Integrated in principle, segregated in fact: is this the legacy of fifty years of "progress" in American racial policy? Is there hope for much better? Roy L. Brooks, a distinguished professor of law and a writer on matters of race and civil rights, says with frank clarity what few will admit--integration hasn't worked and possibly never will. Equally, he casts doubt on the solution that many African-Americans and mainstream whites have advocated: total separation of the races. This book presents Brooks's strategy for a middle way between the increasingly unworkable extremes of integration and separation.
Limited separation, the approach Brooks proposes, shifts the focus of civil rights policy from the group to the individual. Defined as cultural and economic integration within African-American society, this policy would promote separate schooling, housing, and business enterprises where needed to bolster the self-sufficiency of the community, without trammeling the racial interests of individuals inside or outside of the group, and without endangering the idea of a shared Americanness. But all the while Brooks envisions African-American public schools, businesses, and communities redesigned to serve the enlightened self-interest of the individual. Unwilling to give up entirely on racial integration, he argues that limited separation may indeed lead to improved race relations and, ultimately, to healthy integration.
This book appears at a crucial time, as Republicans dismantle past civil rights policies and Democrats search for new ones. With its alternative strategy and useful policy ideas for bringing individual African-Americans into mainstream society as first-class citizens, Integration or Separation? should influence debate and policymaking across the spectra of race, class, and political persuasion.
In the late eighteenth century and early nineteenth, as discourses of interiority gained prominence, so did powerful counter-narratives. Castiglia reveals the flamboyant pages of antebellum popular fiction to be an archive of unruly democratic aspirations. Through close readings of works by Maria Monk and George Lippard, Walt Whitman and Timothy Shay Arthur, Hannah Webster Foster and Hannah Crafts, and Nathaniel Hawthorne and Herman Melville, Castiglia highlights a refusal to be reformed or self-contained. In antebellum authors’ representations of nervousness, desire, appetite, fantasy, and imagination, he finds democratic strivings that refused to disappear. Taking inspiration from those writers and turning to the present, Castiglia advocates a humanism-without-humans that, denied the adjudicative power of interiority, promises to release democracy from its inner life and to return it to the public sphere where U.S. citizens may yet create unprecedented possibilities for social action.
Examining how encounters produced by migration lead to intimacies-ranging from sexual, spiritual, and neighborly to hateful and violent, Jane Juffer considers the significant changes that have occurred in small towns following an influx of Latinos to the Midwest.
Intimacy across Borders situates the story of the Dutch Reformed Church in Iowa and South Africa within a larger analysis of race, religion, and globalization. Drawing on personal narrative, ethnography, and sociopolitical critique, Juffer shows how migration to rural areas can disrupt even the most thoroughly entrenched religious beliefs and transform the schools, churches, and businesses that form the heart of small-town America. Conversely, such face-to-face encounters can also generate hatred, as illustrated in the increasing number of hate crimes against Latinos and the passage of numerous anti-immigrant ordinances.
Juffer demonstrates how Latino migration to new areas of the U.S. threatens certain groups because it creates the potential for new kinds of families—mixed race, mixed legal status, and transnational—that challenge the conservative definition of community based on the racially homogeneous, coupled, citizen family.
Contributors. Julia Balen, Dana Beckelman, Ellen Brown, Sandra M. Brown, Rosanne Kanhai-Brunton, Suzanne Bunkers, Peter Carlton, Brenda Daly, Victoria Ekanger, Diane P. Freedman, Olivia Frey, Shirley Nelson Garner, Henry Louis Gates, Jr., Melody Graulich, Gail Griffin, Dolan Hubbard, Kendall, Susan Koppelman, Shirley Geok-Lin Lim, Linda Robertson, Carol Taylor, Jane Tompkins, Cheryl Torsney, Trace Yamamoto, Frances Murphy Zauhar
Drawing on ten years of ethnographic research with Korean American students at the University of Illinois and closely following multiple generations of a single extended Korean American family in the Chicago metropolitan area, Abelmann investigates the complexity of racial politics at the American university today. Racially hyper-visible and invisible, Korean American students face particular challenges as they try to realize their college dreams against the subtle, day-to-day workings of race. They frequently encounter the accusation of racial self-segregation—a charge accentuated by the fact that many attend the same Evangelical Protestant church—even as they express the desire to distinguish themselves from their families and other Korean Americans. Abelmann concludes by examining the current state of the university, reflecting on how better to achieve the university’s liberal ideals despite its paradoxical celebration of diversity and relative silence on race.
Intricate Relations charts the development of the novel in and beyond the early republic in relation to these two thematic and intricately connected centers: sexuality and economics. By reading fiction written by Americans between 1789 and 1814 alongside medical theory, political and economic tracts, and pedagogical literature of all kinds, Karen Weyler recreates and illuminates the larger, sometimes opaque, cultural context in which novels were written, published, and read.
In 1799, the novelist Charles Brockden Brown used the evocative phrase “intricate relations” to describe the complex imbrication of sexual and economic relations in the early republic. Exploring these relationships, he argued, is the chief job of the “moral historian,” a label that most novelists of the era embraced. In a republic anxious about burgeoning individualism in the 1790s and the first two decades of the nineteenth century, the novel foregrounded sexual and economic desires and explored ways to regulate the manner in which they were expressed and gratified.
In Intricate Relations, Weyler argues that understanding how these issues underlie the novel as a genre is fundamental to understanding both the novels themselves and their role in American literary culture. Situating fiction amid other popular genres illuminates how novelists such as Charles Brockden Brown, Hannah Foster, Samuel Relf, Susanna Rowson, Rebecca Rush, and Sally Wood synthesized and iterated many of the concerns expressed in other forms of public discourse, a strategy that helped legitimate their chosen genre and make it a viable venue for discussion in the decades following the revolution.
Weyler’s passionate and persuasive study offers new insights into the civic role of fiction in the early republic and will be of great interest to literary theorists and scholars in women’s and American studies.
A rich literary study of AfroLatinx life writing, this book traces how AfroLatinxs have challenged their erasure in the United States and Latin America over the last century.
Invisibility and Influence demonstrates how a century of AfroLatinx writers in the United States shaped life writing, including memoir, collective autobiography, and other formats, through depictions of a wide range of “Afro-Latinidades.” Using a woman-of-color feminist approach, Regina Marie Mills examines the work of writers and creators often excluded from Latinx literary criticism. She explores the tensions writers experienced in being viewed by others as only either Latinx or Black, rather than as part of their own distinctive communities. Beginning with Arturo (Arthur) Schomburg, who contributed to wider conversations about autobiographical technique, Invisibility and Influence examines a breadth of writers, including Jesús Colón; members of the Young Lords; Piri Thomas; Lukumi santera and scholar Marta Moreno Vega; and Black Mexican American poet Ariana Brown. Mills traces how these writers confront the distorted visions of AfroLatinxs in the United States, Latin America, and the Caribbean, and how they created and expressed AfroLatinx spirituality, politics, and self-identity, often amidst violence. Mapping how AfroLatinx writers create their own literary history, Mills reveals how AfroLatinx life writing shapes and complicates discourses on race and colorism in the Western Hemisphere.
In 1952 Ralph Ellison won the National Book Award for his Kafkaesque and claustrophobic novel about the life of a nameless young black man in New York City. Although Invisible Man has remained the only novel that Ellison published in his lifetime, it is generally regarded as one of the most important works of fiction in our century.
This new reading of a classic work examines Ellison's relation to and critique of the American literary canon by demonstrating that the pattern of allusions in Invisible Man forms a literary-critical subtext which challenges the accepted readings of such major American authors as Emerson, Melville, and Twain.
Modeling his argument on Foucault's analysis of the asylum, Nadel analyzes the institution of the South to show how it moved blacks from "enslavement" to "slavery" to "invisibility"—all in the interest of maintaining an organization of power based on racial caste. He then demonstrates the ways Ellison wrote in the modernist/surreal tradition to trace symbolically the history of blacks in America as they moved not only from the nineteenth century to the twentieth, and from the rural South to the urban North, but as they moved (sometimes unnoticed) through American fiction.
It is on this latter movement that Nadel focuses his criticism, first demonstrating theoretically that allusions can impel reconsideration of the alluded-to text and thus function as a form of literary criticism, and then reading the specific criticism implied by Ellison's allusions to Emerson's essays and Lewis Mumford's The Golden Days, as well as to "Benito Cereno" and The Adventures of Huckleberry Finn. Nadel also considers Ellison's allusions to Whitman, Eliot, Joyce, and the New Testament.
Invisible Criticism will be of interest not only to students of American and Afro-American literature but also to those concerned about issues of literary theory, particularly in the areas of intertextual relationships, canonicity, and rehistoricism.
Invisible Darkness offers a striking interpretation of the tortured lives of the two major novelists of the Harlem Renaissance: Jean Toomer, author of Cane (1923), and Nella Larsen, author of Quicksand (1928) and Passing (1929). Charles R. Larson examines the common belief that both writers "disappeared" after the Harlem Renaissance and died in obscurity; he dispels the misconception that they vanished into the white world and lived unproductive and unrewarding lives.
In clear, jargon-free language, Larson demonstrates the opposing views that both writers had about their work vis-à-vis the incipient black arts movement; he traces each writer's troubled childhood and describes the unresolved questions of race that haunted Toomer and Larsen all of their lives. Larson follows Toomer through the wreckage of his personal life as well as the troubled years of his increasingly quirky spiritual quest until his death in a nursing home in 1967. Using previously unpublished letters and documents, Larson establishes for the first time the details of Larsen's life, illustrating that virtually every published fact about her life is incorrect.
With an innovative chronology that breaks the conventions of the traditional biographical form, Larson narrates what happened to both of these writers during their supposed years of withdrawal. He demonstrates that Nella Larsen never really gave up her fight for creative and personal fulfillment and that Jean Toomer's connection to the Harlem Renaissance—and the black world—is at best a dubious one. This strong revisionist interpretation of two major writers will have a major i mpact on African American literary studies.
This landmark collection features emerging poets who combine a commitment to innovation and experimentation with a love for the lyric tradition, whose poetry transcends “mainstream” and avant-garde practice to create new and exciting poetic territories.
These new American poetries for the twenty-first century and beyond reach back toward the Modernists and even earlier lyric poetries (such as those of Wyatt, Donne, Keats, and Dickinson) and, simultaneously, reach forward to poetic possibilities not yet realized or even imagined. Most of the poets included here have won publication prizes, awards, and fellowships, and some have had their work anthologized. Others are at earlier stages of recognition but have published in major journals. All are writing highly accomplished work that will soon find a wider audience.
One distinguishing feature of this collection is the inclusion of substantial artistic statements from each contributor, in which the poets discuss their works, their influences, their aims, and their poetics. These statements are invaluable in giving readers a point of entry to the poems and can contribute to the development of a conversation among American poets that transcends questions of “craft” to address fundamental issues of poetry as an artistic practice.
Shepherd, a leading poet, essayist, and literary critic, is uniquely situated to bring us this important collection: young enough to feel the spirit of newer poets and yet established enough to bring a more experienced eye and a wider view to this groundbreaking project.The Iowa Anthology of New American Poetries highlights some of the most exciting, vital, and productive tendencies in contemporary American poetry and will be a significant milestone for students and teachers of poetry as well as for the general reader.
Thousands of Iranians fled their homeland when the 1978–1979 revolution ended the fifty-year reign of the Pahlavi Dynasty. Some fled to Europe and Canada, while others settled in the United States, where anti-Iranian sentiment flared as the hostage crisis unfolded. For those who chose America, Texas became the fourth-largest settlement area, ultimately proving to be a place of paradox for any Middle Easterner in exile. Iranians in Texas culls data, interviews, and participant observations in Iranian communities in Houston, Dallas, and Austin to reveal the difficult, private world of cultural pride, religious experience, marginality, culture clashes, and other aspects of the lives of these immigrants.
Examining the political nature of immigration and how the originating and receiving countries shape the prospects of integration, Mohsen Mobasher incorporates his own experience as a Texas scholar born in Iran. Tracing current anti-Muslim sentiment to the Iranian hostage crisis, two decades before 9/11, he observes a radically negative shift in American public opinion that forced thousands of Iranians in the United States to suddenly be subjected to stigmatization and viewed as enemies. The book also sheds light on the transformation of the Iranian family in exile and some of the major challenges that second-generation Iranians face in their interactions with their parents.
Bringing to life a unique population in the context of global politics, Iranians in Texas overturns stereotypes while echoing diverse voices.
Artist Irene Rice Pereira was a significant figure in the New York art world of the 1930s and 1940s, who shared an interest in Jungianism with the better-known Abstract Expressionists and with various women artists and writers seeking "archetypal" imagery. Yet her artistic philosophy and innovative imagery elude easy classification with her artistic contemporaries. In consequence, her work is rarely included in studies of the period and is almost unknown to the general public. This first intellectual history of the artist and her work seeks to change that.
Karen A. Bearor thoroughly re-creates the artistic and philosophical milieu that nourished Pereira’s work. She examines the options available to Pereira as a woman artist in the first half of the twentieth century and explores how she used those options to contribute to the development of modernism in the United States. Bearor traces Pereira’s interest in the ideas of major thinkers of the period—among them, Spengler, Jung, Einstein, Cassirer, and Dewey—and shows how Pereira incorporated their ideas into her art. And she demonstrates how Pereira’s quest to understand something of the nature of ultimate reality led her from an early utopianism to a later interest in spiritualism and the occult.
This lively intellectual history amplifies our knowledge of a time of creative ferment in American art and society. It will appeal to a wide range of readers interested in the modernist period.
Winner of the 2005 New Jersey Author Award for Scholarly Non-Fiction
Since Irish immigrants began settling in New Jersey during the seventeenth century, they have made a sizable impact on the state’s history and development. As the budding colony established an identity in the New World, the Irish grappled with issues of their own: What did it mean to be Irish American, and what role would “Irishness” play in the creation of an American identity?
In this richly illustrated history, Dermot Quinn uncovers the story of how the Irish in New Jersey maintained their cultural roots while also laying the foundations for the social, economic, political, and religious landscapes of their adopted country. Quinn chronicles the emigration of families from a conflict-torn and famine-stricken Ireland to the unfamiliar land whose unwelcoming streets often fell far short of being paved with gold.
Using case histories from Paterson, Jersey City, and Newark, Quinn examines the transition of the Irish from a rejected minority to a middle-class, secular, and suburban identity. The Irish in New Jersey will appeal to everyone with an interest in the cultural heritage of a proud and accomplished people.
Yiddish-speaking Jews thought Cuba was supposed to be a mere layover on the journey to the United States when they arrived in the island country in the 1920s. They even called it “Hotel Cuba.” But then the years passed, and the many Jews who came there from Turkey, Poland, and war-torn Europe stayed in Cuba. The beloved island ceased to be a hotel, and Cuba eventually became “home.” But after Fidel Castro came to power in 1959, the majority of the Jews opposed his communist regime and left in a mass exodus. Though they remade their lives in the United States, they mourned the loss of the Jewish community they had built on the island.
As a child of five, Ruth Behar was caught up in the Jewish exodus from Cuba. Growing up in the United States, she wondered about the Jews who stayed behind. Who were they and why had they stayed? What traces were left of the Jewish presence, of the cemeteries, synagogues, and Torahs? Who was taking care of this legacy? What Jewish memories had managed to survive the years of revolutionary atheism?
An Island Called Home is the story of Behar’s journey back to the island to find answers to these questions. Unlike the exotic image projected by the American media, Behar uncovers a side of Cuban Jews that is poignant and personal. Her moving vignettes of the individuals she meets are coupled with the sensitive photographs of Havana-based photographer Humberto Mayol, who traveled with her.
Together, Behar’s poetic and compassionate prose and Mayol’s shadowy and riveting photographs create an unforgettable portrait of a community that many have seen though few have understood. This book is the first to show both the vitality and the heartbreak that lie behind the project of keeping alive the flame of Jewish memory in Cuba.
Reader Guide (http://rutgerspress.rutgers.
This award-winning collection of poetry forges surprising links among seemingly unrelated forms of violence and resistance in today's world: war in Central America, abuses against Nature, the battleground of the bedroom. McAdams evokes the absurdity of everyday existence as she sends out a new call for social responsibility.
The Island of Lost Luggage is the poetry winner of the 1999 First Book Awards competition of the Native Writers' Circle of the Americas.
The short lyric poems in Larissa Szporluk's new collection, Isolato, search for meaning and beauty—for poetry—in an unpredictable and incomprehensible world. Their voices break from the contemporary preoccupation with autobiography, held together by language rather than a sustained narrative or plot. Yet the narrative fragments clearly evoke certain themes and moods: interaction of and struggle between the human and natural world; violence, particularly against women and children; alienation and betrayal; the mysteries of the universe, God, and death; and, of course, poetry itself.
Variously called a religious, a metaphysical, or a visionary poet, Szporluk has been compared to Emily Dickinson and George Herbert as well as to twentieth-century poets like Sylvia Plath, Mark Strand, and Louise Glück. Her work is concise, experimental, and challenging. Language and syntax are often elusive, the logic that of dreams or music, the imagery mysterious. The poems, once read, are not easily dismissed. Like the poet's “Deer Crossing the Sea,”readers find “the promise of nectar / haunts them forever, the shore pecked out / of their eyes, and there, in its stead, / something greater to catch, / a scent that would paralyze God.”
Rich in primary sources and featuring contributions from scholars on both sides of the Pacific, Issei Buddhism in the Americas upends boundaries and categories that have tied Buddhism to Asia and illuminates the social and spiritual role that the religion has played in the Americas.
While Buddhists in Japan had long described the migration of the religion as traveling from India, across Asia, and ending in Japan, this collection details the movement of Buddhism across the Pacific to the Americas. Leading the way were pioneering, first-generation Issei priests and their followers who established temples, shared Buddhist teachings, and converted non-Buddhists in the late nineteenth and twentieth centuries.
The book explores these pioneering efforts in the context of Japanese diasporic communities and immigration history and the early history of Buddhism in the Americas. The result is a dramatic exploration of the history of Asian immigrant religion that encompasses such topics as Japanese language instruction in Hawaiian schools, the Japanese Canadian community in British Columbia, the roles of Buddhist song culture, Tenriyko ministers in America, and Zen Buddhism in Brazil.
Contributors are Michihiro Ama, Noriko Asato, Masako Iino, Tomoe Moriya, Lori Pierce, Cristina Rocha, Keiko Wells, Duncan Ryûken Williams, and Akihiro Yamakura.
Houlihan’s sixth collection of lyric poems reflects upon the persistence of what is lost and the accidental ruptures of trauma that allow re-entry into our world. These poems are at once despairing and hopeful.
2015 PEN Open Book Award Finalist
Angela Jackson’s latest collection of poetry borrows its title from a lyric in Barbara Lewis’s 1963 hit single “Hello Stranger,” recorded at Chess Records in Chicago. Like the song, Jackson’s poems are a melodic ode to the African American experience, informed by both individual lives and community history, from the arrival of the first African slave in Virginia in 1619 to post-Obama America.
It Seems Like a Mighty Long Time reflects the maturity of Jackson’s poetic vision. The Great Migration, the American South, and Chicago all serve as signposts, but it is the complexity of individual lives—both her own and those who have gone before, walk beside, and come after—that invigorate this collection. Upon surveying so vast a landscape, Jackson finds that sorrow meets delight, and joy lifts up anger and despair. And for all this time, love is the agent, the wise and just rule and guide.
The recent flashpoint of Colin Kaepernick taking a knee renews a long tradition of athlete-activists speaking out against racism, injustice, and oppression. Like Kaepernick, Jackie Robinson, Paul Robeson, Muhammad Ali, Bill Russell, Tommie Smith, and John Carlos—among many others, of all races, male and female, pro and amateur—all made the choice to take a side to command public awareness and attention rather than “shut up and play,” as O. J. Simpson, Michael Jordan, and Tiger Woods did. Using their celebrity to demand change, these activists inspired fans but faced great personal and professional risks in doing so. It Was Always a Choice traces the history and impact of these decisive moments throughout the history of U.S. sports.
David Steele identifies the resonances and antecedents throughout the twentieth century of the choices faced by athletes in the post-Kaepernick era, including the advance of athletes’ political organizing in the era of activism following the death of George Floyd. He shows which athletes chose silence instead of action—“dropping the baton,” as it were—in the movement to end racial inequities and violence against Black Americans. The examples of courageous athletes multiply as LeBron James, Megan Rapinoe and the activist-athletes of the NBA, WNBA, and NFL remain committed to fighting daily and vibrantly for social change.
This anthology gathers fiction, poetry, memoirs, oral histories, and journalistic pieces by some of the best writers to chronicle the Italian American experience in the Garden State. These works focus on ethnic identity and the distinctive culture of New Jersey, which has long been home to a large and vital Italian American community.
Filled with passion, humor, and grace, these writings depict a variety of experiences, including poignant but failed attempts at conformity and the alienation often felt by ethnic Americans. The authors also speak of the strength gained through the preservation of their communities and the realization that it is often the appreciation of their heritage that helps them to succeed. Although presented from the vantage point of only one ethnic group, this book addresses in microcosm the complexities of American identity, depicting situations and conveying emotions that will resonate with people of all immigrant ancestries.
Among the many writers featured are Gay Talese, Bill Ervolino, Tom Perrotta, Louise DeSalvo, Carole Mazo, Diane di Prima, and Maria Laurino. Each of the contributors provides a fresh perspective on the diversity, complexity, and richness of the Italian American experience.
Publication of this book is made possible in part by a grant from the Institute of Italian and Italian American Heritage Studies, State of New Jersey.
From the preface by Carmen Kenya Wadley:
“Is it good to be black? To Ruby Berkley Goodwin it was....The black she writes about has nothing to do with skin color, but it does have a great deal to do with self images, values, spiritual strength, and most of all love. Unlike the contradicting definitions of blackness we see reflected in today's crime statistics, movies, television, newspapers, political speeches, advertisements, and sociological reports, Ruby Berkley Goodwin's definition of blackness is simple and to the point: black is good. It's Good to be Black is more than the story (history) of a black family living in Du Quoin, Illinois, during the early 1900s; it is a reaffirmation for all of us who know in our hearts that there is still good in the world and that some of that good is black.”
For many years, the interrelated histories of prostitution and cities have perked the ears of urban scholars, but until now the history of urban sex work has dealt only in passing with questions of race. In I’ve Got to Make My Livin’, Cynthia Blair explores African American women’s sex work in Chicago during the decades of some of the city’s most explosive growth, expanding not just our view of prostitution, but also of black women’s labor, the Great Migration, black and white reform movements, and the emergence of modern sexuality.
Focusing on the notorious sex districts of the city’s south side, Blair paints a complex portrait of black prostitutes as conscious actors and historical agents; prostitution, she argues here, was both an arena of exploitation and abuse, as well as a means of resisting middle-class sexual and economic norms. Blair ultimately illustrates just how powerful these norms were, offering stories about the struggles that emerged among black and white urbanites in response to black women’s increasing visibility in the city’s sex economy. Through these powerful narratives, I’ve Got to Make My Livin’ reveals the intersecting racial struggles and sexual anxieties that underpinned the celebration of Chicago as the quintessentially modern twentieth-century city.
In the split second that it took Associated Press photographer Joe Rosenthal to snap the shutter of his Speed Graphic, a powerful and enduring American symbol was born. Iwo Jima: Monuments, Memories, and the American Hero tells the story of that icon as it appeared over the next forty years in bond drive posters, stamps, Hollywood movies, political cartoons, and sculpture, most notably the colossal Marine Corps War Memorial outside Washington, D.C. The book is also a brilliant and moving study of the soldiers who fought one of our bloodiest battles and of the impact of Iwo Jima on the rest of their lives.
When the famous photograph first appeared in newspapers in 1945 it was little more than a grainy outline of massed men and their wafting flag, but for millions it captured the essence of American grit and determination. The Marines pictured were in fact in no immediate danger—they were replacing a small flag planted earlier atop Mt. Suribachi with a larger, more visible one—but to an enthusiastic public they were heroes risking their lives for Old Glory. The Battle of Iwo Jima raged for many days beyond the capture of this one position, and ultimately claimed the lives of almost seven thousand American servicemen, yet already the tableau symbolized victory and, as a politician said at the time, “the dauntless permanency of the American spirit.”
With passion and meticulous care Karal Ann Marling and John Wetenhall illuminate the ironies and misconceptions that proliferated around the two Iwo Jima flag raisings. Pride and nostalgia exalted the glorious epiphany of Rosenthal’s image and suppressed the grisly and at times mundane reality of war. The ordinary men whose action had been immortalized became uneasy celebrities, while the planters of the first flag were doomed to oblivion. From John Wayne’s epic Sands of Iwo Jima to the gargantuan bronze boots of the War Memorial to the parade-floats of Mt. Suribachi done in sweet peas and orchid-colored pompoms, overwrought patriotism blended with true valor.
The authors weave a fast-paced and vivid story from the reminiscences of survivors, rare archival sources, and dozens of documentary photographs. They give the first comprehensive account of the building of the Marine Corps War Memorial, dedicated in 1954. And in a riveting final chapter they follow a group of American veterans who returned to the island in 1985 and met Japanese survivors. Dedicated to the men who fought on Iwo Jima, this groundbreaking study in cultural iconography transcends the icon to show the honor in remembering what really happened.
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