A SCHOLARLY BOOK REPOSITORY373 start with L start with L
In the final volume of his three-volume biography, Gary Scharnhorst chronicles the life of Samuel Langhorne Clemens from his family’s extended trip to Europe in 1891 to his death in 1910 at age 74. During these years Clemens grapples with bankruptcy, returns to the lecture circuit, and endures the loss of two daughters and his wife. It is also during this time that he writes some of his darkest, most critical works; among these include Pudd’nhead Wilson; Personal Recollections of Joan of Arc; Tom Sawyer Abroad; Tom Sawyer, Detective; Following the Equator; No. 44, the Mysterious Stranger; and portions of his Autobiography.
An expanded, updated edition of the classic study of Cuban-American culture, this engaging book, which mixes the author’s own story with his reflections as a trained observer, explores how both famous and ordinary members of the “1.5 Generation” (Cubans who came to the United States as children or teens) have lived “life on the hyphen”—neither fully Cuban nor fully American, but a fertile hybrid of both. Offering an in-depth look at Cuban-Americans who have become icons of popular and literary culture—including Desi Arnaz, Oscar Hijuelos, musician Pérez Prado, and crossover pop star Gloria Estefan, as well as poets José Kozer and Orlando González Esteva, performers Willy Chirino and Carlos Oliva, painter Humberto Calzada, and others—Gustavo Pérez Firmat chronicles what it means to be Cuban in America.
The first edition of Life on the Hyphen won the Eugene M. Kayden National University Press Book Award and received honorable mentions for the Modern Language Association’s Katherine Singer Kovacs Prize and the Latin American Studies Association’s Bryce Wood Book Award.
Outside is inside now.
The pyramid whose point
we are is weightless
and invisible
and has become itself the night
in which alone
together
on a high plateau
we go on shouting
out whatever name
those winds keep blowing back
into the mouth that’s shouting it.
Alan Shapiro’s newest book of poetry is situated at the intersection between private and public history, as well as individual life and the collective life of middle-class America in the twentieth and twenty-first centuries. Whether writing about an aged and dying parent or remembering incidents from childhood and adolescence, Shapiro attends to the world in ways that are as deeply personal as they are recognizable and freshly social—both timeless and utterly of this particular moment.
Between 1972, when he published his first book, The Signing Knives, and 1978, when he died at the age of twenty-nine, Frank Stanford published seven volumes of poetry. Within a year of his death, two posthumous collections were published. At the time of this death, as Leon Stokesbury asserts in his introduction, “Stanford was the best poet in America under the age of thirty-five.”
The Light the Dead See collects the best work from those nine volumes and six previously unpublished poems. In the earlier poems, Stanford creates a world where he could keep childhood alive, deny time and mutability, and place a version of himself at the center of great myth and drama.
Later, the denial of time and mutability gives way to an obsessive and familiar confrontation with death. Although Stanford paid an enormous price for his growing familiarity with Death as a presence, the direct address to that presence is a source of much of the striking originality and stunning power in the poetry.
Finalist, Foreword Magazine’s Poetry Book of the Year
Drawing equally from Wallace Stevens, Gertrude Stein, John Berryman, and Robert Frost, Samuel Amadon’s award-winning Like a Sea is a collection of poems where personality is foregrounded and speech is both bizarre and familiar. Central to this weirdly talky work is “Each H,” a sequence of eleven monologues and dialogues wherein an unknown number of speakers examine their collective and singular identities while simultaneously distorting them. From a sequence of pared-down sonnets to a more traditional lyric to a procedural collage inspired by J. D. Salinger, Ezra Pound, Robert Lowell, Walter Benjamin, Jane Kenyon, Joris-Karl Huysmans, Primo Levi, Eugenio Montale, and Edwin Arlington Robinson, Like a Sea is a book of significant variation and originality.
Amadon’s electric collection begins with the line “I could not sound like anyone but me,” and through a wide range of forms and styles and voices he tests the true limits of that statement. The image of a half-abandoned Hartford, Connecticut, remains in the background of these poems, casting a tone of brokenness and haplessness. Ultimately Amadon’s poems present the confusion and fear of the current moment, of Stevens’s “river that flows nowhere, like a sea,” equally alongside its joyful ridiculousness and possibility. Rather than create worlds, they point out what a strange world already exists.
Crushes. Infatuations. Attractions. Unexpected, inexplicable allure. Entanglements steeped in taboo and disruption. In Like Love, nothing is off limits.
In these remarkable essays, Michele Morano explores the pleasures, possibilities, strangeness, and lessons of unconsummated romance. With insight and imagination, Like Love interweaves poignant, humorous episodes from adulthood with the backstory of a young family’s turbulent breakup. When Morano was an adolescent in blue-collar Poughkeepsie, New York, her mother left her father for a woman in an era when LGBTQ parents were widely viewed as “unfit.” Through the turmoil, adolescent Morano paid attention, tucking away the stories that were shaping her and guiding her understanding of love.
Turning romantic clichés inside out and challenging us to rethink our notions about what it means to love, Like Love tells hard and necessary truths about the importance of desire in growing, traveling, mourning, parenting, and figuring out who you are in the world. With precision and depth, Morano explores what it means to find ourselves in relationships that are not quite—but almost—like love.
More than 140 poems by 120 of America's best poets that focus on the effects of violence in contemporary America.
From Waco to Columbine, from Oklahoma City to New York City, from domestic abuse and drive-by shootings to religious fanaticism and acts of terrorism, the poems in Like Thunder are for those who have perished and those who have survived. More than 140 poems by 120 poets focus, in the editors' words, on “the violence in the news, the violence in our schools, the violence in our homes, as well as the violence in our own minds.”
The poets gathered here articulate terror and suffering but also present images of hope and redemption; they write of individual menaces and individual victims and the melding of the two that potentially exists in everyone. By transforming horrifying details into larger truths, they create a poetry of witness, of survival, and of remembrance.
In Sharon Cameron’s essays, a magnetic constellation gathers works of Emerson, Whitman, Dickinson, Cather, and Stevens—each manifesting in its own terms “the likeness of things unlike”—to form a loose commonality in a strain of American writing in which incommensurable elements can’t be integrated and can’t be separated. The Likeness of Things Unlike is concerned with discordant elements of an aesthetic work and argues that these elements refigure the aesthetic wholes whose integrity they apparently violate. These intertwined, subversive elements are challenges to literary systems and are essentially philosophical in their rethinking of categories, and thus go beyond the aesthetic particulars that exemplify them.
Cameron is known for rigorously and brilliantly connecting artistic achievement to radical ways of thinking. Georg Lukcás describes the essayist as one who “adapts himself to the essay’s ‘smallness’ of form—the eternal smallness of the most profound work of the intellect in [the] face of life.” With The Likeness of Things Unlike Cameron powerfully demonstrates Lukács’s remarkable insight.
Yet for all her remarkable accomplishments, Lillie Blake's story has been all but forgotten. As Grace Farrell reveals in this richly textured biography, Blake's creative writings did not survive the canonical purges of women authors at the turn of the twentieth century, and her contributions to the suffrage movement were simply ignored in the official histories sanctioned by Susan B. Anthony. From the traces that remain, Farrell reconstructs an extraordinary life of passion and purpose. She chronicles Blake's literary career from Civil War correspondent to novelist and provides an inside view of suffrage politics, correcting some long held misconceptions perpetuated by Anthony and her supporters.
At the same time, Farrell expands the generic boundaries of biography by recounting not only a life and the causes of its erasure but also her own process of recovering that life. She brings the reader along with her as she follows Blake's path in the world, touches her diary, reads her letters, and campaigns to prevent Yale University from demolishing Blake's childhood home in New Haven.
In this succinct study, Edna Greene Medford examines the ideas and events that shaped President Lincoln’s responses to slavery, following the arc of his ideological development from the beginning of the Civil War, when he aimed to pursue a course of noninterference, to his championing of slavery’s destruction before the conflict ended. Throughout, Medford juxtaposes the president’s motivations for advocating freedom with the aspirations of African Americans themselves, restoring African Americans to the center of the story about the struggle for their own liberation.
Lincoln and African Americans, Medford argues, approached emancipation differently, with the president moving slowly and cautiously in order to save the Union while the enslaved and their supporters pressed more urgently for an end to slavery. Despite the differences, an undeclared partnership existed between the president and slaves that led to both preservation of the Union and freedom for those in bondage. Medford chronicles Lincoln’s transition from advocating gradual abolition to campaigning for immediate emancipation for the majority of the enslaved, a change effected by the military and by the efforts of African Americans. The author argues that many players—including the abolitionists and Radical Republicans, War Democrats, and black men and women—participated in the drama through agitation, military support of the Union, and destruction of the institution from within. Medford also addresses differences in the interpretation of freedom: Lincoln and most Americans defined it as the destruction of slavery, but African Americans understood the term to involve equality and full inclusion into American society. An epilogue considers Lincoln’s death, African American efforts to honor him, and the president’s legacy at home and abroad.
Both enslaved and free black people, Medford demonstrates, were fervent participants in the emancipation effort, showing an eagerness to get on with the business of freedom long before the president or the North did. By including African American voices in the emancipation narrative, this insightful volume offers a fresh and welcome perspective on Lincoln’s America.
Named on the 2013 list of University Press Books for Public and Secondary Schools
Abraham Lincoln is known as the Great Emancipator, yet his personal views on race have long been debated. Since his death, his legend has been shadowed by the mystery of his true stance toward non-whites. While Lincoln took many actions to fight slavery throughout his political career, his famously crafted speeches can be interpreted in different ways: at times his words suggest personal bigotry, but at other times he sounds like an enemy of racists. In Lincoln and Race, Richard Striner takes on one of the most sensitive subjects of Abraham Lincoln’s legacy, exploring in depth Lincoln’s mixed record and writings on the issue of race.
Striner gives fair hearing to two prevailing theories about Lincoln’s seemingly contradictory words and actions: Did Lincoln fight a long-term struggle to overcome his personal racism? Or were his racist comments a calculated act of political deception? Beginning with an exploration of the historical context of Lincoln’s attitudes toward race in the years before his presidency, Striner details the ambiguity surrounding the politician’s participation in the Free Soil Movement and his fight to keep slavery from expanding into the West. He explores Lincoln’s espousal of colonization—the controversial idea that freed slaves should be resettled in a foreign land—as a voluntary measure for black people who found the prospect attractive. The author analyzes some of Lincoln’s most racially charged speeches and details Lincoln’s presidential words and policies on race and the hotbed issue of voting rights for African Americans during the last years of the president’s life.\
A brief but comprehensive look into one of the most contentious quandaries about Abraham Lincoln, Lincoln and Race invites readers to delve into the mind, heart, and motives of one of America’s most fascinating and complex leaders.
Univeristy Press Books for Public and Secondary Schools 2013 edition
Abraham Lincoln has often been called the “Great Emancipator.” But he was not among those Americans who, decades before the Civil War, favored immediate emancipation of all slaves inside the United States. Those who did were the abolitionists—the men and women who sought freedom and equal rights for all African Americans. Stanley Harrold traces how, despite Lincoln’s political distance from abolitionists, they influenced his evolving political orientation before and during the Civil War.
While explaining how the abolitionist movement evolved, Harrold also clarifies Lincoln’s connections with and his separation from this often fiery group. For most of his life Lincoln regarded abolitionists as dangerous fanatics. Like many northerners during his time, Lincoln sought compromise with the white South regarding slavery, opposed abolitionist radicalism, and doubted that free black people could have a positive role in America. Yet, during the 1840s and 1850s, conservative northern Democrats as well as slaveholders branded Lincoln an abolitionist because of his sympathy toward black people and opposition to the expansion of slavery.
Lincoln’s election to the presidency and the onslaught of the Civil War led to a transformation of his relationship with abolitionists. Lincoln’s original priority as president had been to preserve the Union, not to destroy slavery. Nevertheless many factors—including contacts with abolitionists—led Lincoln to favor ending slavery. After Lincoln issued the Emancipation Proclamation in 1863 and raised black troops, many, though not all, abolitionists came to view him more favorably.
Providing insight into the stressful, evolving relationship between Lincoln and the abolitionists, and also into the complexities of northern politics, society, and culture during the Civil War era, this concise volume illuminates a central concern in Lincoln’s life and presidency.
Though scholars have written much on emancipation and the USCT, Smith’s work frames the evolution of Lincoln’s ideas on emancipation and arming blacks within congressional actions, explaining how, when, and why the president seemed to be so halting in his progression to military emancipation. After tracing Lincoln’s evolution from opposing to supporting emancipation as a necessary war measure and to championing the recruitment of black troops for the Union Army, Smith details the creation, mobilization, and diverse military service of the USCT. He assesses the hardships under which the men of the USCT served, including the multiple forms of discrimination from so-called friends and foes alike, and examines the broad meaning of Lincoln’s military emancipation project and its place in African American historical memory.
“We wait for baseball all winter long,” Bill Littlefield wrote in Boston Magazine a decade ago, “or rather, we remember it and anticipate it at the same time. We re-create what we have known and we imagine what we are going to do next. Maybe that’s what poets do, too.”
Poetry and baseball are occasions for well-put passion and expressive pondering, and just as passionate attention transforms the prose of everyday life into poetry, it also transforms this game we write about, play, or watch. Editors Brooke Horvath and Tim Wiles unite their own passion for baseball and poetry in this collection, Line Drives: 100 Contemporary Baseball Poems, providing a forum for ninety-two poets. Line after line, like baseball itself game after game and season after season, these poems manage to make the old and the familiar new and surprising.
The poems in these pages invite interrogation, and the reader—like the true baseball fan—must be willing to play the game, for these poems are fun, fresh, angry, nostalgic, meditative, and meant to be read aloud. They are keen on taking us deeply into baseball as sport and intent on offering countless metaphors for exploring history, religion, love, family, and self-identity. Each poem delivers images of pure beauty as the poets speak of murder and ghost runners and old ball gloves, of baseball as a tie that binds families—and indeed the nation—together, of the game as a stage upon which no-nonsense grit and skill are routinely displayed, and of the delight experienced in being one amid a mindlessly happy crowd. This book is true to the game’s long season and to the lives of those the game engages.
Winner of the Ralph J. Gleason Music Book Award, Rock & Roll Hall of Fame
Winner of the American Book Award, Before Columbus Foundation
Winner of the PEN Oakland–Josephine Miles Award
Winner of the MAAH Stone Book Award
A Pitchfork Best Music Book of the Year
A Rolling Stone Best Music Book of the Year
“Brooks traces all kinds of lines, finding unexpected points of connection…inviting voices to talk to one another, seeing what different perspectives can offer, opening up new ways of looking and listening by tracing lineages and calling for more space.”
—New York Times
An award-winning Black feminist music critic takes us on an epic journey through radical sound from Bessie Smith to Beyoncé.
Daphne A. Brooks explores more than a century of music archives to examine the critics, collectors, and listeners who have determined perceptions of Black women on stage and in the recording studio. How is it possible, she asks, that iconic artists such as Aretha Franklin and Beyoncé exist simultaneously at the center and on the fringe of the culture industry?
Liner Notes for the Revolution offers a startling new perspective on these acclaimed figures—a perspective informed by the overlooked contributions of other Black women concerned with the work of their musical peers. Zora Neale Hurston appears as a sound archivist and a performer, Lorraine Hansberry as a queer Black feminist critic of modern culture, and Pauline Hopkins as America’s first Black female cultural commentator. Brooks tackles the complicated racial politics of blues music recording, song collecting, and rock and roll criticism. She makes lyrical forays into the blues pioneers Bessie Smith and Mamie Smith, as well as fans who became critics, like the record-label entrepreneur and writer Rosetta Reitz. In the twenty-first century, pop superstar Janelle Monae’s liner notes are recognized for their innovations, while celebrated singers Cécile McLorin Salvant, Rhiannon Giddens, and Valerie June take their place as cultural historians.
With an innovative perspective on the story of Black women in popular music—and who should rightly tell it—Liner Notes for the Revolution pioneers a long overdue recognition and celebration of Black women musicians as radical intellectuals.
Winner of the Ralph J. Gleason Music Book Award, Rock & Roll Hall of Fame
Winner of the American Book Award, Before Columbus Foundation
Winner of the PEN Oakland–Josephine Miles Award
Winner of the MAAH Stone Book Award
A Pitchfork Best Music Book of the Year
A Rolling Stone Best Music Book of the Year
A Boston Globe Summer Read
“Brooks traces all kinds of lines…inviting voices to talk to one another, seeing what different perspectives can offer, opening up new ways of looking and listening.”
—New York Times
“A wide-ranging study of Black female artists, from elders like Bessie Smith and Ethel Waters to Beyoncé and Janelle Monáe…Connecting the sonic worlds of Black female mythmakers and truth-tellers.”
—Rolling Stone
“A gloriously polyphonic book.”
—Margo Jefferson, author of Negroland
How is it possible that iconic artists like Aretha Franklin and Beyoncé can be both at the center and on the fringe of the culture industry? Daphne Brooks explores more than a century of music archives to bring to life the critics, collectors, and listeners who have shaped our perceptions of Black women both on stage and in the recording studio.
Liner Notes for the Revolution offers a startling new perspective, informed by the overlooked contributions of other Black women artists. We discover Zora Neale Hurston as a sound archivist and performer, Lorraine Hansberry as a queer feminist critic of modern culture, and Pauline Hopkins as America’s first Black female cultural commentator. Brooks tackles the complicated racial politics of blues music recording, song collecting, and rock and roll criticism in this long overdue celebration of Black women musicians as radical intellectuals.
Is American vision implicitly possessive, as a generation of critics contends? By viewing the American poetic tradition through the prism of pragmatism, Elisa New contests this claim. A new reading of how poetry "sees," her work is a passionate defense of the power of the poem, the ethics of perception, and the broader possibilities of American sight.
American poems see more fully, and less invasively, than accounts of American literature as an inscription of imperial national ideology would allow. Moreover, New argues, their ways of seeing draw on, and develop, a vigorous mode of national representation alternative to the appropriative sort found in the quintessential American genre of encounter, the romance. Grounding her readings of Dickinson, Frost, Moore, and Williams in foundational texts by Edwards, Jefferson, Audubon, and Thoreau, New shows how varieties of attentiveness and solicitude cultivated in the early literature are realized in later poetry. She then discloses how these ideas infuse the philosophical notions about pragmatic experience codified by Emerson, James, and Dewey. As these philosophers insisted, and as New's readings prove, art is where the experience of experience can be had: to read, as to write, a poem is to let the line guide one's way.
W. E. B. Du Bois never felt so at home as when he was a student at the University of Berlin. But Du Bois was also American to his core, scarred but not crippled by the racial humiliations of his homeland. In Lines of Descent, Kwame Anthony Appiah traces the twin lineages of Du Bois’ American experience and German apprenticeship, showing how they shaped the great African-American scholar’s ideas of race and social identity.
At Harvard, Du Bois studied with such luminaries as William James and George Santayana, scholars whose contributions were largely intellectual. But arriving in Berlin in 1892, Du Bois came under the tutelage of academics who were also public men. The economist Adolf Wagner had been an advisor to Otto von Bismarck. Heinrich von Treitschke, the historian, served in the Reichstag, and the economist Gustav von Schmoller was a member of the Prussian state council. These scholars united the rigorous study of history with political activism and represented a model of real-world engagement that would strongly influence Du Bois in the years to come.
With its romantic notions of human brotherhood and self-realization, German culture held a potent allure for Du Bois. Germany, he said, was the first place white people had treated him as an equal. But the prevalence of anti-Semitism allowed Du Bois no illusions that the Kaiserreich was free of racism. His challenge, says Appiah, was to take the best of German intellectual life without its parochialism—to steal the fire without getting burned.
Mattessich theorizes a new kind of time—subjective displacement—dramatized in the parody, satire, and farce deployed through Pynchon’s oeuvre. In particular, he is interested in showing how this sense of time relates to the counterculture of the 1960s and 1970s. Examining this movement as an instance of flight or escape and exposing the beliefs behind it, Mattessich argues that the counterculture’s rejection of the dominant culture ultimately became an act of self-cancellation, a rebellion in which the counterculture found itself defined by the very order it sought to escape. He points to parallels in Pynchon’s attempts to dramatize and enact a similar experience of time in the doubling-back, crisscrossing, and erasure of his writing. Mattessich lays out a theory of cultural production centered on the ethical necessity of grasping one’s own susceptibility to discursive forms of determination.
Big Avalanche Ravine
Just the warning light on a blue crane.
Just mountains. Just the mist that skimmed
them both and bled to silver rain
lashing the condominiums.
But there it sank on me. This urge
to carve a life from the long expanse.
To hold some ground against the surge
of sheer material. It was a tense
and persistent and metallic shiver.
And it stayed, that tremor, small and stark
as the noise of the hidden river
fluming its edge against the dark.
In his second collection of poems, Peter Campion writes about the struggle of making a life in America, about the urge “to carve a space” for love and family from out of the vast sweep of modern life. Coursing between the political and personal with astonishing ease, Campion writes at one moment of his disturbing connection to the public political structure, symbolized by Robert McNamara (who makes a startling appearance in the title poem), then in the next, of a haunting reverie beneath a magnolia tree, representing his impulse to escape the culture altogether. He moves through various forms just as effortlessly, as confident in rhymed quatrains as in slender, tensed free verse. In The Lions, Campion achieves a fusion of narrative structure and lyric intensity that proves him to be one of the very best poets of his generation.
Praise for Other People
“Campion is a poet who knows that what a poet sees is nothing without a mixture of formal prowess and emotional insight.”—David Biespiel, The Oregonian
Water management plays an increasingly critical role in national and international policy agendas. Growing scarcity, overuse, and pollution, combined with burgeoning demand, have made socio-political and economic conflicts almost unavoidable. Proposals to address water shortages are usually based on two key assumptions: (1) water is a commodity that can be bought and sold and (2) “states,” or other centralized entities, should control access to water.
Liquid Relations criticizes these assumptions from a socio-legal perspective. Eleven case studies examine laws, distribution, and irrigation in regions around the world, including the United States, Nepal, Indonesia, Chile, Ecuador, India, and South Africa. In each case, problems are shown to be both ecological and human-made. The essays also consider the ways that gender, ethnicity, and class differences influence water rights and control.
In the concluding chapter, the editors draw on the essays’ findings to offer an alternative approach to water rights and water governance issues. By showing how issues like water scarcity and competition are embedded in specific resource use and management histories, this volume highlights the need for analyses and solutions that are context-specific rather than universal.
In Listening through the Bone, Willy Conley bears witness to life’s moments and renders them into poems that are at once irreverent and tender. His poetry examines life cycles, the natural world, and his experiences as a Deaf individual. It is presented in five parts:
- Inaudibles
- Existentials
- Quizzicals
- Irrevocables
- Environmentals
In 1933, John A. Lomax and his son Alan set out as emissaries for the Library of Congress to record the folksong of the “American Negro” in several southern African-American prisons. Listening to the Lomax Archive: The Sonic Rhetorics of African American Folksong in the 1930s asks how the Lomaxes’ field recordings—including their prison recordings and a long-form oral history of jazz musician Jelly Roll Morton—contributed to a new mythology of Americana for a nation in the midst of financial, social, and identity crises. Jonathan W. Stone argues that folksongs communicate complex historical experiences in a seemingly simple package, and can thus be a key element—a sonic rhetoric—for interpreting the ebb and flow of cultural ideals within contemporary historical moments. He contends that the Lomaxes, aware of the power folk music, used the folksongs they collected to increase national understanding of and agency for the subjects of their recordings (including the reconstitution of prevailing stereotypes about African American identity) even as they used the recordings to advance their own careers. Listening to the Lomax Archive gives readers the opportunity to listen in on these seemingly contradictory dualities, demonstrating that they are crucial to the ways that we remember and write about the subjects of the Lomaxes archive and other repositories of historicized sound.
In Literary Afrofuturism in the Twenty-First Century, eminent contributors pay tribute to Afrofuturism as a powerful and evolving aesthetic practice that communicates the experience of science, technology, and race across centuries, continents, and cultures. While Ryan Coogler and Janelle Monáe may have helped bring the genre into contemporary pop consciousness, it in fact extends back to the writing of eighteenth-century poet Phyllis Wheatley and has continued in the work of Samuel R. Delany, Octavia E. Butler, N. K. Jemisin, and many others. In examining this heritage, contributors in this volume question generic boundaries, recover lost artists and introduce new ones, and explore how the meteoric rise of a new, pan-African speculative literary tradition may or may not connect with Afrofuturism.
Additionally, the editors have marshaled some of today’s most exciting writers for a roundtable discussion of the genre: Bill Campbell, Minister Faust, Nalo Hopkinson, N. K. Jemisin, Chinelo Onwualu, Nisi Shawl, and Nick Wood. Pioneering author and editor Sheree R. Thomas limns how black women have led new developments in contemporary Afrofuturism, and artist Stacey Robinson’s illustrations orient readers to the spirited themes of this enduring and consequential literary tradition.
Winner, 2022 Society of Midland Authors award for Biography/Memoir
Evan S. Connell (1924–2013) emerged from the American Midwest determined to become a writer. He eventually made his mark with attention-getting fiction and deep explorations into history. His linked novels Mrs. Bridge (1959) and Mr. Bridge (1969) paint a devastating portrait of the lives of a prosperous suburban family not unlike his own that, more than a half century later, continue to haunt readers with their minimalist elegance and muted satire. As an essayist and historian, Connell produced a wide range of work, including a sumptuous body of travel writing, a bestselling epic account of Custer at the Little Bighorn, and a singular series of meditations on history and the human tragedy.
This first portrait and appraisal of an under-recognized American writer is based on personal accounts by friends, relatives, writers, and others who knew him; extensive correspondence in library archives; and insightful literary and cultural analysis of Connell’s work and its context. It also illuminates aspects of American publishing, Hollywood, male anxieties, and the power of place.
The history of Cincinnati runs much deeper than the stories of hogs that once roamed downtown streets. In addition to hosting the nation’s first professional baseball team, the Tall Stacks riverboat celebration, and the May Festival, there’s another side to the city—one that includes some of the most famous names and organizations in American letters.
Literary Cincinnati fills in this missing chapter, taking the reader on a joyous ride with some of the great literary personalities who have shaped life in the Queen City. Meet the young Samuel Clemens working in a local print shop, Fanny Trollope struggling to open her bizarre bazaar, Sinclair Lewis researching Babbitt, hairdresser Eliza Potter telling the secrets of her rich clientele, and many more who defined the nineteenth- and early twentieth-century Queen City.
For lovers of literature everywhere—but especially in Cincinnati—this is a literary tour that will entertain, inform, and amuse.
All of American author Frank Norris’s significant critical writings have been compiled in this book, including his articles for the San Francisco Wave during 1896–1897 and selections from his “Weekly Letter” column for the Chicago American in 1901. Essays from these two previously unexploited sources, comprising almost half the book, reveal certain areas of Norris’s thought which heretofore had been overlooked by scholars.
This book was compiled in order to clarify Frank Norris’s literary creed. When Donald Pizer began to read Norris’s uncollected critical articles, he observed concepts which had been unnoted or misunderstood by his critics. Crediting this to the inadequate representation of Norris’s ideas in the posthumous The Responsibilities of the Novelist (1903), Pizer recognized the need for an interpretive and complete edition of Norris’s critical writings. This volume thus fills a noticeable gap in the field of American literary criticism.
By the time of his death in 1902 Norris had a closed system of critical ideas. This core of ideas, however, is only peripherally related to the conventional concept of literary naturalism, which perhaps explains why critics have gone astray trying to find Zolaesque ideas in Norris’s criticism. Norris’s central idea, around which he built an aesthetic of the novel, was that the best novel combines an intensely primitivistic subject matter and theme with a highly sophisticated form. His paradox of sophisticated primitivism clarifies the vital link between the fiction produced in the 1890s and that written by Hemingway, Faulkner, and Steinbeck.
Norris’s essays deal with many of the literary themes which preoccupy modern critical theorists. His range of subjects includes the form and function of the novel; definitions of naturalism, realism, and romanticism; and the problem of what constitutes an American novel. His interpretation of commonplace events, his comments on prominent figures of his day, and his parodies of writers such as Bret Harte, Stephen Crane, and Rudyard Kipling are characterized by ingenuity and perception. Through these writings the personality of a man with well-defined convictions and the ability to expound them provocatively comes into sharp focus.
In a general introduction Pizer summarizes Norris’s critical position and surveys his career as literary critic. This introduction and the interpretative introductions preceding each section constitute an illuminating essay on the literary temper of the period and provide a new insight into Norris’ craft and his literary philosophy.
From the Iowa Writers Workshop to the halls of Congress and the National Endowment for the Arts, from the world of literary magazines and writers' conferences to the bizarre realm of the late-twentieth-century American English department, Literary Luxuries takes the reader on a guided tour of American literary life in our time--and the forces threatening its existence.
Joe David Bellamy has been a significant figure on the literary scene during the last three decades; as a "literary Everyman," he offers in Literary Luxuries a distinctive and valuable perspective on the culture wars, on education and the imagination, on particular writers and major literary and aesthetic movements, on the role of government in fostering cultural development, and on the day-to-day strife of the writer's life in the United States.
As director of the literature program of the National Endowment for the Arts, Bellamy had the unenviable task of trying to persuade Congress and ordinary citizens that American literature is worthy of support, and in Literary Luxuries he continues that debate and helps us to understand its implications: "Literature is our national treasury of language and style and our best reckoning about human life, as it is lived in this time and place."
Part memoir, part critique, part impassioned defense of American literary culture and the values it espouses and struggles to uphold, Literary Luxuries offers unforgettable commentary on the literary life in the United States during the last decades of the twentieth century as described from the perspective of one of its key participants.
Harlem Renaissance writer Dorothy West led a charmed life in many respects. Born into a distinguished Boston family, she appeared in Gershwin’s Porgy and Bess, then lived in the Soviet Union with a group that included Langston Hughes, to whom she proposed marriage. She later became friends with Jacqueline Kennedy Onassis, who encouraged her to finish her second novel, The Wedding, which became the octogenarian author’s first bestseller.
Literary Sisters reveals a different side of West’s personal and professional lives—her struggles for recognition outside of the traditional literary establishment, and her collaborations with talented African American women writers, artists, and performers who faced these same problems. West and her “literary sisters”—women like Zora Neale Hurston and West’s cousin, poet Helene Johnson—created an emotional support network that also aided in promoting, publishing, and performing their respective works. Integrating rare photos, letters, and archival materials from West’s life, Literary Sisters is not only a groundbreaking biography of an increasingly important author but also a vivid portrait of a pivotal moment for African American women in the arts.
Eaton attempted to disguise her Chinese heritage by writing under a hypothetically Japanese pen name. In legal documents, she usually claimed a "white" racial identity. In her fiction, Eaton portrayed Japanese, Chinese, Irish, and American characters, relying on the accepted stereotypes of the day. Jean Lee Cole shows that the many voices Eaton adopted show her deep preoccupations with "American" identity as a whole. The author attempts to reconcile all of these "voices," examining how Eaton survived in a climate hostile to minority writers in the early twentieth century, and how her seemingly anomalous works conjoin Asian American and American literary history.
Drawing on an eclectic range of sources including newspaper arrest reports, prison reform periodicals, popular literary magazines, transatlantic travel narratives, popular crime novels, anthologies of prison poetry, and the memoirs of prison chaplains, Ostrowski analyzes how authors as canonical as Nathaniel Hawthorne and as obscure as counterfeiter/poet/prison inmate Christian Meadows adapted, manipulated, or rejected prevailing narratives about criminality to serve their artistic and rhetorical ends. These narratives led to the creation of new literary subgenres while also ushering in psychological interiority as an important criterion by which serious fiction was judged. Ostrowski joins and extends recent scholarly conversations on subjects including African American civic agency, literary sentimentalism, outsider authorship, and the racial politics of antebellum prison reform.
The essays address the mutual impact of literature and science through a range of issues: “geek novels” as a subgenre of literature about science, the relationship of narrative form to risk analysis and ecological disaster, the impact of realism and contemporary developments in neurology and brain biology, and the use of technology in the humanities. The essays also examine how the humanities explore scientific issues such as in vitro fertilization and human existence, cloning and molecular biology, and the concept of time.
Contributors. Jay Clayton, Wai Chee Dimock, N. Katherine Hayles, Ursula Heise, Randall Knoper, Martha Nell Smith, Stephanie Turner, Priscilla Wald, Robyn Wiegman
This collection captures the sense—at times the ordeal—of the 1930s literary experience in America. Fourteen essayists deal with the experience of being a writer in a time of overwhelming economic depression and political ferment, and thereby illuminate the social, political, intellectual, and aesthetic problems and pressures that characterized the experience of American writers and influenced their works.
The essays, as a group, constitute a reevaluation of the American literature of the 1930s. At the same time they support and reinforce certain assumptions about the decade of the Great Depression—that it was grim, desperate, a time when dreams died and poverty became something other than genteel—they challenge other assumptions, chief among them in the notion that 1930s literature was uniform in content, drab in style, anti-formalist, and always political or sociological in nature. They leave us with an impression that there was variety in American writing of the 1930s and a convincing argument that the decade was not a retreat from the modernism of the 1920s. Rather it was a transitional period in which literary modernism was very much an issue and a force that bore imaginative fruit.
Examining British and American essays, poems, novels, and stories from the seventeenth through the nineteenth centuries, O’Brien pursues the idea of incorporation as a trope discernible in a wide range of texts. Key authors include John Locke, Eliza Haywood, Harriet Martineau, and Edgar Allan Poe, and each chapter is oriented around a type of corporation reflected in their works, such as insurance companies or banks. In exploring issues such as whether sentimental interest is the same as economic interest, these works bear witness to capitalism’s effect on history and human labor, desire, and memory. This period’s imaginative writing, O’Brien argues, is where the unconscious of that process left its mark. By revealing the intricate ties between literary models and economic concepts, Literature Incorporated shows us how the business corporation has shaped our understanding of our social world and ourselves.
The job of regional literature is twofold: to explore and confront the culture from within, and to help define that culture for outsiders. Taken together, the two centuries of Ozarks literature collected in this ambitious anthology do just that. The fiction, nonfiction, poetry, and drama presented in The Literature of the Ozarks complicate assumptions about backwoods ignorance, debunk the pastoral myth, expand on the meaning of wilderness, and position the Ozarks as a crossroads of human experience with meaningful ties to national literary movements.
Among the authors presented here are an Osage priest, an early explorer from New York, a native-born farm wife, African American writers who protested attacks on their communities, a Pulitzer Prize–winning poet, and an art history professor who created a fictional town and a postmodern parody of the region’s stereotypes.
The Literature of the Ozarks establishes a canon as nuanced and varied as the region’s writers themselves.
The literary archive of the U.S.-Mexican War (1846–1848) opens to view the conflicts and relationships across one of the most contested borders in the Americas. Most studies of this literature focus on the war's nineteenth-century moment of national expansion. In The Literatures of the U.S.-Mexican War, Jaime Javier Rodríguez brings the discussion forward to our own moment by charting a new path into the legacies of a military conflict embedded in the cultural cores of both nations.
Rodríguez's groundbreaking study moves beyond the terms of Manifest Destiny to ask a fundamental question: How do the war's literary expressions shape contemporary tensions and exchanges among Anglo Americans, Mexicans, and Mexican Americans. By probing the war's traumas, anxieties, and consequences with a fresh attention to narrative, Rodríguez shows us the relevance of the U.S.-Mexican War to our own era of demographic and cultural change. Reading across dime novels, frontline battle accounts, Mexican American writings and a wide range of other popular discourse about the war, Rodríguez reveals how historical awareness itself lies at the center of contemporary cultural fears of a Mexican "invasion," and how the displacements caused by the war set key terms for the ways Mexican Americans in subsequent generations would come to understand their own identities. Further, this is also the first major comparative study that analyzes key Mexican war texts and their impact on Mexico's national identity.
It is our everyday explorations—the small explosions within life, family, and “ordinary” survival—that make up Gregory Fraser’s fourth collection of poetry, Little Armageddon. Fraser writes at eye level, detailing the experiences of fatherhood, love, and the quiet of daily life, poised at the brink of abrupt upheaval.
These poems are an exercise in precision and reflection. Free verse and prose show readers the life within the landscape. In “My Daughter and the Lizard,” the speaker reflects on grace, meditating on the reptile his child is inspecting: “I scissor-jab three holes through the lid / of a Mason jar and tell her to be gentle, / ‘It’s a living thing,’ I say, ‘not a toy.’”
We are how we live. These poems balance imagination and truth telling with rich verse that brings the reader’s ear closer to the quiet—and how intense it truly is.
Beyond their status as classic children’s stories, Laura Ingalls Wilder’s Little House books play a significant role in American culture that most people cannot begin to appreciate. Millions of children have sampled the books in school; played out the roles of Laura and Mary; or visited Wilder homesites with their parents, who may be fans themselves. Yet, as Anita Clair Fellman shows, there is even more to this magical series with its clear emotional appeal: a covert political message that made many readers comfortable with the resurgence of conservatism in the Reagan years and beyond.
In Little House, Long Shadow, a leading Wilder scholar offers a fresh interpretation of the Little House books that examines how this beloved body of children’s literature found its way into many facets of our culture and consciousness—even influencing the responsiveness of Americans to particular political views. Because both Wilder and her daughter, Rose Wilder Lane, opposed the New Deal programs being implemented during the period in which they wrote, their books reflect their use of family history as an argument against the state’s protection of individuals from economic uncertainty. Their writing emphasized the isolation of the Ingalls family and the family’s resilience in the face of crises and consistently equated self-sufficiency with family acceptance, security, and warmth.
Fellman argues that the popularity of these books—abetted by Lane’s overtly libertarian views—helped lay the groundwork for a negative response to big government and a positive view of political individualism, contributing to the acceptance of contemporary conservatism while perpetuating a mythic West. Beyond tracing the emergence of this influence in the relationship between Wilder and her daughter, Fellman explores the continuing presence of the books—and their message—in modern cultural institutions from classrooms to tourism, newspaper editorials to Internet message boards.
Little House, Long Shadow shows how ostensibly apolitical artifacts of popular culture can help explain shifts in political assumptions. It is a pioneering look at the dissemination of books in our culture that expands the discussion of recent political transformations—and suggests that sources other than political rhetoric have contributed to Americans’ renewed appreciation of individualist ideals.
In this collection, Ian Morris and Joanne Diaz gather the reflections of twenty-three prominent editors whose little magazines have flourished over the past thirty-five years. Highlighting the creativity and innovation driving this diverse and still vital medium, contributors offer insights into how their publications sometimes succeeded, sometimes reluctantly folded, but mostly how they evolved and persevered. Other topics discussed include the role of little magazines in promoting the work and concerns of minority and women writers, the place of universities in supporting and shaping little magazines, and the online and offline future of these publications.
Selected contributors
Betsy Sussler, BOMB; Lee Gutkind, Creative Nonfiction; Bruce Andrews, L=A=N=G=U=A=G=E; Dave Eggers, McSweeney’s; Keith Gessen, n+1; Don Share, Poetry; Jane Friedman, VQR; Amy Hoffman, Women’s Review of Books; and more.
Mabalon draws on oral histories, newspapers, photographs, personal archives, and her own family's history in Stockton. She reveals how Filipina/o immigrants created a community and ethnic culture shaped by their identities as colonial subjects of the United States, their racialization in Stockton as brown people, and their collective experiences in the fields and in the Little Manila neighborhood. In the process, Mabalon places Filipinas/os at the center of the development of California agriculture and the urban West.
The language of Molly Brodak’s first full-length collection, A Little Middle of the Night, is ever shifting, brightly sonic, and disarming while exploring the margin between nature and art, darkness and beauty, dreams and awakenings. As echoed in one epigraph from Emerson, these poems capture “the Exact and the Vast” of consciousness in intense lyric verse with an angular and almost scientific sensitivity. Here is a speaker intent on discovery: “Oh whole world, we choose / another.”
This award-winning collection simmers with wit as Brodak confronts tragedy, childhood losses, transcendent love, and the question of art itself. Tinged with a suffering—“I was the littlest wastebasket. / I was my own church. Except— / scared, scared”—that rises above personal sorrow, her fierce and painterly poems redefine nature and art and what exists between: “Lately, there is spangled shade in my space / and a cold apple orchard to tend in place of consciousness.” As Reginald Shepherd said about the poems in Brodak’s first collection, the chapbook Instructions for a Painting, her world is “‘small enough / to sing in all directions,’ and large enough to take us there.”
Karin Aguilar-San Juan examines the contradictions of Vietnamese American community and identity in two emblematic yet different locales: Little Saigon in suburban Orange County, California (widely described as the capital of Vietnamese America) and the urban "Vietnamese town" of Fields Corner in Boston, Massachusetts. Their distinctive qualities challenge assumptions about identity and space, growth amid globalization, and processes of Americanization.
With a comparative and race-cognizant approach, Aguilar-San Juan shows how places like Little Saigon and Fields Corner are sites for the simultaneous preservation and redefinition of Vietnamese identity. Intervening in debates about race, ethnicity, multiculturalism, and suburbanization as a form of assimilation, this work elaborates on the significance of place as an integral element of community building and its role in defining Vietnamese American-ness.
Staying Vietnamese, according to Aguilar-San Juan, is not about replicating life in Viet Nam. Rather, it involves moving toward a state of equilibrium that, though always in flux, allows refugees, immigrants, and their U.S.-born offspring to recalibrate their sense of self in order to become Vietnamese anew in places far from their presumed geographic home.
Little Women has delighted and instructed readers for generations. For many, it is a favorite book first encountered in childhood or adolescence. Championed by Gertrude Stein, Simone de Beauvoir, Theodore Roosevelt, and J. K. Rowling, it is however much more than the “girls’ book” intended by Louisa May Alcott’s first publisher. In this richly annotated, illustrated edition, Daniel Shealy illuminates the novel’s deep engagement with issues such as social equality, reform movements, the Civil War, friendship, love, loss, and of course the passage into adulthood.
The editor provides running commentary on biographical contexts (Did Alcott, like Jo, have a “mood pillow”?), social and historical contexts (When may a lady properly decline a gentleman’s invitation to dance?), literary allusions (Who is Mrs. Malaprop?), and words likely to cause difficulty to modern readers (What is a velvet snood? A pickled lime?). With Shealy as a guide, we appreciate anew the confusions and difficulties that beset the March sisters as they overcome their burdens and journey toward maturity and adulthood: beautiful, domestic-minded Meg, doomed and forever childlike Beth, selfish Amy, and irrepressible Jo. This edition examines the novel’s central question: How does one grow up well?
Little Women: An Annotated Edition offers something for everyone. It will delight both new and returning readers, young and old, male and female alike, who will want to own and treasure this beautiful edition full of color illustrations and photographs.
"A temperate and sympathetic treatment of an African-American family's religious evolution." —Publishers Weekly
"A compelling story. It provides an honest, inside view of one of America's most controversial religious movements and perceptively points to social tensions of race, gender and religious identity." —Kirkus Reviews
"Extremely valuable. Recent literature is interested almost exclusively in male leaders. Tate's book provides a new perspective. I have used the book in a number of teaching contexts to very good results." —Judith Weisenfeld, Vassar College
In Little X, Sonsyrea Tate reveals, through the acute vision and engaging voice of a curious child, the practices and policies of the mysterious organization most know only through media portrayals of its controversial leaders Elijah Muhammad, Malcolm X, and Louis Farrakhan. First published in 1997, Little X chronicles the multigenerational experience of Tate's family, who broke from the traditional black church in the 1950s to join the radical Nation of Islam, then struggled to remain intact through disillusionment, shifting loyalties, and forays into Orthodox Islam.
Little X is also an absorbing story of a little girl whose strict Muslim education filled her with pride, confidence, and a longing for freedom, of a teenager in an ankle-length dress and headwrap struggling to fit in with non-Muslim peers, and of a young woman whose growing disillusionment with the Nation finally led to her break with the Muslim religion. Little X offers a rare glimpse into the everyday experience of the Nation of Islam, and into a little-understood part of America's history and heritage.
Sonsyrea Tate-Montgomery has been a staff writer for the Virginian Pilot, Chicago Tribune, and the Washington Post. The recipient of four coveted Echoes of Excellence awards from the National Association of Black Journalists, Tate has also worked as assistant to Congresswoman Eleanor Holmes Norton. She currently works as a political reporter for The Gazette, a Post-Newsweek publication.
Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.
Frederick Douglass’s fluid, changeable sense of his own life story is reflected in the many conflicting accounts he gave of key events and relationships during his journey from slavery to freedom. Nevertheless, when these differing self-presentations are put side by side and consideration is given individually to their rhetorical strategies and historical moment, what emerges is a fascinating collage of Robert S. Levine’s elusive subject. The Lives of Frederick Douglass is revisionist biography at its best, offering new perspectives on Douglass the social reformer, orator, and writer.
Out of print for a hundred years when it was reissued in 1960, The Narrative of the Life of Frederick Douglass (1845) has since become part of the canon of American literature and the primary lens through which scholars see Douglass’s life and work. Levine argues that the disproportionate attention paid to the Narrative has distorted Douglass’s larger autobiographical project. The Lives of Frederick Douglass focuses on a wide range of writings from the 1840s to the 1890s, particularly the neglected Life and Times of Frederick Douglass (1881, 1892), revised and expanded only three years before Douglass’s death. Levine provides fresh insights into Douglass’s relationships with John Brown, Abraham Lincoln, William Lloyd Garrison, and his former slave master Thomas Auld, and highlights Douglass’s evolving positions on race, violence, and nation. Levine’s portrait reveals that Douglass could be every bit as pragmatic as Lincoln—of whom he was sometimes fiercely critical—when it came to promoting his own work and goals.
In Lives on the Line, Miriam Davidson tells five true stories from these border cities to show the real-life effects that the maquiladora boom and the law enforcement crackdown have had on the people of "Ambos (Both) Nogales." Readers will meet Yolanda Sánchez, a single mother who came to work in the factories; Jimmy Teyechea, a cancer victim who became an outspoken environmental activist; Dario Miranda Valenzuela, an undocumented immigrant who was shot and killed by a U.S. Border Patrol agent; Cristina, a "tunnel kid" who aspired to flee the gang lifestyle; and Hope Torres and Tom Higgins, maquiladora managers who have made unique contributions to the community.
In sharing these stories of people transformed by love and faith, by pain and loss, Davidson relates their experiences to larger issues and shows that, although life on the border is tough, it is not without hope. Lives on the Line is an impassioned look at the changes that have swept the U.S.-Mexico border: the rising tension concerning free trade and militarization, the growing disparity between the affluent and the impoverished. At the same time, the book highlights the positive aspects of change, revealing challenges and opportunities not only for the people who live on the border but for all Americans.
Mark S. Fleisher offers a window into daily life in this neighborhood, particularly through the stories of Mo and Memphis Washington, who fight to sustain a stable home for their children, and of Burpee, a local man who has returned to the North End to rebuild his life after years of crime and punishment in Chicago.
“Outstanding” books for public & secondary school libraries from university presses, American Library Association
Ranging across television genres, historical periods, and racial formations, Living Color—as it positions race as a key element of television’s cultural influence—moves the discussion out of a black-and-white binary and illustrates how class, gender, and sexuality interact with images of race. In addition to essays on representations of "Oriental" performers and African Americans in the early years of television, this collection also examines how the celebrity of the late MTV star Pedro Zamora countered racist and homophobic discourses; reveals how news coverage on drug use shifted from the white middle-class cocaine user in the early 1980s to the black "crack mother" of the 1990s; and takes on TV coverage of the Rodney King beating and the subsequent unrest in Los Angeles. Other essays consider O.J. Simpson’s murder trial, comparing television’s treatment of Simpson to that of Michael Jackson, Magic Johnson, Michael Jordan, and Clarence Thomas and look at the racism directed at Asian Americans by the recurring "Dancing Itos" on Jay Leno’s Tonight Show.
The organizations that Springer examines were the first to explicitly use feminist theory to further the work of previous black women’s organizations. As she describes, they emerged in response to marginalization in the civil rights and women’s movements, stereotyping in popular culture, and misrepresentation in public policy. Springer compares the organizations’ ideologies, goals, activities, memberships, leadership styles, finances, and communication strategies. Reflecting on the conflicts, lack of resources, and burnout that led to the demise of these groups, she considers the future of black feminist organizing, particularly at the national level. Living for the Revolution is an essential reference: it provides the history of a movement that influenced black feminist theory and civil rights activism for decades to come.
Utopian thinking is often dismissed as unrealistic, overly idealized, and flat-out impractical—in short, wholly divorced from the urgent conditions of daily life. This is perhaps especially true when the utopian ideal in question is reforming and repairing the United States’ bitter history of racial injustice. But as Victoria W. Wolcott provocatively argues, utopianism is actually the foundation of a rich and visionary worldview, one that specifically inspired the major figures of the Civil Rights Movement in ways that haven’t yet been fully understood or appreciated.
Wolcott makes clear that the idealism and pragmatism of the Civil Rights Movement were grounded in nothing less than an intensely utopian yearning. Key figures of the time, from Martin Luther King Jr. and Pauli Murray to Father Divine and Howard Thurman, all shared a belief in a radical pacificism that was both specifically utopian and deeply engaged in changing the current conditions of the existing world. Living in the Future recasts the various strains of mid-twentieth-century civil rights activism in a utopian light, revealing the power of dreaming in a profound and concrete fashion, one that can be emulated in other times that are desperate for change, like today.
This is an auto-narrated audiobook edition of this book.
Living in the Future reveals the unexplored impact of utopian thought on the major figures of the Civil Rights Movement.
Utopian thinking is often dismissed as unrealistic, overly idealized, and flat-out impractical—in short, wholly divorced from the urgent conditions of daily life. This is perhaps especially true when the utopian ideal in question is reforming and repairing the United States’ bitter history of racial injustice. But as Victoria W. Wolcott provocatively argues, utopianism is actually the foundation of a rich and visionary worldview, one that specifically inspired the major figures of the Civil Rights Movement in ways that haven’t yet been fully understood or appreciated.
Wolcott makes clear that the idealism and pragmatism of the Civil Rights Movement were grounded in nothing less than an intensely utopian yearning. Key figures of the time, from Martin Luther King Jr. and Pauli Murray to Father Divine and Howard Thurman, all shared a belief in a radical pacificism that was both specifically utopian and deeply engaged in changing the current conditions of the existing world. Living in the Future recasts the various strains of mid-twentieth-century civil rights activism in a utopian light, revealing the power of dreaming in a profound and concrete fashion, one that can be emulated in other times that are desperate for change, like today.
Cover attribution: Allan Sekula, Shipwreck and worker, Istanbul, from TITANIC’s wake, 1998/2000. Courtesy of the Allan Sekula Studio.
We live on the surface, he discovered. It is the land that makes people. If a poet will see, will feel, will interpret his place and then relate that experience to what he knows of the world at large, he will have a life in imagination, a vitality beyond appearances.
John Haines is author of At the End of Summer: Poems 1948-1954; Fables and Distances: New and Selected Essays; and The Owl in the Mask of the Dreamer. He received the Lenore Marshall Poetry Prize in 1991.
David J. Harding studied sixty adolescent boys growing up in two very poor areas and one working-class area. In the first two, violence and neighborhood identification are inextricably linked as rivalries divide the city into spaces safe, neutral, or dangerous. Consequently, Harding discovers, social relationships are determined by residential space. Older boys who can navigate the dangers of the streets serve as role models, and friendships between peers grow out of mutual protection. The impact of community goes beyond the realm of same-sex bonding, Harding reveals, affecting the boys’ experiences in school and with the opposite sex. A unique glimpse into the world of urban adolescent boys, Living the Drama paints a detailed, insightful portrait of life in the inner city.
In closely analyzing the political and spiritual uses of black theatre during the Progressive Era, Mitchell demonstrates that audiences were shown affective ties in black families, a subject often erased in mainstream images of African Americans. Examining lynching plays as archival texts that embody and reflect broad networks of sociocultural activism and exchange in the lives of black Americans, Mitchell finds that audiences were rehearsing and improvising new ways of enduring in the face of widespread racial terrorism. Images of the black soldier, lawyer, mother, and wife helped readers assure each other that they were upstanding individuals who deserved the right to participate in national culture and politics. These powerful community coping efforts helped African Americans band together and withstand the nation's rejection of them as viable citizens.
The Left of Black interview with author Koritha Mitchell begins at 14:00.
An interview with Koritha Mitchell at The Ohio Channel.
In Living with Whales, Nancy Shoemaker reconstructs the history of Native whaling in New England through a diversity of primary documents: explorers' descriptions of their "first encounters," indentures, deeds, merchants' accounts, Indian overseer reports, crew lists, memoirs, obituaries, and excerpts from journals kept by Native whalemen on their voyages. These materials span the centuries-long rise and fall of the American whalefishery and give insight into the far-reaching impact of whaling on Native North American communities. One chapter even follows a Pequot Native to New Zealand, where many of his Maori descendants still reside today.
Whaling has left behind a legacy of ambivalent emotions. In oral histories included in this volume, descendants of Wampanoag and Shinnecock whalemen reflect on how whales, whaling, and the ocean were vital to the survival of coastal Native communities in the Northeast, but at great cost to human life, family life, whales, and the ocean environment.
Women’s voices offering an intimate view into women’s lives
Lizzie Borden in Love, a collection of poems by national bestselling author Julianna Baggott, offers poignant commentary in the voices of women as varied as Mary Todd Lincoln and Monica Lewinsky. The poems often focus on a particular moment in life: Katherine Hepburn discovers the dead body of her brother in an attic, or painter Mary Cassatt mourns the failure of her eyesight. Sometimes heartbreaking, sometimes ecstatic, the poems in this collection never fail the trust of the subjects of their intimate portrayals
Based on interviews with more than 1,200 mayors, local officials, and farmers in 390 municipal territories in four Latin American nations, the authors analyze the ways in which different forms of decentralization affect the governance arrangements for rural development “on the ground.” Their comparative analysis suggests that rural development outcomes are systemically linked to locally negotiated institutional arrangements—formal and informal—between government officials, NGOs, and farmer groups that operate in the local sphere. They find that local-government actors contribute to public services that better assist the rural poor when local actors cooperate to develop their own institutional arrangements for participatory planning, horizontal learning, and the joint production of services.
This study brings substantive data and empirical analysis to a discussion that has, until now, more often depended on qualitative research in isolated cases. With more than 60 percent of Latin America’s rural population living in poverty, the results are both timely and crucial.
Publication of this book was supported by a grant from DePauw University, Greencastle, Indiana.
Locating Filipino Americans, an ethnographic study of Filipino American communities in Los Angeles and San Diego, present a multi-disciplinary cultural analysis of the relationship between ethnic identity and social space. Author Rick Bonus argues that alternative community spaces enable Filipino Americans to respond to and resist the ways in which the larger society has historically and institutionally rendered them invisible, silenced, and racialized. Bonus focuses on the "Oriental" stores, the social halls and community centers, and the community newspapers to demonstrate how ethnic identities are publicly constituted and communities are transformed. Delineating the spaces formed by diasporic consciousness, Bonus shows how community members appropriate elements from their former homeland and from their new settlements in ways defined by their critical stances against racism, homogenization, complete assimilation, and exclusionary citizenship. Locating Filipino Americans is one of the few books that offers a grounded approach to theoretical analyses of ethnicity and contemporary culture in the U.S.
America’s fast food culture reflects not only what we eat—foods that are processed and packaged for convenience—but also how we eat—munching as we multitask and not really tasting the super-sized meals we ingest. But in recent years, a more thoughtful philosophy about food has emerged. Developed in Italy, where fresh ingredients and artisanal techniques are prized, the Slow Food movement has rapidly gained a following in North America. The skeptics among us might wonder if it is possible truly to enjoy a Slow Food lifestyle—one based around local, seasonal ingredients—in our fast-paced world.
In Locavore Adventures, acclaimed New Jersey chef and restaurateur Jim Weaver shares his personal story of how he came to solve this problem—building a local slow food culture that is ecologically responsible and also yields delicious results. Weaver tells of his odyssey founding the Central New Jersey chapter of Slow Food, connecting local farmers, food producers, and chefs with the public to forge communities that value the region’s unique bounty. More than forty recipes throughout the book, from Hot Smoked Brook Trout with Asparagus Puree and Pickled Cippollini Onions to Zuppa di Mozzarella, will inspire readers to be creative in their own kitchens. Locavore Adventures is a thoughtful memoir about growing a sustainable food culture and a guide to slowing down, savoring locally grown food, and celebrating life.
In a torrent of rage, love, and irony, Adrian C. Louis explodes all the myths and hypocrisy of Middle America in the twenty-first century. This is how Walt Whitman or Allen Ginsburg might have written about our post-9/11 world--where the realities of poverty on Indian reservations and the plight of Hurricane Katrina victims come in second place to the vagaries of Homeland Security. For Louis, both he and our nation face an uncertain future. Like many of us he is trapped in a surreal void of the present, where he is faced with middle age and isolation, the death of loved ones, an unsatisfying job, and the battle against loneliness and self-destruction. He writes as if he has nothing left to lose but then fills the page with bittersweet sorrow for everything that has been lost. Armed with unforgettable images, relentless rhythms, and a dark and scathing humor, Louis takes aim at this American life.
Perhaps no event in American history arouses more impassioned debate than the abolition of slavery. Answers to basic questions about who ended slavery, how, and why remain fiercely contested more than a century and a half after the passage of the Thirteenth Amendment. In The Long Emancipation, Ira Berlin draws upon decades of study to offer a framework for understanding slavery’s demise in the United States. Freedom was not achieved in a moment, and emancipation was not an occasion but a near-century-long process—a shifting but persistent struggle that involved thousands of men and women.
“Ira Berlin ranks as one of the greatest living historians of slavery in the United States… The Long Emancipation offers a useful reminder that abolition was not the charitable work of respectable white people, or not mainly that. Instead, the demise of slavery was made possible by the constant discomfort inflicted on middle-class white society by black activists. And like the participants in today’s Black Lives Matter movement, Berlin has not forgotten that the history of slavery in the United States—especially the history of how slavery ended—is never far away when contemporary Americans debate whether their nation needs to change.”
—Edward E. Baptist, New York Times Book Review
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