"Every writer has advice for aspiring writers. Mine is predicated on formative years spent cleaning my father’s calf pens: Just keep shoveling until you’ve got a pile so big, someone has to notice. The fact that I cast my life’s work as slung manure simply proves that I recognize an apt metaphor when I accidentally stick it with a pitchfork. . . . Poetry was my first love, my gateway drug—still the poets are my favorites—but I quickly realized I lacked the chops or insights to survive on verse alone. But I wanted to write. Every day. And so I read everything I could about freelancing, and started shoveling."
The pieces gathered within this book draw on fifteen years of what Michael Perry calls "shovel time"—a writer going to work as the work is offered. The range of subjects is wide, from musky fishing, puking, and mountain-climbing Iraq War veterans to the frozen head of Ted Williams. Some assignments lead to self-examination of an alarming magnitude (as Perry notes, "It quickly becomes obvious that I am a self-absorbed hypochondriac forever resolving to do better nutritionally and fitness-wise but my follow-through is laughable.") But his favorites are those that allow him to turn the lens outward: "My greatest privilege," he says, "lies not in telling my own story; it lies in being trusted to tell the story of another."
Having a baby is surely one of the pinnacle events of a woman's life, full of joy, serenity, and contentment--or so society tells a new mother, who thus finds herself ill-prepared for the exhaustion, boredom, and isolation that can follow childbirth. The resulting depression--how it is experienced, and how it might be relieved--is the subject of Natasha Mauthner's insightful and compassionate book, which recounts the stories of new mothers caught between a cultural ideal and a far more complex reality.
In Mauthner's interviews with thirty-five new mothers in Britain and America, we see how women contend with images of motherhood as a state of bliss for everyone but themselves. The British women tend to view their depression as a personal failure of strength; American women, as a result of hormonal fluctuation. But all vividly describe a similar state of paralysis and loneliness, with alternating love, resentment, and guilt toward their babies.
Most usefully, these women reveal the positive impact that other new mothers had on their depression. Far more important than their own family's support or understanding, the sense of not being alone in their trials emerges as a key source of strength and healing for women struggling with postpartum depression.
By every measure, Hurricane Sandy was a disaster of epic proportions. The deadliest storm to strike the East Coast since Hurricane Diane in 1955, Sandy killed thirty-seven people and caused more than $30 billion in damages in 2012 to New Jersey alone. But earlier centuries experienced their own catastrophes.
In Disaster!, Alan A. Siegel brings readers face-to-face with twenty-eight of the deadliest natural and human-caused calamities to strike New Jersey between 1821 and 1906, ranging from horrific transportation accidents to uncontrolled fires of a kind rarely seen today. As Siegel writes in his introduction, “None of the stories end well—there are dead and injured by the thousands as well as millions in property lost.” Accounts of these fires, steamboat explosions, shipwrecks, train wrecks, and storms are told in the words of the people who experienced the events firsthand, lending a sense of immediacy to each story.
Disasters bring out the worst as well as the best in people. Siegel focuses on the bravest individuals, including harbor pilot Thomas Freeborn who drowned while attempting to save fifty passengers and crew of a ship foundering on the Jersey Shore, and Warwicke Greene, a fourteen-year-old schoolboy who rescued the injured “like the hero of an epic poem” after a train wreck in the Hackensack Meadows. These and many other stories of forgotten acts of courage in the face of danger will make Disaster! an unforgettable read.
Did you know—
—that a New Jerseyan was the first president of the United States?
—that New Jersey was the site of the first organized college football game?
—that New Jersey was the location of one of the most devastating espionage attacks of World War I?
—that the heroics of a New Jersey woman saved thousands of people from dying of yellow fever?
These and other fascinating stores can be found in Discover the Hidden New Jersey, a treasury of New Jersey stories that celebrate the unique heritage and importance of the Garden State. Russell Roberts has scoured New Jersey, from High Point to Cape May, to bring readers a delightful potpourri of facts, essays, lists, photos, stories, and legends about New Jersey. Readers will learn how New Jersey used to be the center of the motion picture universe, the origin of the Jersey Devil and other popular tall tales, where Norman Mailer and Abbot & Costello were born, where Aaron Burr and Leo, the M-G-M lion, lie buried, and much more. Learn about the geology of New Jersey, find out about the state’s ever-changing weather, and hear about some of the best places to go for the day. All this and more is in Discover the Hidden New Jersey, the ultimate New Jersey book.
“Friend, asshole, angel, mutant,” singer-songwriter Vic Chesnutt “came along and made us gross and broken people seem . . . I dunno, cooler, I guess.” A quadriplegic who could play only simple chords on his guitar, Chesnutt recorded seventeen critically acclaimed albums before his death in 2009, including About to Choke, North Star Deserter, and At the Cut. In 2006, NPR placed him in the top five of the ten best living songwriters, along with Bob Dylan, Tom Waits, Paul McCartney, and Bruce Springsteen. Chesnutt’s songs have also been covered by many prominent artists, including Madonna, the Smashing Pumpkins, R.E.M., Sparklehorse, Fugazi, and Neutral Milk Hotel.
Kristin Hersh toured with Chesnutt for nearly a decade and they became close friends, bonding over a love of songwriting and mutual struggles with mental health. In Don’t Suck, Don’t Die, she describes many seemingly small moments they shared, their free-ranging conversations, and his tragic death. More memoir than biography, Hersh’s book plumbs the sources of Chesnutt’s pain and creativity more deeply than any conventional account of his life and recordings ever could. Chesnutt was difficult to understand and frequently difficult to be with, but, as Hersh reveals him, he was also wickedly funny and painfully perceptive. This intimate memoir is essential reading for anyone interested in the music or the artist.
Drilled to Write offers a rich account of US Army cadets navigating the unique demands of Army writing at a senior military college. In this longitudinal case study, J. Michael Rifenburg follows one cadet, Logan Blackwell, for four years and traces how he conceptualizes Army writing and Army genres through immersion in military science classes, tactical exercises in the Appalachian Mountains, and specialized programs like Airborne School.
Drawing from research on rhetorical genre studies, writing transfer, and materiality, Drilled to Write speaks to scholars in writing studies committed to capturing how students understand their own writing development. Collectively, these chapters articulate four ways Blackwell leveraged resources through ROTC to become a cadet writer at this military college. Each chapter is dedicated to one year of his undergraduate experience with focus on curricular writing for his business management major and military science classes as well as his extracurricular writing, like his Ballroom Dance Club bylaws and a three-thousand-word short story.
In Drilled to Write, Rifenburg invites readers to see how cadets are positioned between civilian and military life—a curiously liminal space where they develop as writers. Using Army ROTC as an entry into genre theory and larger conversations about the role higher education plays in developing Army officers, he shows how writing students develop genre awareness and flexibility while forging a personal identity.
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