g., Miles Morales/Spider-Man), comics have become a vibrant medium to express Latino identity and culture. Indeed, Latino fiction and nonfiction narratives are rapidly proliferating in graphic media as diverse and varied in form and content as is the whole of Latino culture today.
Graphic Borders presents the most thorough exploration of comics by and about Latinos currently available. Thirteen essays and one interview by eminent and rising scholars of comics bring to life this exciting graphic genre that conveys the distinctive and wide-ranging experiences of Latinos in the United States. The contributors’ exhilarating excavations delve into the following areas: comics created by Latinos that push the boundaries of generic conventions; Latino comic book author-artists who complicate issues of race and gender through their careful reconfigurations of the body; comic strips; Latino superheroes in mainstream comics; and the complex ways that Latino superheroes are created and consumed within larger popular cultural trends. Taken as a whole, the book unveils the resplendent riches of comics by and about Latinos and proves that there are no limits to the ways in which Latinos can be represented and imagined in the world of comics.
In Graphic Migrations, Kavita Daiya provides a literary and cultural archive of refugee stories and experiences to respond to the question “What is created?” after decolonization and the 1947 Partition of India. She explores how stories of Partition migrations shape and influence the political and cultural imagination of secularism and contribute to gendered citizenship for South Asians in India and its diasporas.
Daiya analyzes modern literature, Bollywood films, Margaret Bourke-White’s photography, advertising, and print culture to show how they memorialize or erase refugee experiences. She also uses oral testimonies of Partition refugees from Hong Kong, South Asia, and North America to draw out the tensions of the nation-state, ethnic discrimination, and religious difference. Employing both Critical Refugee Studies and Feminist Postcolonial Studies frameworks, Daiya traces the cultural, affective, and political legacies of Partition migrations.
The precarity generated by modern migration and expressed through public culture prompts a rethinking of how dominant media represents gendered migrants and refugees. Graphic Migrations demands that we redraw the boundaries of how we tell the story of modern world history and the intricately interwoven, intimate production of statelessness and citizenship across the world’s communities.
"This is a theoretically sophisticated and thoroughly documented historical case study of the movements for African American liberation in St. Louis. Through detailed analysis of black working class mobilization from the depression years to the advent of Black Power, award-winning historian Clarence Lang describes how the advances made in earlier decades were undermined by a black middle class agenda that focused on the narrow aims of black capitalists and politicians. The book is a major contribution to our understanding of the black working class insurgency that underpinned the civil rights and Black Power campaigns of the twentieth century."
---V. P. Franklin, University of California, Riverside
"A major work of scholarship that will transform historical understanding of the pivotal role that class politics played in both civil rights and Black Power activism in the United States. Clarence Lang's insightful, engagingly written, and well-researched study will prove indispensable to scholars and students of postwar American history."
---Peniel Joseph, Brandeis University
Breaking new ground in the field of Black Freedom Studies, Grassroots at the Gateway reveals how urban black working-class communities, cultures, and institutions propelled the major African American social movements in the period between the Great Depression and the end of the Great Society. Using the city of St. Louis in the border state of Missouri as a case study, author Clarence Lang undermines the notion that a unified "black community" engaged in the push for equality, justice, and respect. Instead, black social movements of the working class were distinct from---and at times in conflict with---those of the middle class. This richly researched book delves into African American oral histories, records of activist individuals and organizations, archives of the black advocacy press, and even the records of the St. Louis' economic power brokers whom local black freedom fighters challenged. Grassroots at the Gateway charts the development of this race-class divide, offering an uncommon reading of not only the civil rights movement but also the emergence and consolidation of a black working class.
Clarence Lang is Assistant Professor in African American Studies and History at the University of Illinois at Urbana-Champaign.
Photo courtesy Western Historical Manuscript Collection, University of Missouri, St. Louis
Gravel and Hawk dwells on the physical and cultural landscapes of the Texarkana border region, an area of stark natural beauty and even starker manifestations of its human habitation: oil derricks and pump jacks, logging trucks, chicken houses, come-to-Jesus billboards, and greasy catfish joints, a patchwork of dying farm towns and ragtag municipalities laced together by county roads, state highways, and that treacherous, rust-hued slurry known as the Red River. Gravel and Hawk charts the emotional landscape of a single extended family, its history of loss and gain, and, especially, its encounters with violent death. It is an eminently readable collection, rooted in a distinctly American place and united by a poetic voice that is honest, sophisticated, and persuasive.
"The Great Gatsby" and Fitzgerald's World of Ideas
focuses on F. Scott Fitzgerald and the prevailing ideas and values
that permeated American society in the late teens and early twenties, providing
a vivid portrait of the intellectual and cultural milieu in which The
Great Gatsby was produced.
This new and original reading of Gatsby discloses
Fitzgerald's remarkable awareness of the issues of his time and his debt
to such philosophers and critics as William James, Josiah Royce, George
Santayana, John Dewey, Walter Lippman, H. L. Mencken, and Edmund Wilson.
Ronald Berman's fresh approach considers the meaning of various ideas important
to the novel: for example, those moral qualities governing both social
and individual life. Berman's reading of the text reveals extraordinary
emphases on matters that could productively be described as philosophical
-- the nature of friendship, love, and the good life. But the text of the
novel has many echoes, and the same concern with moral issues -- especially
those issues affecting democratic life - can be found in a number of other
texts of the first quarter of the century. Vigorously debated throughout
Fitzgerald's own lifetime, these texts shed a completely new light on the
idealism of The Great Gatsby and on the penetrating view it has
of life in a new form of American democracy.
A noted Fitzgerald scholar, Berman makes it clear that
accepted interpretations of The Great Gatsby and of Fitzgerald's
work in general must be changed. Berman demonstrates that Fitzgerald wrote
within a vast dialectic, relating the ideas of the twenties to those of
the "old America" described in so many of his works. Gatsby, Nick Carraway,
and the other characters of Fitzgerald's greatest novel all have to consider
not only their relationship to the present but also their distance from
what was once a highly meaningful past.
Where Black people live has long been an important determinant of their ability to participate in political processes. The Great Migration significantly changed the way Democratic Party elites interacted with Black communities in northern cities, Detroit, New York, and Chicago. Many white Democratic politicians came to believe the growing pool of Black voters could help them reach their electoral goals—and these politicians often changed their campaign strategies and positions to secure Black support. Furthermore, Black migrants were able to participate in politics because there were fewer barriers to Black political participations outside the South.
The Great Migration and the Democratic Party frames the Great Migration as an important economic and social event that also had serious political consequences. Keneshia Grant created one of the first listings of Black elected officials that classifies them based on their status as participants in the Great Migration. She also describes some of the policy/political concerns of the migrants. The Great Migration and the Democratic Party lays the groundwork for ways of thinking about the contemporary impact of Black migration on American politics.
Eighty delicious, imaginative recipes from the Star Tribune’s beloved annual cookie contest, with mouth-watering pictures and bakers’ stories
It’s cold in Minnesota, especially around the holidays, and there’s nothing like baking a batch of cookies to warm the kitchen and the heart. A celebration of the rich traditions, creativity, and taste of the region, The Great Minnesota Cookie Book collects the best-loved recipes and baking lore from fifteen years of the Star Tribune’s popular holiday cookie contest.
Drop cookies and cutouts, refrigerator cookies and bars; Swedish shortbread, Viennese wafers, and French–Swiss butter cookies; almond palmiers; chai crescents and taffy treats; snowball clippers, cherry pinwheels, lime coolers, and chocolate-drizzled churros: a dizzying array and all delightful, the recipes in this book recall memories of holidays past and inspire the promise of happy gatherings to come.
These are winning cookies in every sense, the best of the best chosen by the contest’s judges, accompanied by beautiful photographs as instructive as they are enticing. A treat for any occasion, whether party, bake sale, or after-school snack, each time- and taste-tested recipe is perfect for starting a tradition of one’s own.
The first book devoted to the literary relationship between Henry James and his American predecessor, Nathaniel Hwthorne. Robert Emmet Long demonstrates James’ transformation of Hawthorne’s romantic forms into realism, as one of the significant features of James’ early career. Long shows that Hawthorne provided James ith a native tradition having its own conceptions of American psychological experience.
This work covers important and neglected ground—environmental language theory. Gilcrest poses two overarching questions: To what extent does contemporary nature poetry represent a recapitulation of familiar poetics? And, to what extent does contemporary nature poetry engage a poetics that stakes out new territory? He addresses these questions with important thinkers, especially Kenneth Burke, and considers such poets as Frost, Kunitz, Heaney, Ammons, Cardenal, and Rich.
Gregory Corso is the most intensely spiritual of the Beat generation poets and still by far the least explored. The virtue of Kirby Olson’s Gregory Corso: Doubting Thomist is that it is the first book to place all of Corso’s work in a philosophical perspective, concentrating on Corso as a poet torn between a static Catholic Thomist viewpoint and that of a progressive surrealist.
While Corso is a subject of great controversy—his work often being seen as nihilistic and wildly comic—Olson argues that Corso’s poetry, in fact, maintains an insistent theme of doubt and faith with regard to his early Catholicism. Although many critics have attempted to read his poetry, and some have done so brilliantly, Olson—in his approach and focus—is the first to attempt to give a holistic understanding of the oeuvre as essentially one not of entertainment or hilarity but of a deep spiritual and philosophical quest by an important and profound mind.
In nine chapters, Olson addresses Corso from a broad philosophical perspective and shows how Corso takes on particular philosophical issues and contributes to new understandings. Corso’s concerns, like his influence, extend beyond the Beat generation as he speaks about concerns that have troubled thinkers from the beginning of the Western tradition, and his answers offer provocative new openings for thought.
Corso may very well be the most important Catholic poet in the American literary canon, a visionary like Burroughs and Ginsberg, whose work illuminated a generation. Written in a lively and engaging style, Gregory Corso: Doubting Thomist seeks to keep Corso’s memory alive and at last delve fully into Corso’s poetry.
Inception and implosion, Chicago’s grit and grandiosity all come together in the finite poetic power of the original Slam igniter, renowned poet Marc Kelly Smith and his retrospect denotation, Ground Zero.
A cultural, community, and adversarial figure, Smith has challenged the status quo and raised new questions about an environment in a state of continuous calamity. Smith’s power and influence have inspired celebrated figures who cut their teeth on both the stage and the page under his watchful eye—always speaking in the traditions of Carl Sandburg and Gwendolyn Brooks. Ground Zero challenges but pays homage to the thousand underbellies of Chicago with Smith’s wicked, cigarette-in-the-beer language: “I ain’t diggin’ no concrete coffin, / No backyard mausoleum / To keep me a pickle sweet aplenty / Plied with sardines and pork sausage wieners / Livin’ out the chance that some bubble-flesh victim / Will come puckered up and scabby lipped / To kiss me in the name of a new mankind.”
Ground Zero leaves no doubt. The Slampapi / instigator / visionary / you-may-love-me-or-hate-me-but-my-history-will-always-be-chiseled-in-everything-the-poetry-world-does-next collects a survey of his land and his experience, no matter how beautiful or flawed. This book lets the landmines of imagery and Chicago’s slow and uneasy drawl showcase one of our most original voices.
Donald Harington, best known for his fifteen novels, was also a prolific writer of essays, articles, and book reviews.
The Guestroom Novelist: A Donald Harington Miscellany gathers a career-spanning and eclectic selection of nonfiction by the Arkansawyer novelist Donald Harington that reveals how a life of devastating losses and disappointments inspired what the Boston Globe called the “quirkiest, most original body of work in contemporary US letters.”
This extensive collection of interviews and other works of prose—many of which are previously unpublished—offers glimpses into Harington’s life, loves, and favorite obsessions, replays his minor (and not so minor) dramas with literary critics, and reveals the complicated and sometimes contentious relationship between his work of the writers he most admired. The Guestroom Novelist, which takes its title from an essay that serves as a love letter to his fellow underappreciated writers, paints a rich portrait of the artist as a young, middle-aged, and fiercely funny old man, as well as comic, sentimentalist, philosopher, and critic, paying testimony to the writer’s magnificent ability to transform the seemingly crude stuff of our material existence into enduring art.
In the wake of radical social movements in the 1960s and 1970s, literary studies’ embrace of politics entailed a widespread rejection of aesthetic considerations. For scholars invested in literature’s role in supporting or challenging dominant ideologies, appreciating literature’s formal beauty seemed frivolous and irresponsible, even complicit with the iniquities of the social order. This suspicion of aesthetics became the default posture within literary scholarship, a means of establishing the rigor of one’s thought and the purity of one’s political commitments. Yet as Timothy Aubry explains, aesthetic pleasure never fully disappeared from the academy. It simply went underground.
From New Criticism to the digital humanities, Aubry recasts aesthetics as the complicated, morally ambiguous, embattled yet resilient protagonist in late twentieth-century and early twenty-first–century literary studies. He argues that academic critics never stopped asserting preferences for certain texts, rhetorical strategies, or intellectual responses. Rather than serving as the enemy of formalism and aesthetics, political criticism enabled scholars to promote heightened experiences of perceptual acuity and complexity while adjudicating which formal strategies are best designed to bolster these experiences. Political criticism, in other words, did not eradicate but served covertly to nurture reading practices aimed at achieving aesthetic satisfaction.
Guilty Aesthetic Pleasures shows that literary studies’ break with midcentury formalism was not as clean as it once appeared. Today, when so many scholars are advocating renewed attention to textual surfaces and aesthetic experiences, Aubry’s work illuminates the surprisingly vast common ground between the formalists and the schools of criticism that succeeded them.
Tantalizing cuisine from the renowned restaurant.
The Gunflint Lodge is Minnesota’s premier resort because of its pristine wilderness location, warm hospitality, and access to some of the finest fishing in the world. Visitors come from across the country not just for the outdoor activities, but for the food served in its rustic lodge.
Whether it’s Opening Day Walleye Fillets with Morel Mushroom Cream Sauce, or Roast Breast of Chicken Pistache with Blackberry Sauce, the Gunflint’s elegant menu, featured recently in Bon Appétit, Men's Journal , and Midwest Living, has won acclaim for inventiveness and sense of northwoods style.
The Gunflint Lodge Cookbook is a “reader’s cookbook,” organized by season with introductory essays by chef Ron Berg. Berg delights in adding fresh Minnesota ingredients to his Gunflint Blueberry Pie and his Wild Rice and Smoked Chicken Soup. There is an extensive section on fish cookery, including tips on frying, sautéing, and grilling, and recipes for a selection of breads, batters, and sauces for fish.
The Gunflint Lodge Cookbook is more than just recipes, however. Resort owner Sue Kerfoot writes about life at the lodge, feeding hungry visitors, and running a gourmet kitchen far from civilization. Justine Kerfoot’s (Woman of the Boundary Waters) introduction looks at lodge history stretching back to 1927, including filling the icehouse, securing ingredients, and pinch-hitting when the chef quits mid-season.
The Gunflint Lodge Cookbook will delight readers with tasty offerings and favorite anecdotes of life on the Gunflint Trail.
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