A SCHOLARLY BOOK REPOSITORY298 start with W start with W
The first book ever to focus on Laird’s legacy, this authorized biography reveals his central and often unrecognized role in managing the crisis of national identity sparked by the Vietnam War—and the challenges, ethical and political, that confronted him along the way. Drawing on exclusive interviews with Laird, Henry Kissinger, Gerald Ford, and numerous others, author Dale Van Atta offers a sympathetic portrait of a man striving for open government in an atmosphere fraught with secrecy. Van Atta illuminates the inner workings of high politics: Laird’s behind-the-scenes sparring with Kissinger over policy, his decisions to ignore Nixon’s wilder directives, his formative impact on arms control and health care, his key role in the selection of Ford for vice president, his frustration with the country’s abandonment of Vietnamization, and, in later years, his unheeded warning to Donald Rumsfeld that “it’s a helluva lot easier to get into a war than to get out of one.”
The Weathermen--a U.S.-based, revolutionary splinter group of Students for a Democratic Society--advocated the overthrow of the government and capitalism, and toward that end, carried out a campaign of bombings, jailbreaks, and riots throughout the United States. In With the Weathermen Stern traces her involvement with this group, and her transformation from a shy, married graduate student into a go-go dancing, street-fighting "macho mama." In vivid and emotional language, she describes the attractions and difficulties of joining a collective radical group and in maintaining a position within it.
Stern's memoir offers a rich description of the raw and rough social dynamics of this community, from its strict demands to "smash monogamy," to its sometimes enforced orgies, and to the demeaning character assassination that was led by the group's top members. She provides a distinctly personal and female perspective on the destructive social functionality and frequently contradictory attitudes toward gender roles and women's rights within the New Left.
Laura Browder's masterful introduction situates Stern's memoir in its historical context, examines the circumstances of its writing and publication, and describes the book's somewhat controversial reception by the public and critics alike.
Of some twelve thousand Union Civil War surgeons, only fourteen were Black men. This book is the first-ever comprehensive exploration of their lives and service. Jill L. Newmark’s outstanding research uncovers stories hidden for more than 150 years, illuminating the unique experiences of proud, patriotic men who fought racism and discrimination to attend medical school and serve with the U.S. military. Their efforts and actions influenced societal change and forged new pathways for African Americans.
Individual biographies bring to light Alexander T. Augusta, who challenged discriminatory laws; William P. Powell Jr., who pursued a military pension for twenty-five years; Anderson R. Abbott, a friend of Elizabeth Keckley’s; John van Surly DeGrasse, the only Black surgeon to serve on the battlefield; John H. Rapier Jr., an international traveler; Richard H. Greene, the only Black surgeon known to have served in the Navy; Willis R. Revels, a preacher; Benjamin A. Boseman, a politician and postmaster; and Charles B. Purvis, who taught at Howard University. Information was limited for five other men, all of whom broke educational barriers by attending medical schools in the United States: Cortlandt Van Rensselaer Creed, William B. Ellis, Alpheus W. Tucker, Joseph Dennis Harris, and Charles H. Taylor.
Newmark presents all available information about the surgeons’ early lives, influences, education, Civil War service, and post-war experiences. Many of the stories overlap, as did the lives of the men. Each man, through his service as a surgeon during the war and his lifelong activism for freedom, justice, and equality, became a catalyst of change and a symbol of an emancipated future.
Under the stage name Lee Shaw, Brevard worked as a drag queen at Finocchio's, a San Francisco club, doing Marilyn Monroe impersonations. (Like Marilyn, she sought romance all the time and had a string of entanglements with men.) Later, she worked as a stripper in Reno and as a Playboy Bunny at the Sunset Strip hutch.
After playing opposite Don Knotts in the movie The Love God, Brevard appeared in other films and broke into TV as a regular on the Red Skelton Show. She created the role of Tex on the daytime soap opera One Life To Live. As a woman, Brevard returned to teach theater at East Tennessee State, the same university she had attended as a boy.
This memoir is a rare pre-Women's Movement account of coming to terms with gender identity. Brevard writes frankly about the degree to which she organized her life around pleasing men, and how absurd it all seems to her now.
Originally published in 1876 as The Woman in Battle, this Civil War narrative offers Velazquez’s seemingly impossible autobiographical account, as well as a new critical introduction and glossary by Jesse Alemán. Scholars are divided between those who read the book as a generally honest autobiography and those who read it as mostly fiction. According to Alemán’s critical introduction, the book also reads as pulp fiction, spy memoir, seduction narrative, travel literature, and historical account, while it mirrors the literary conventions of other first-person female accounts of cross-dressing published in the United States during wartime, dating back to the Revolutionary War. Whatever the facts are, this is an authentic Civil War narrative, Alemán concludes, that recounts how war disrupts normal gender roles, redefines national borders, and challenges the definition of identity.
Harriet's letters reveal her experiences with actors and institutions that played pivotal roles in the history of American women: the nascent literate female work force at the mills in Lowell, Massachusetts; the Ipswich Female Seminary, which was one of the first schools for women teachers; women's associations, especially in churches; and the close and enduring ties that characterized women's relationships in the late nineteenth century.
Harriet's letters also provide an intimate view of the relationships between American Indians and Euro-Americans in the Great Lakes region, where she settled with her Christian missionary husband.
Georgie White Clark-adventurer, raconteur, eccentric--first came to know the canyons of the Colorado River by swimming portions of them with a single companion. She subsequently hiked and rafted portions of the canyons, increasingly sharing her love of the Colorado River with friends and acquaintances. At first establishing a part-time guide service as a way to support her own river trips, she went on to become perhaps the canyons' best-known river guide, introducing their rapids to many others-on the river, via her large-capacity rubber rafts, and across the nation, via magazine articles and movies. Georgie Clark saw the river and her sport change with the building of Glen Canyon Dam, enormous increases in the popularity of river running, and increased National Park Service regulation of rafting and river guides. Adjusting, though not always easily, to the changes, she helped transform an elite adventure sport into a major tourist activity.
For twenty-five years, Charlotte Curtis was a society/women's reporter and editor and an op-ed editor at the New York Times. As the first woman section editor at the Times, Curtis was a pioneering journalist and one of the first nationwide to change the nature and content of the women's pages from fluffy wedding announcements and recipes to the more newsy, issue-oriented stories that characterize them today. In this riveting biography, Marilyn Greenwald describes how a woman reporter from Columbus, Ohio, broke into the ranks of the male-dominated upper echelon at the New York Times. It documents what she did to succeed and what she had to sacrifice.
Charlotte Curtis paved the way for the journalists who followed her. A Woman of the Times offers a chronicle of her hard-won journey as she invents her own brand of feminism during the 1960s and 1970s. In the telling of this remarkable woman’s life is the story, as well, of a critical era in the nation’s social history.
Author Gayle Greene traces Stewart's life and career as she came up against ever more powerful authorities, first the British medical profession, then the U.S. nuclear industry, and finally the regulatory agencies that set radiation safety standards throughout the world. Stewart endured the fate of other women scientists in having her findings dismissed and funding cut, but today is recognized as a pioneering figure in epidemiological research on the dangers of nuclear radiation. In her preface to the second edition, Greene looks at new information that’s come out about the forces and individuals responsible for marginalizing her as a scientist and downplaying the disturbing implications of her research.
Marina Goldovskaya is one of Russia's best-known documentary filmmakers. The first woman in Russia (and possibly the world) to combine being a director, writer, cinematographer, and producer, Goldovskaya has made over thirty documentary films and more than one hundred programs for Russian, European, Japanese, and American television. Her work, which includes the award-winning films The House on Arbat Street, The Shattered Mirror, and Solovky Power, has garnered international acclaim and won virtually every prize given for documentary filmmaking.
In Woman with a Movie Camera, Goldovskaya turns her lens on her own life and work, telling an adventurous, occasionally harrowing story of growing up in the Stalinist era and subsequently documenting Russian society from the 1960s, through the Thaw and Perestroika, to post-Soviet Russia. She recalls her childhood in a Moscow apartment building that housed famous filmmakers, being one of only three women students at the State Film School, and working as an assistant cameraperson on the first film of Andrei Tarkovsky, Russia's most celebrated director. Reviewing her professional filmmaking career, which began in the 1960s, Goldovskaya reveals her passion for creating films that presented a truthful picture of Soviet life, as well as the challenges of working within (and sometimes subverting) the bureaucracies that controlled Russian film and television production and distribution. Along the way, she describes a host of notable figures in Russian film, theater, art, and politics, as well as the technological evolution of filmmaking from film to video to digital media.
A compelling portrait of a woman who broke gender and political barriers, as well as the eventful four decades of Russian history she has documented, Woman with a Movie Camera will be fascinating reading for a wide audience.
McDonald’s story of the Civil War records a personal and distinctly female battle of her own—a southern woman’s lonely struggle in the midst of chaos to provide safety and shelter for herself and her children. For McDonald, history is what happens “inside the house.” She relates the trauma that occurs when the safety of the home is disrupted and destroyed by the forces of war—when women and children are put out of their houses and have nowhere to go.
Whether she is describing a Union soldier’s theft of her Christmas cakes, the discovery of a human foot in her garden, or the death of her baby daughter, McDonald’s story of the Civil War at home is compelling and disturbing. Her tremendous determination and unyielding spirit in the face of the final collapse of her world is testimony to a woman’s will to preserve her family and her own sense of purpose as a “rebel” against all that she regarded as tyrannical and brutal in war itself.
Christiana and John Tillson moved from Massachusetts to central Illinois in 1822. Upon arriving in Montgomery County near what would soon be Hillsboro, they set up a general store and real estate business and began to raise a family.
A half century later, Christiana Tillson wrote about her early days in Illinois in a memoir published by R. R. Donnelley in 1919. In it she describes her husband’s rise to wealth through the speculative land boom during the 1820s and 1830s and his loss of fortune when the land business went bust after the Specie Circular was issued in 1836.
The Tillsons lived quite ordinary lives in extraordinary times, notes Kay J. Carr, introducing this edition. Their views and sensibilities, Carr says, might seem strange to us, but they were entirely normal to people in the early nineteenth century. Thus Tillson’s memoir provides vignettes of ordinary nineteenth-century American life.
Kerry Bate proceeds on the premise that a story centering on the women of the clan could provide fresh perspective and insight. He portrays real people with well-rounded, flawed characters; builds from deep research; writes with a bit of style; and includes the rich context and detail of these lives. His main subjects are four generations of impressive women: the pioneer Catherine Campbell Steele; her daughter Young Elizabeth, the first Mormon child born in Utah; Kate, an accomplished community leader; and Sarah, a gifted seamstress trapped in an unhappy marriage. To enter their hardscrabble lives in small southern Utah communities is to meet women who pioneered in their own modest but determined ways.
Winner of the Mormon History Association's Best Personal History/Memoir Award.
Interview with Tom Williams on Access Utah
The introduction sets out by addressing the basic difficulties of both historiography and definition before providing a historical overview of how these particular filmmakers have helped shape moviemaking traditions. The essays explore the major theoretical controversies that have arisen around the work of groundbreaking women such as Leslie Thornton, Su Friedrich, Nina Menkes, and Faith Hubley. With the filmmakers re-presentations of women's subjectivity ranging across film, video, digital media, ethnography, animation, and collage, Women and Experimental Filmmaking represents the full spectrum of genres, techniques, and modes. Taken together, these essays comprise a sustained analysis of the conjunction of aesthetics and politics in the work of both pioneer and contemporary experimental women filmmakers.
Fulkerson and Mantle, longtime artists and residents of the Great Basin themselves, offer a behind-the-scenes intimate glimpse into these women’s lives and artwork—showing not only what they create, but why they create it. Too often overlooked, the women covered here prove there is much richness, life, and creativity in what has often been dismissed as a barren desert. Their stories of overcoming great obstacles unfold right alongside images of their art. Many circle outside the conventional world of galleries, museums, and art publications and have created varied paths to their success. They are indeed true originals, rooted in a land of unique geography, a stew of cultures, and stories like no other.
Women, Autobiography, Theory is the first comprehensive guide to the burgeoning field of women’s autobiography, drawing into one volume the most significant theoretical discussions on women’s life writing of the last two decades.
The authoritative introduction by Sidonie Smith and Julia Watson surveys writing about women’s lives from the women’s movement of the late 1960s to the present. It also relates theoretical positions in women’s autobiography studies to postmodern, poststructuralist, postcolonial, and feminist analyses.
The essays from thirty-nine prominent critics and writers include many considered classics in this field. They explore narratives across the centuries and from around the globe, including testimonios, diaries, memoirs, letters, trauma accounts, prison narratives, coming-out stories, coming-of-age stories, and spiritual autobiographies. A list of more than two hundred women’s autobiographies and a comprehensive bibliography of critical scholarship in women’s autobiography provide invaluable information for scholars, teachers, and readers.
As mass media burgeoned in the years between the first and second world wars, so did another phenomenon—celebrity. Beginning in Hollywood with the studio-orchestrated transformation of uncredited actors into brand-name stars, celebrity also spread to writers, whose personal appearances and private lives came to fascinate readers as much as their work. Women, Celebrity, and Literary Culture between the Wars profiles seven American, Canadian, and British women writers—Dorothy Parker, Anita Loos, Mae West, L. M. Montgomery, Margaret Kennedy, Stella Gibbons, and E. M. Delafield—who achieved literary celebrity in the 1920s and 1930s and whose work remains popular even today.
Faye Hammill investigates how the fame and commercial success of these writers—as well as their gender—affected the literary reception of their work. She explores how women writers sought to fashion their own celebrity images through various kinds of public performance and how the media appropriated these writers for particular cultural discourses. She also reassesses the relationship between celebrity culture and literary culture, demonstrating how the commercial success of these writers caused literary elites to denigrate their writing as "middlebrow," despite the fact that their work often challenged middle-class ideals of marriage, home, and family and complicated class categories and lines of social discrimination.
The first comparative study of North American and British literary celebrity, Women, Celebrity, and Literary Culture between the Wars offers a nuanced appreciation of the middlebrow in relation to modernism and popular culture.
This thoughtful, engaging collection showcases the best nonfiction prose produced by one of the nation's most observant and incisive writers.
This collection of warm, heartfelt essays from award-winning novelist Vicki Covington chronicles the multitude of "in between" moments in the writer's life. These are her stolen moments in between the writing of four novels-Gathering Home, Bird of Paradise, Night Ride Home, and The Last Hotel for Women; in between coauthoring the edgy memoir Cleaving: The Story of a Marriage with her husband Dennis Covington; in between raising two daughters; in between her husband's struggle with cancer and the author's own heart attack; in between a life full of trials and triumphs, disappointments and celebrations - moments that, as Covington demonstrates here, are always rich and revealing.
In the title essay, the author questions why all seven middle-class women who live on her street confess at a neighborhood cookout that in the past 48 hours each of them has cried. In "A Southern Thanksgiving," Covington reflects on the "family dance" that is Thanksgiving in the South: "In the North they put their crazy family members in institutions, but in the South we put them in the living room for everyone to enjoy." In "My Mother's Brain," the author recounts the onset of Alzheimer's in her mother and how, with the spread of the disease, an untapped vein of love is revealed.
Some of these essays were written as weekly newspaper columns for the Birmingham News. Others were written for specific literary occasions, such as the First Annual Eudora Welty Symposium. They are divided into six thematic sections: "Girls and Women," "Neighborhood," "Death," "The South," "Spiritual Matters," and "Writing."
Throughout, as Covington casts her candid, attentive eye on a situation, confusion yields to comprehension, fear flourishes into faith, and anger flows into understanding. In memorializing the small moments of her life, she finds that they are far from peripheral; indeed, they are central to a life full of value and meaning.
Whitt explores the lives of women reporters who achieved significant historical recognition, such as Ida Tarbell and Ida Wells-Barnett. Investigating the often blurry boundary between journalism and literature, she explains how this fluid distinction has actually limited how many scholars perceive the contributions of authors such as Joan Didion and Susan Orlean. Whitt also highlights the work of important novelists, including Willa Cather, Katherine Anne Porter, and Eudora Welty, to shed light on how their work as journalists informed their highly successful fiction.
This study also offers a survey of contributions women have made to the alternative presses, including the environmental press and civil rights activism. Whitt examines important figures in the early feminist press such as Caroline Churchill, editor and reporter for Denver’s Queen Bee, and Betty Wilkins of Kansas City’s Call. Finally, through newsletters, newspapers, magazines, and journals, she traces the history of the lesbian press and points out the ways in which it indicates that the alternative press is thriving.
Houston was a terrible place to divorce or seek child custody in the 1980s and early 1990s. Family court judges routinely rendered verdicts that damaged the interests of women and children. In some especially shocking cases, they even granted custody to fathers who had been accused of molesting their own children. Yet despite persistent allegations of cronyism, incompetence, sexism, racism, bribery, and fraud, the judges wielded such political power and influence that removing them seemed all but impossible. The family court system was clearly broken, but there appeared to be no way to fix it.
This book recounts the inspiring and courageous story of women activists who came together to oppose Houston's family court judges and whose political action committee, CourtWatch, played a crucial role in defeating five of the judges in the 1994 judicial election. Carole Bell Ford draws on extensive interviews with Florence Kusnetz, the attorney who led the reform effort, and other CourtWatch veterans, as well as news accounts, to provide a full history of the formation, struggles, and successes of a women's grassroots organization that overcame powerful political interests to improve Houston's family courts. More than just a local story, however, this history of CourtWatch provides a model that can be used by activists in other communities in which legal and social institutions have gone astray. It also honors the heroism of Florence Kusnetz, whose commitment to the Jewish concept of tikkun olam ("repairing and improving the world") brought her out of a comfortable retirement to fight for justice for women and children.
The historical personages include Eleanor of Aquitaine whose several marriages brought her wealth and autonomy; the virtuous Héloïse; and the visionary recluse Juette. Duby also studies the literary figures of St. Marie-Madeleine, a composite figure who personified the essential female traits of frailty, ardent love, and evangelicalism; Iseut, literary beloved of Tristan; and two other emblematic figures, Dorée d'Amour and Phénix—women who became ladies through chivalrous love.
Provocative, informative, and entertaining, this book offers new insight on courtly love and the representations of women under medieval patriarchy.
The first section outlines the ways in which the dead—in both memory and legend—served to bond noble society in the twelfth century. Drawing on the Gesta by Dudo of Saint Quentin, the second section reflects on the roles that wives, concubines, and other women played during times of war and in the great exchanges of power that established the grand lineages of the Middle Ages. The third section reconstructs women as wives, mothers, and widows through the work of Lambert, Priest of Ardres.
As she did in The Return of Martin Guerre, Natalie Zemon Davis here retrieves individual lives from historical obscurity to give us a window onto the early modern world. As women living in the seventeenth century, Glikl bas Judah Leib, Marie de l’Incarnation, and Maria Sibylla Merian, equally remarkable though very different, were not queens or noblewomen, their every move publicly noted. Rather, they were living “on the margins” in seventeenth-century Europe, North America, and South America. Yet these women—one Jewish, one Catholic, one Protestant—left behind memoirs and writings that make for a spellbinding tale and that, in Davis’ deft narrative, tell us more about the life of early modern Europe than many an official history.
All these women were originally city folk. Glikl bas Judah Leib was a merchant of Hamburg and Metz whose Yiddish autobiography blends folktales with anecdotes about her two marriages, her twelve children, and her business. Marie de l’Incarnation, widowed young, became a mystic visionary among the Ursuline sisters and cofounder of the first Christian school for Amerindian women in North America. Her letters are a rich source of information about the Huron, Algonquin, Montagnais, and Iroquois peoples of Quebec. Maria Sibylla Merian, a German painter and naturalist, produced an innovative work on tropical insects based on lore she gathered from the Carib, Arawak, and African women of Suriname. Along the way she abandoned her husband to join a radical Protestant sect in the Netherlands.
Drawing on Glikl’s memoirs, Marie’s autobiography and correspondence, and Maria’s writings on entomology and botany, Davis brings these women to vibrant life. She reconstructs the divergent paths their stories took, and at the same time shows us each amid the common challenges and influences of the time—childrearing, religion, an outpouring of vernacular literature—and in relation to men. The resulting triptych suggests the range of experience, self-consciousness, and expression possible in seventeenth-century Europe and its outposts. It also shows how persons removed from the centers of power and learning ventured in novel directions, modifying in their own way Europe’s troubled and ambivalent relations with other “marginal” peoples.
What does it mean to look like a lesbian? Though it remains impossible to conjure a definitive image that captures the breadth of this highly nuanced term, today at least we are able to consider an array of visual representations that have been put into circulation by lesbians themselves over the last six or seven decades. In the early twentieth century, though, no notion of lesbianism as a coherent social or cultural identity yet existed.
In Women Together/Women Apart, Tirza True Latimer explores the revolutionary period between World War I and World War II when lesbian artists working in Paris began to shape the first visual models that gave lesbians a collective sense of identity and allowed them to recognize each other. Flocking to Paris from around the world, artists and performers such as Romaine Brooks, Claude Cahun, Marcel Moore, and Suzy Solidor used portraiture to theorize and visualize a "new breed" of feminine subject. The book focuses on problems of feminine and lesbian self-representation at a time and place where the rights of women to political, professional, economic, domestic, and sexual autonomy had yet to be acknowledged by the law. Under such circumstances, same-sex solidarity and relative independence from men held important political implications.
Combining gender theory with visual, cultural, and historical analysis, Latimer draws a vivid picture of the impact of sexual politics on the cultural life of Paris during this key period. The book also illuminates the far-reaching consequences of lesbian portraiture on contemporary constructions of lesbian identity.
“Traditionally, narratives of war have been male,” Sharon Talley writes. In the pages that follow, she goes on to disrupt this tradition, offering close readings and comparative studies of fourteen women’s diaries from the Civil War era that illuminate women’s experiences in the Confederacy during the war.
While other works highlighting individual diaries exist—and Talley notes that there has been a virtual explosion of published primary sources by women in recent years—this is the first effort of comprehensive synthesis of women’s Civil War diaries to attempt to characterize them as a distinct genre. Deeply informed by autobiographical theory, as well as literary and social history, Talley’s presentation of multiple diaries from women of differing backgrounds illuminates complexities and disparities across female wartime experiences rather than perpetuating overgeneralizations gleaned from a single diary or
preconceived ideas about what these diaries contain.
To facilitate this comparative approach, Talley divides her study into six sections that are organized by location, vocation, and purpose: diaries of elite planter women; diaries of women on the Texas frontier; diaries of women on the Confederate border; diaries of espionage by women in the South; diaries of women nurses near the battlefront; and diaries of women missionaries in the Port Royal Experiment. When read together, these writings illustrate that the female experience in the Civil War South was not one but many.
Women’s Diaries from the Civil War South: A Literary-Historical Reading is an essential text for scholars in women’s studies, autobiography studies, and Civil War studies alike, presenting an in-depth and multifaceted look at how the Civil War reshaped women’s lives in the South—and how their diverse responses shaped the course of the war in return.
“Carson Brewer at his absolute best.” – Sam Venable
Carson Brewer on…
Mountain places
Snow was nice and crunchy underfoot. Not crunchy like peanuts or cornflakes. Rather, it was a silky whispery crunchy.
Mountain plants
You can bury your nose deep in the cool violet bed and smell the mix of life and death while pondering the unceasing cycle of each into the other.
Mountain People
Lem Ownby…has plowed oxen, mules, and horses on the forty-four acre farm on Jakes Creek. But he has never owned or driven an automobile.
The Author: Carson Brewer was a reporter and columnist for more than forty years. His columns on conservation issues and on the Great Smoky Mountains earned him the E.J. Meeman Conservation Award (twice) from the Scripps-Howard Foundation, the Golden Press Card award from the Society of Professional Journalists (which also named a scholarship in his honor in 1984), and the inaugural Lifetime Achievement Award from the Knoxville Writers Guild. He died on January 15, 2003.
The Wongs thrived in Beloit despite facing racism and classism, embracing wartime opportunities, education, love, and careers within the U. S. McKenzie's collaboration with descendent Mary Wong Palmer reveals a poignant story of Chinese immigrant life in the Upper Midwest that adds a much-needed Wisconsin perspective to existing literature by and about Asian Americans.
In Word Warrior, award-winning radio producer Sonja D. Williams draws on archives and hard-to-access family records, as well as interviews with family and colleagues like Studs Terkel and Toni Morrison, to illuminate Durham's astounding career. Durham paved the way for black journalists as a dramatist and a star investigative reporter and editor for the pioneering black newspapers the Chicago Defender and Muhammed Speaks. Talented and versatile, he also created the acclaimed radio series Destination Freedom and Here Comes Tomorrow and wrote for popular radio fare like The Lone Ranger. Incredibly, his energies extended still further--to community and labor organizing, advising Chicago mayoral hopeful Harold Washington, and mentoring generations of activists.
Incisive and in-depth, Word Warrior tells the story of a tireless champion of African American freedom, equality, and justice during an epoch that forever changed a nation.
Exploring works by the critically acclaimed June Jordan and Edwidge Danticat, as well as by popular and emerging authors such as Melba Beals, Rosemary Bray, and Eisa Davis, Ards demonstrates how each text asserts countermemories to official—and often nostalgic—understandings of the civil rights and Black Power movements. She situates each writer as activist-citizen, adopting and remaking particular roles—warrior, “the least of these,” immigrant, hip-hop head—to crystallize a range of black feminist responses to urgent but unresolved political issues.
Central to the discussion, which restores Wordsworth to both the French and English contexts in which he matured, is a consideration of his relation to Rousseau and Burke. Chandler maintains that by the time Wordsworth set forth his "program for poetry" in 1798, he had turned away from the Rousseauist idea of nature that had informed his early republican writings. He had already become a poet of what Burke called "second nature"–human nature cultivated by custom, habit, and tradition–and an opponent of the quest for first principles that his friend Coleridge could not forsake. In his analysis of the poetry, Chandler suggests that even Wordsworth's most apparently private moments, the lyrical "spots of time," ideologically embodied the uncalculated habits of an oral narrative discipline and a native English mind.
Beginning in 1975 with the Ford administration, in a job procured for him by friend and tennis partner George H. W. Bush, Baker was in the thick of American politics. He recounts the inside story of Ford’s rejection of Reagan as a running mate in 1976 with the same insight he has into Reagan’s rejection of Ford four years later. When the White House was plunged into turmoil after the Reagan assassination attempt, he was there, and his stories take readers deeper into those chaotic days. Baker was on hand for the George H. W. Bush campaign’s battle over running mate Dan Quayle and, more recently, he was again on the front row as George W. Bush fought it out in Florida. Spellbinding and frank, his stories are the ones between the lines of our history books.
In this new edition, Baker also responds for the first time in print to the George W. Bush administration’s reaction to the Iraq Study Group Report, written with his input. Baker is very qualified to comment on the political operation of the current administration, and his new writing for this paperback brings the full weight of his experience to bear.
These are the words with which Margaret, a thirty-three-year-old cocaine-using prostitute, begins her story. In this book, she and four other women, all inner-city hustlers, describe their lives, how they came to be where they are, and where they hope to go.
Margaret, Charlie, Virginia, Tracy, and Laquita are all drug users who are involved in regular criminal activity: prostitution, burglary, shoplifting, robbery, drug selling, petty theft, and various kinds of fraud. Four of the women are black; one is white and Puerto Rican. While all five have been involved in same-sex relationships, three are primarily straight and two are primarily lesbian. They come from working-class or welfare families; some women characterize their mothers as strict, abusive, intolerant, and distant while other mothers are characterized as being concerned, religious, and loving. The women talk frankly about their drug use, their sexual and criminal activities, their childhoods, their personal relationships with their families of origin, children, partners, their fears and future goals, and the ordinary trappings of their lives.
While these accounts describe lives lived at the margins of society, they also reveal women who practice self-evaluation. These are women who have a deep understanding of individual accountability and responsibility. These accounts are connected by themes of violence and poverty, but they are also connected by the variety and richness of these women's lives. The women also assert a control over their activities and talk of independent judgment in terms that we imagine are reserved for men. There is a tendency in criminology to treat the data generated by research on men as fundamentally true for women as well. By allowing female law-breakers to describe their lives in their own way, Pettiway underlines not only their differences from men but also their differences from each other.
However, their stories also reveal their common humanity and their profound will to survive despite all obstacles. These women manage to live self-defined and self-validated lives in a world even more turbulent than that of their mainstream sisters. They share a web of experiences created out of race and ethnicity, sexual orientation, drug use, and urbanization that provides them with meaning and courage. They speak movingly about guilt and responsibility, about rape and intimacy, and about ambition and despair. Through their stories we can grasp the traumas and turning points that lead us all to make bad decisions as well as those ideals and inspirations that can help to redeem us.
A longtime agitator against war and social injustice, Lawrence Wittner has been tear-gassed, threatened by police with drawn guns, charged by soldiers with fixed bayonets, spied upon by the U.S. government, arrested, and purged from his job for political -reasons. To say that this teacher-historian-activist has led an interesting life is a considerable understatement.
In this absorbing memoir, Wittner traces the dramatic course of a life and career that took him from a Brooklyn boyhood in the 1940s and ’50s to an education at Columbia University and the University of Wisconsin to the front lines of peace activism, the fight for racial equality, and the struggles of the labor movement. He details his family background, which included the bloody anti-Semitic pogroms of late-nineteenth-century Eastern Europe, and chronicles his long teaching career, which comprised positions at a small black college in Virginia, an elite women’s liberal arts college north of New York City, and finally a permanent home at the Albany campus of the State University of New York. Throughout, he packs the narrative with colorful vignettes describing such activities as fighting racism in Louisiana and Mississippi during the early 1960s, collaborating with peace-oriented intellectuals in Gorbachev’s Soviet Union, and leading thousands of antinuclear demonstrators through the streets of Hiroshima. As the book also reveals, Wittner’s work as an activist was matched by scholarly achievements that made him one of the world’s foremost authorities on the history of the peace and nuclear disarmament movements—a research specialty that led to revealing encounters with such diverse figures as Norman Thomas, the Unabomber, Zbigniew Brzezinski, Caspar Weinberger, and David Horowitz.
A tenured professor and renowned author who has nevertheless lived in tension with the broader currents of his society, Lawrence Wittner tells an engaging personal story that includes some of the most turbulent and significant events of recent history.
Lawrence S. Wittner, emeritus professor of history at the University at Albany, SUNY, is the author of numerous scholarly works, including the award-winning three-volume Struggle Against the Bomb. Among other awards and honors, he has received major grants or fellowships from the National Endowment for the Humanities, the American Council of Learned Societies, the Aspen Institute, the United States Institute of Peace, and the John D. and Catherine T. MacArthur Foundation.
With a special emphasis on the tensions between high and low forms of culture and between good and bad taste, Matthew Tinkcom offers a new vision of queer politics and aesthetics that is critically engaged with Marxist theories of capitalist production. He argues that camp—while embracing the cheap, the scorned, the gaudy, the tasteless, and what Warhol called “the leftovers” of artistic production—is a mode of intellectual production and a critical philosophy of modernity as much as it is an expression of a dissident sex/gender difference. From Minnelli’s musicals and the “everyday glamour” of Warhol’s films to Anger’s experimental films and Waters’s “trash aesthetic,” Tinkcom demonstrates how camp allowed these gay men to design their own relationship to labor and to history in a way that protected them from censure even as they struggled to forge a role for themselves within a system of “value” that failed to recognize them.
Available for the first time in paperback is the critically acclaimed Working with Truman, a warm and lighthearted memoir of what it was like to work behind the scenes in the White House during Truman's term as president. Focusing on the strengths and weaknesses of those who worked closely with Truman and on the Truman not seen by the public, Hechler provides insight into one of our greatest presidents.
So writes Helen Bevington in The World and the Bo Tree, a book that describes her travels taken amid the turbulence of the 1980s. The “world” of the title is the one everybody knows, a fairly troubled, even threatening place to inhabit these days. The bo tree, which has flourished for centuries in India and Asia, is itself a meaningful symbol of peace, since under it the Buddha sat when he gained enlightenment and sought thereafter to share it with the world.
The book fashions a delightful fabric, a weave of exotic journeys and chaotic recent history. While we travel with Bevington to and from various destinations in Europe, Asia, South America, Africa, China, and elsewhere, we are conscious of the look of the world at home in striking contrast to the serenity occasionally glimpsed in distant places. At home she reminds us of such global disturbances as the demise of the Equal Rights Amendment, the Chernobyl nuclear disaster, the explosion of the space shuttle Challenger, and the possible destruction of the planet. Abroad, on some quest of their own, we may encounter such fascinating passersby as Mark Twain in Bangkok, Lord Byron in Italy, Goethe in Sicily, Marco Polo in China, Isak Dinesen in Africa, and Gladstone in the Blue Grotto of Capri.
Against the backdrop of the world, Bevington discovers moments of peace in unexpected and unlikely places—visible, she says, in Tibet or on the road to Mandalay, in the look of the midnight sun, or in the silence of Africa. Fleeting and elusive though these moments are, they are real and in themselves strangely enlightening.
One of the most innovative composers of his generation, Mikel Rouse is known for a trilogy of operas that includes Dennis Cleveland and a gift for superimposing pop vernaculars onto avant-garde music. This memoir channels Rouse’s high energy personality into an exuberant account of the precarity and pleasures of artistic creation. Raconteur and starving artist, witty observer and acclaimed musician, Rouse emerged from the legendary art world of 1980s New York to build a forty-year career defined by stage and musical successes, inexhaustible creativity, and a support network of famous faces, loyal allies, and high art hustlers. Rouse guides readers through a working artists’ hardscrabble life while illuminating the unromantic truth that a project’s reception may depend on a talented cast and crew but can depend on reliable air conditioning.
Candid and hilarious, The World Got Away is a one-of-a-kind account of a creative life fueled by talent, work, and luck.
"The sordid controversies of litigants," Benjamin Cardozo once said, are "the stuff from which great and shining truths will ultimately be shaped." As one of America's most influential judges, first on New York State's Court of Appeals and then on the United States Supreme Court, Cardozo (1870-1938) oversaw this transformation daily. How he arrived at his rulings, with their far-reaching consequences, becomes clear in this book, the first to explore the connections between Benjamin Cardozo's life and his jurisprudence.
An intensely private man whose friends destroyed much of his correspondence, Cardozo has long eluded scrutiny. But through extraordinary effort Richard Polenberg has uncovered letters, briefs, transcripts, and biographical details to give us a complex living picture of this man whose judicial opinions continue to affect us. Polenberg describes the shaping experiences of Cardozo's youth, among them the death of his mother when he was nine years old; religious training in the Spanish-Portuguese Synagogue; two years of private tutoring by Horatio Alger, Jr.; and his reaction to the scandal that prompted his father to resign from the New York Supreme Court. Then, in light of certain cases that were brought before the Court of Appeals, we see how Cardozo's rulings reflected a system of beliefs rooted in these early experiences; how, despite his famous detachment, Cardozo read evidence and precedents selectively and based his decisions regarding issues from rape and divorce to the insanity plea on his own views about morality, scholarship, and sexuality. Here too is the truth behind Cardozo's renowned liberalism, explored through his rulings on New Deal measures such as the Social Security Act and his more conservative decisions in cases involving conscientious objectors and the rights of criminal defendants.
The Benjamin Cardozo who emerges from these pages, a complicated and intriguing figure, points to a new understanding of the shaping of American law.
Juliette is one of Chicago’s forgotten founders. Early Chicago is often presented as “a man’s city,” but women like Juliette worked to create an urban and urbane world, often within their own parlors. With The World of Juliette Kinzie, we finally get to experience the rise of Chicago from the view of one of its most important founding mothers.
Ann Durkin Keating, one of the foremost experts on nineteenth-century Chicago, offers a moving portrait of a trailblazing and complicated woman. Keating takes us to the corner of Cass and Michigan (now Wabash and Hubbard), Juliette’s home base. Through Juliette’s eyes, our understanding of early Chicago expands from a city of boosters and speculators to include the world that women created in and between households. We see the development of Chicago society, first inspired by cities in the East and later coming into its own midwestern ways. We also see the city become a community, as it developed its intertwined religious, social, educational, and cultural institutions. Keating draws on a wealth of sources, including hundreds of Juliette’s personal letters, allowing Juliette to tell much of her story in her own words.
Juliette’s death in 1870, just a year before the infamous fire, seemed almost prescient. She left her beloved Chicago right before the physical city as she knew it vanished in flames. But now her history lives on. The World of Juliette Kinzie offers a new perspective on Chicago’s past and is a fitting tribute to one of the first women historians in the United States.
This illustrated biography is the first account of the colorful life of Chicago newspaper columnist Mike Royko, Pulitzer Prize winner, best-selling author, and legendary journalist who personified Chicago in all its rough-edged charm. Drawing on exclusive photos and interviews with Royko’s family and intimates, the book chronicles Royko’s rise from a “flat-above-a-tavern” youth—raised above a bar on Chicago’s Polish northwest side—to one of the best-known names in American journalism.
Readers will get the inside scoop on Royko’s epic battles with Mayor Richard J. Daley and other politicians and his hilarious columns featuring “Slats Grobnik.” They’ll also meet a softer, largely unknown, side of Royko, through the love letters he sent to his wife-to-be from an Air Force base in Washington State.
More than 100 photos—many never before available to the public—capture the man and his times. Millions of readers—in 800 newspapers around the world—followed Royko’s work and life. In The World of Mike Royko—he lives again.
While the women share a historic immigration journey, each story provides unique details and circumstances that testify to the diversity of the immigrant experience. The oral histories, a project more than forty years in the making, let these women speak for themselves, while historical information is added to support and illuminate the women’s voices.
The book, which includes a foreword by Irasema Coronado, director of the School of Transborder Studies, and Chris Marin, professor emeritus, both at Arizona State University, is divided into four parts. Part 1 highlights the salient events of the Revolution; part 2 presents an overview of what immigrants inherited upon their arrival to the United States; part 3 identifies challenges faced by immigrant families; and part 4 focuses on stories by location—Arizona mining towns, Phoenix barrios, and Midwestern colonias—all communities that immigrant women helped create. The book concludes with ideas on how readers can examine their own family histories. Readers are invited to engage with one another to uncover alternative interpretations of the immigrant experience and through the process connect one generation with another.
In the 1930s, the rural South was in the throes of the Great Depression. Farm life was monotonous and hard, but a timid yet curious teenager thought it worth recording. Aileen Kilgore Henderson kept a chronicle of her family’s daily struggles in Tuscaloosa County alongside events in the wider world she gleaned from shortwave radio and the occasional newspaper. She wrote about Howard Hughes’s round-the-world flight and her horror at the rise to power in Germany of a bizarre politician named Adolf Hitler. Henderson longed to join the vast world beyond the farm, but feared leaving the refuge of her family and beloved animals.
Yet, with her father’s encouragement, she did leave, becoming a clerk in the Kress dime store in downtown Tuscaloosa. Despite long workdays and a lengthy bus commute, she continued to record her observations and experiences in her diary, for every day at the dime store was interesting and exciting for an observant young woman who found herself considering new ideas and different points of view.
Drawing on her diary entries from the 1930s and early 1940s, Henderson recollects a time of sweeping change for Tuscaloosa and the South. The World through the Dime Store Door is a personal and engaging account of a Southern town and its environs in transition told through the eyes of a poor young woman with only a high school education but gifted with a lively mind and an openness to life.
“This memoir illuminates key aspects of the war experience: the enthusiasm for fighting, tensions with officers, tedium with regard to noncombatant work, the variety of trench experiences, the sharp learning curve that the army underwent on the ground, and the confusing nature of combat for ground troops. As the centennial of the war approaches this well-annotated memoir that connects Patterson’s individual experiences to the larger U.S. experience of the war will appeal to general readers and specialists alike.” —Jennifer D. Keene, author of World War I: The American Soldier Experience
A journalist once called Under Secretary of War Robert P. Patterson “the toughest man in Washington” for his fervid efforts in managing U.S. mobilization in World War II. The World War I Memoirs of Robert P. Patterson: A Captain in the Great War recounts Patterson’s own formative military experiences in the First World War.
Written in the years following the conflict, this is a remarkable rendering of what it was like to be an infantry line officer during the so-called Great War. Patterson started his military career as a twenty-seven-year-old, barely-trained captain in the American Expeditionary Forces (A.E.F.). He was part of the 306th Infantry Regiment of New York’s famous 77th “Statue of Liberty” Division from July to November 1918. In this detailed account, Patterson describes in understated yet vivid prose just how raw and unprepared American soldiers were for the titanic battles on the Western Front. Patterson downplays his near-death experience in a fierce firefight that earned him and several of his men from Company F the Distinguished Service Cross. His depiction of the brutal Meuse-Argonne battle is haunting—the drenching cold rains, the omnipresent barbed wire, deep fog-filled ravines, the sweet stench of mustard gas, chattering German machine-guns, crashing artillery shells, and even a rare hot meal to be savored.
Dealing with more than just combat, Patterson writes of the friendships and camaraderie among the officers and soldiers of different ethnic and class backgrounds who made up the “melting pot division” of the 77th. He betrays little of the postwar disillusionment that afflicted some members of the “Lost Generation.”Editor J. Garry Clifford’s introduction places Patterson and his actions in historical context and illuminates how Patterson applied lessons learned from the GreatWar to his later service as assistant secretary, under secretary, and secretary of war from 1940 to 1947.
World War II and Nevada is an in-depth examination of the state’s role in the war. Nevada’s geographic location, land, sky, mineral resources, and the sacrifices of its people were crucial to victory—and transformed the state. The war brought the first significant development of the gaming industry; the introduction of a huge, permanent military presence; the diversification of its population; and a shift in political and economic power within the region.
Nevada’s previously unexamined role in the internment of Japanese Americans is explored, and so too is the role of women and minority groups in support of the war. The book concludes with a comprehensive list of those killed, wounded, or made prisoners of war during the conflict.
Weller provides the most thorough analysis of Nevada’s war effort to date and historians will find the book a valuable addition to their World War II history collections.
In late 1942, along with so many others who signed up to support the war effort, thirty-year-old Mildred Radawiec left a comfortable position as a nurse at the University of Michigan Hospital and postponed her marriage to a soon-to-be doctor to volunteer as a surgical nurse in the major battle theaters of the war. Radawiec was one of thirty volunteers from the hospital surgical staff that comprised the University of Michigan Unit, the 298th General Hospital, as the University of Michigan Hospital was called.
Radawiec's first-person history recounts her wartime experience with sharp detail and grace and sets the stage for a you-are-there experience---from the thrill of signing up and shipping out; to the harrowing ocean crossing and the arduous trip through the Sahara; to dangerous air raids and moving at a moment's notice, often at night with the lights off to avoid attacks. Radawiec was near Omaha Beach in France soon after D-Day, June 6, 1944, and details stories of marathon stints assisting the injured on the front lines as they poured in by the hundreds. Radawiec also traveled to Belgium and Germany and set up in the area near Aachen in the fall of 1944. In Germany she experienced Buzz Bombs---pilotless flying bombs---and even witnessed the death of a fellow nurse in a bombing attack in which medics brought in wounded soldiers by the truckload. Radawiec also leavens her story with uplifting tales of heroism and courage and intersperses the narrative with poignant letters from her family and fiancé.
This stirring personal account of war will mesmerize anyone interested in World War II history and women's too-often-overlooked role in it.
Mildred A. MacGregor is ex. Lieutenant Mildred A. Radawiec, Army Nurse Corp. She was part of the Third Auxiliary Surgical Group in World War II and was stationed in England, North Africa, France, and Germany. She is 95 and lives in Ann Arbor, Michigan. This is her first book.
For some women writers and photographers during the two world wars—Edith Wharton, Mildred Aldrich, Martha Gellhorn, Lee Miller, H.D., and Gertrude Stein—the construction of the female subject as an observer of combat became a vital concern. Their explorations of vision took place against the backdrop of a larger shift in Western culture's understanding of what "seeing" meant in common practice and philosophical discourse alike. The role of visuality in their lives was massively transformed not only by the rigid gender roles of war but by the introduction of new combat practices and technologies such as aerial surveillance, trench warfare, and civilian bombardment.
In The World Wars Through the Female Gaze, Jean Gallagher maps one portion of the historicized, gendered territory of what Nancy K. Miller calls the "gaze in representation." Expanding the notion of the gaze in critical discourse, Gallagher situates a number of visual acts within specific historic contexts to reconstruct the wartime female subject. She looks at both the female observer's physical act of seeing—and the refusal to see—for example, a battlefield, a wounded soldier, a torture victim, a national flag, a fashion model, a bombed city, or a wartime hallucination.
The book begins with two instances of wartime propaganda written by American women in France in 1915. Both Edith Wharton's Fighting France and Mildred Aldrich's A Hilltop on the Marne offer a complex and often contradictory sense of a woman writer's struggles with authority, resistance, and killing. In the process, Gallagher teases out the role of specular vision and the impossibility of "directly" seeing the war.
Gallagher then turns to literary and visual texts produced by two female journalists between 1940 and 1945. Martha Gellhorn's 1940 novel A Stricken Field exhibits a range of gendered seeing positions within and in opposition to the visual ideologies of fascism during the Nazi occupation of Czechoslovakia. Lee Miller's war correspondence and photography for Vogue show how Miller constructed herself and her predominantly female American audience as antifascist observers of war by working with and against some of the conventions of surrealist fashion photography.
Gallagher concludes by focusing on the experimental autobiographical prose of H.D. and Gertrude Stein to explore the functions of vision on two World War II "homefronts"—London during the Blitz and Vichy France.
In this book, historian Rosemary Wakeman brings to life the frenzied, crowded streets, markets, ports, and banks of Bombay, London, and Shanghai. In the early twentieth century, these cities were at the forefront of the sweeping changes taking the world by storm as it entered an era of globalized commerce and the unprecedented circulation of goods, people, and ideas. Wakeman explores these cities and the world they helped transform through the life of Victor Sassoon, who in 1924 gained control of his powerful family’s trading and banking empire. She tracks his movements between these three cities as he grows his family’s fortune and transforms its holdings into a global juggernaut. Using his life as its point of entry, The Worlds of Victor Sassoon paints a broad portrait not just of wealth, cosmopolitanism, and leisure but also of the discrimination, exploitation, and violence wreaked by a world increasingly driven by the demands of capital.
In a world where power and wealth are distributed unevenly and where revolutionary ideas aiming to right the balance continue to proliferate, it is essential, Henderson claims, to understand the revolutionary process not as a philosophical abstraction but as intimate human drama. This book, by providing a detailed study of a single case, sheds invaluable light on this process and on the making of modern Mexico. Incorporating extensive primary research, Henderson describes the complexity of international, national, state, and local politics and the corresponding diverse responses to this historic attempt at agrarian reform.
The Worm in the Wheat will be informative reading for those interested in the modern history of Mexico, students of social movements and revolution, Latin Americanists, and scholars of agrarian history.
Smith begins by exploring Jung's formative and transformative life experience, including his relationships with a deeply troubled mother and despairing father, with Sigmund Freud, and with the various women in his life. The relationships to his parents, in particular, have been remarkably unexplored by scholars. Smith then shows how these experiences shaped Jung's thoughts and writing -including his reassessment of religion as inner process - as well as his fascination with gnosticism and alchemy; the attention Jung gives to psychology as myth and the realization of selfhood; and his reinterpretation of evil as a process to be integrated into the proper sphere of human existence.
Smith's findings are based on the unprecedented number of primary sources to which he had access, including archival research, his own interviews with many of Jung's intimates, and personal correspondence with Jung himself, as well as on the synthesis of a wide range of recent scholarship on Jung. The culmination of many years of scholarship and reflection, this book should be read by anyone interested in spiritual healing or the connection between psychology and religion.
Few people today remember John Swainson. As a teenage soldier he lost both legs in a WWII landmine explosion. Back in the United States, following a meteoric political rise in the Michigan State Senate, Swainson was elected as Michigan's youngest governor since Stevens T. Mason.
In 1970 Swainson was elected to the Michigan Supreme Court, becoming one of the few public officials to have served in the legislative, executive, and judicial branches of state government. Then, in 1957, he was indicted on federal charges of bribery and perjury, and convicted of lying to a federal grand jury. Forced to leave the state Supreme Court and disbarred from practicing law, he became a pariah, sinking into depression and alcoholism. He virtually disappeared from public view.
Lawrence M. Glazer re-examines the FBI's investigation of Swainson and delves into his 1975 trial in detail. He reveals new information from eye-witnesses who never testified and, in a poignant coda, relates the little-known story of Swainson's rehabilitation and return to public life as a historian.
The improbable and powerful true story of a single mother with prosthetics for both legs who travels the globe with her young daughter in a Land Rover.
“A harrowing memoir. . . . Readers may not want to follow in [Shinn’s] footsteps, but they will never be bored with her as a companion.” —Kirkus Reviews
The Wounds That Bind Us is the improbable true story of Kelley Shinn, an orphan at birth who loses her legs at the age of sixteen to a rare bacterial pathogen. She becomes an avid off-road racer and, as a single mother, attempts to drive around the globe in a Land Rover with her three-year-old daughter in tow to bring light to the plight of land mine survivors. With unflinching honesty, exceptional lyricism, and biting humor, Shinn (“that’s two Ns and no shins”) takes readers on a wild journey—literal and emotional—filled with striking characters and landscapes, heartbreaks, and hard-won insights, ultimately arriving at a place of profound redemption.
Told with the energy and intensity of the adventure story it is, this terrifically rich and nuanced examination of a life is also a careful meditation on renewal—a remapping of the world. Guided by the narrator’s keen introspection and her ability to look resolutely at harrowing sorrows and still find hope, joy, and meaning, The Wounds That Bind Us will resonate deeply, long after the last page.
The monumental American Guide Series, published by the Federal Writers’ Project, provided work to thousands of unemployed writers, editors, and researchers in the midst of the Great Depression. Featuring books on states, cities, rivers, and ethnic groups, it also opened an unprecedented view into the lives of the American people during this time. Untold numbers of projects in progress were lost when the program was abruptly shut down by a hostile Congress in 1939.
One of those, "The Negro in Pittsburgh," lay dormant in the Pennsylvania State Library until it was microfilmed in 1970. The WPA History of the Negro in Pittsburgh marks the first publication of this rich body of information. This unique historical study of the city’s black population features articles on civil rights, social class, lifestyle, culture, folklore, and institutions from colonial times through the 1930s.
Through stories funny, heartfelt, intense, and always engaging, Gable shares more about the life he has lead and what can be learned from those experiences. He goes on to detail what have come to be known as the Gable Trained principles that he follows to keep his life full of “wins,” the revelations about how to cultivate success at the highest levels, and the reasons behind these steps for living well.
A Wrestling Life spent two months on the New York Times sports bestseller list, and has become an instant classic of sports memoirs. A Wrestling Life 2 is sure to add to Gable’s ever-growing legacy and entertain and inspire wrestling fans everywhere.
Whether we are athletes or not, we all dream of extreme success and are all looking to make our future the best it can be, but along the way we will undoubtedly need time to recover and rejuvenate. Let these stories inspire you to find your path to strength and achievement along whatever path you take.
Anaïs Nin, the diarist, novelist, and provocateur, occupied a singular space in twentieth-century culture, not only as a literary figure and voice of female sexual liberation but as a celebrity and symbol of shifting social mores in postwar America. Before Madonna and her many imitators, there was Nin; yet, until now, there has been no major study of Nin as a celebrity figure.
In Writing an Icon, Anita Jarczok reveals how Nin carefully crafted her literary and public personae, which she rewrote and restyled to suit her needs and desires. When the first volume of her diary was published in 1966, Nin became a celebrity, notorious beyond the artistic and literary circles in which she previously had operated. Jarczok examines the ways in which the American media appropriated and deconstructed Nin and analyzes the influence of Nin’s guiding hand in their construction of her public persona.
The key to understanding Nin’s celebrity in its shifting forms, Jarczok contends, is the Diary itself, the principal vehicle through which her image has been mediated. Combining the perspectives of narrative and cultural studies, Jarczok traces the trajectory of Nin’s celebrity, the reception of her writings. The result is an innovative investigation of the dynamic relationships of Nin’s writing, identity, public image, and consumer culture.
Whether talking about her own writing, interpreting the works of others, or giving us a window on the world that "we in South Africa are attempting to reconstruct," Nadine Gordimer has much to tell us about the art of fiction and the art of life.
In this deeply resonant book Gordimer examines the tension for a writer between life's experiences and narrative creations. She asks first, where do characters come from--to what extent are they drawn from real life? We are touching on this question whenever we insist on the facts behind the fiction, Gordimer suggests, and here she tries to unravel the mysterious process that breathes "real" life into fiction. Exploring the writings of revolutionaries in South Africa, she shows how their struggle is contrastingly expressed in factual accounts and in lyrical poetry. Gordimer next turns to three writers linked by their search for a life that transcends their own time and place: in distinctive and telling ways, Naguib Mahfouz, Chinua Achebe, and Amos Oz defy accepted norms of loyalty to the mores and politics of their countries. Their search in Egypt, Nigeria, and Israel for a meaningful definition of home testifies to what it must be: the destination of the human spirit beyond national boundaries. Ending on a personal note, Gordimer reveals her own experience of "writing her way out of" the confines of a dying colonialism.
By contrasting the personal experience of these disparate writers, Cohler illustrates the social transformations that these men helped shape. Among Cohler's diverse subjects is Alan Helms, whose journey from Indiana to New York's gay society represents the passage of men who came of age in the 1950s and 1960s, when homosexuality was considered a hidden "disease." The liberating effects of Stonewall's aftermath are chronicled in the life of Arnie Kantrowitz, the prototypical activist for gay rights in the 1970s and the founder the Gay and Lesbian Alliance against Defamation. The artistic works of Tim Miller and Mark Doty evoke loss and shock during of the early stages of the AIDS epidemic in the 1980s. Cohler rounds out this collective group portrait by looking at the newest generation of writers in the Internet age via the blog of BrYaN, who did the previously unthinkable: he "outed" himself to millions of people.
A compelling mix of social history and personal biography, Writing Desire distills the experience of three generations of gay America.
As Ashley and Sheingorn show, differing agendas shaped the miracle stories over time. The first author, Bernard of Angers, used his narratives to critique popular religion and to establish his own literary reputation, while the monks who continued the collection tried to enhance their monastery's prestige. Because these stories were rhetorical constructions, Ashley and Sheingorn argue, we cannot use them directly as sources of historical data. Instead, they demonstrate how analyzing representations common to groups of miracle stories—such as negative portrayals of Muslims on the eve of the Crusades—can reveal the traces of history.
Leonardo Bruni (1370–1444) is widely recognized as the most important humanist historian of the early Renaissance. But why this recognition came about—and what it has meant for the field of historiography—has long been a matter of confusion and controversy. Writing History in Renaissance Italy offers a fresh approach to the subject by undertaking a systematic, work-by-work investigation that encompasses for the first time the full range of Bruni’s output in history and biography.
The study is the first to assess in detail the impact of the classical Greek historians on the development of humanist methods of historical writing. It highlights in particular the importance of Thucydides and Polybius—authors Bruni was among the first in the West to read, and whose analytical approach to politics led him in new directions. Yet the revolution in history that unfolds across the four decades covered in this study is no mere revival of classical models: Ianziti constantly monitors Bruni’s position within the shifting hierarchies of power in Florence, drawing connections between his various historical works and the political uses they were meant to serve.
The result is a clearer picture of what Bruni hoped to achieve, and a more precise analysis of the dynamics driving his new approach to the past. Bruni himself emerges as a protagonist of the first order, a figure whose location at the center of power was a decisive factor shaping his innovations in historical writing.
Introductions and notes situate the letters in relation to their critical, biographical, literary, and historical contexts. Editor Donald Ulin discusses the relationship between Alderson’s letters and her sister Mary Howitt’s Our Cousins in Ohio (1849), a remarkable instance of transatlantic literary collaboration.
Writing Home offers an unparalleled opportunity for studying immigrant correspondence due to Alderson’s unusually well-documented literary and religious affiliations. The notes and introductions provide background on nearly all the places, individuals, and events mentioned in the letters.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Robert R. Bataille demonstrates convincingly that between 1767 and 1777, Anglo-Irish writer Hugh Kelly made major contributions in three areas of British culture: politics, journalism, and theater. Bataille shows how all three activities were integrated in Kelly’s life, suggesting that such interrelationships often existed in the rough and ready London culture during the early reign of King George III.
When he discovered several newspaper campaigns that Kelly orchestrated as a paid political propagandist for George III and his ministers, Bataille understood in part how important Kelly was to his era. In his capacity as propagandist, Kelly defended Hanoverian colonial policies on the eve of the American Revolution, served as a key opponent of the radical Wilkites, and promoted the acceptance of the 1774 Quebec Bill, which established, among other things, the right of the recently defeated French citizens of Quebec to maintain the French language.
A belletristic journalist, Kelly published theater reviews and essays that played a major role in shaping the taste of his era. He wrote in defense of the controversial sentimental drama, and whenever he could, he promoted the major theatrical figure of the age, David Garrick. Under his editorship, the newspaper Public Ledger became a leading source of theater information. Seeking to raise the status of the profession of journalism, he wrote essays and articles that provided his middle-class readers with an insider’s view of the operations of the journalist.
Assessing Kelly’s contributions to the novel and drama, Bataille argues that this powerful journalist stands in the vanguard in the larger struggle against traditional attitudes supporting male superiority and aristocratic privilege. Kelly wrote in favor of gender equality and middle-class respectability, striving to inculcate what modern scholars refer to as the values of sensibility. Bataille also argues, however, that Kelly knew his audience. Instrumental in the rise of professional writing and popular culture, he understood that he had to observe the needs of his audience, detecting cultural trends and using the skills of the rhetorician.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Every great book has a great backstory. Here well-known historians describe their journeys of writing books that have influenced our understanding of the Mormon past, offering an unprecedented glimpse into why they wrote these important works. Writing Mormon History is a must-read for historians, students of history, scholars, and aspiring authors. The volume’s contributors are Polly Aird, Will Bagley, Todd Compton, Brian Hales, Melvin Johnson, William MacKinnon, Linda King Newell, Gregory Prince, D. Michael Quinn, Craig Smith, George D. Smith, Vickie Cleverley Speek, Susan Staker, Daniel Stone, and John Turner. The majority of the essays appear here for the first time.
Frances E. Willard's powerful leadership of the Woman's Christian Temperance Union (WCTU) made her one of the most commanding figures in the reform movements of the nineteenth century. World renowned and a force to be reckoned with, Willard grappled publicly and private with difficult issues, including temperance, slavery, women's rights, and her own sexuality. These selections from her forty-nine-volume journal reveal the private and confidential side of Willard for the first time. She comes to life in these pages--a person of character, passion, and self-determination who came to represent the woman of the dawning era.
Supplemented by an in-depth introduction and generous annotations, Writing Out My Heart sheds new light on an extraordinary individual and the lives of women in nineteenth-century America.
Writing Ravenna is an attempt to deal with this work's literary significance and specifically with what it tells us about the creation and circulation of narrative in the Early Middle Ages. The book's first chapter analyzes the ways in which the local and international interests of the Ravenna clergy are reflected in the design, genre, and narrative rhetoric of the Liber. The second chapter characterizes the specific textuality, given that the Liber was composed for oral delivery. The final chapter offers translations of the four most interesting narrative sequences in the Liber, followed by full analyses of sources, narrative technique, and ideological aims.
Writing Ravenna will be of interest to a broad spectrum of scholars, including art historians, scholars of late antiquity and the Early Middle Ages, religious historians, and literary critics.
Joaquin Martinez Pizarro is Associate Professor of English, State University of New York at Stony Brook. He is also the author of A Rhetoric of the Scene: Dramatic Narrative in the Early Middle Ages.
Much of what we know about these iconic literary figures comes from their own published letters and essays, revealing how adroitly they developed their own reputations by controlling the reception of their work. Surprisingly the literary world has paid less attention to their autobiographies.
In Writing the Lost Generation, Craig Monk unlocks a series of neglected texts while reinvigorating our reading of more familiar ones. Well-known autobiographies by Malcolm Cowley, Ernest Hemingway, and Gertrude Stein are joined here by works from a variety of lesser-known—but still important—expatriate American writers, including Sylvia Beach, Alfred Kreymborg, Samuel Putnam, and Harold Stearns. By bringing together the self-reflective works of the Lost Generation and probing the ways the writers portrayed themselves, Monk provides an exciting and comprehensive overview of modernist expatriates from the United States.
The history of the Lone Star state is a narrative dominated by larger-than-life personalities and often-contentious legends, presenting interesting challenges for historians. Perhaps for this reason, Texas has produced a cadre of revered historians who have had a significant impact on the preservation (some would argue creation) of our state’s past. An anthology of biographical essays, Writing the Story of Texas pays tribute to the scholars who shaped our understanding of Texas’s past and, ultimately, the Texan identity.
Edited by esteemed historians Patrick Cox and Kenneth Hendrickson, this collection includes insightful, cross-generational examinations of pivotal individuals who interpreted our history. On these pages, the contributors chart the progression from Eugene C. Barker’s groundbreaking research to his public confrontations with Texas political leaders and his fellow historians. They look at Walter Prescott Webb’s fundamental, innovative vision as a promoter of the past and Ruthe Winegarten’s efforts to shine the spotlight on minorities and women who made history across the state. Other essayists explore Llerena Friend delving into an ambitious study of Sam Houston, Charles Ramsdell courageously addressing delicate issues such as racism and launching his controversial examination of Reconstruction in Texas, Robert Cotner—an Ohio-born product of the Ivy League—bringing a fresh perspective to the field, and Robert Maxwell engaged in early work in environmental history.
Philip Caputo, Larry Heinemann, Tim O'Brien, and Robert Olen Butler: four young midwestern Americans coming of age during the 1960s who faced a difficult personal decision—whether or not to fight in Vietnam. Each chose to participate. After coming home, these four veterans became prizewinning authors telling the war stories and life stories of soldiers and civilians. The four extended conversations included in Writing Vietnam, Writing Life feature revealing personal stories alongside candid assessments of each author's distinct roles as son, soldier, writer, and teacher of creative writing.
As Tobey Herzog's thoughtful interviews reveal, these soldier-authors have diverse upbringings, values, interests, writing careers, life experiences, and literary voices. They hold wide-ranging views on, among other things, fatherhood, war, the military, religion, the creative process, the current state of the world, and the nature of both physical and moral courage. For each author, the conversation and richly annotated chronology provide an overview of the writer's life, the intersection of memory and imagination in his writing, and the path of his literary career. Together, these four life stories also offer mini-tableaux of the fascinating and troubling time of 1960s and 1970s America. Above all, the conversations reveal that each author is linked forever to the Vietnam War, the country of Vietnam, and its people.
For more than sixty years Alfred Kazin has been one of the most eloquent witnesses to the literary life of the mind in America. Writing Was Everything is a summation of that life, a story of coming of age as a writer and critic that is also a vibrant cultural drama teeming with such characters as Hart Crane and Allen Ginsberg, Simone Weil and Flannery O'Connor, Hannah Arendt and Robert Lowell, Edmund Wilson and George Orwell.
A deft blend of autobiography, history, and criticism that moves from New York in the 1930s to wartime England to the postwar South, Writing Was Everything emerges as a reaffirmation of literature in an age of deconstruction and critical dogma. In his encounters with books, Kazin shows us how great writing matters and how it involves us morally, socially, and personally on the deepest level. Whether reflecting on modernism, southern fiction, or black, Jewish, and New Yorker writing or reliving the work of Richard Wright, Saul Bellow, and John Cheever, he gives a penetrating, moving account of literature observed and lived. In his life as a critic, Kazin personifies the lesson that living and writing are necessarily intimate.
Writing Was Everything encapsulates the lively wit and authority of this timeless critic's unmistakable voice. It stands as clear testimony to Kazin's belief that "literature is not theory but, at best, the value we can give to our experience, which in our century has been and remains beyond the imagination of mankind."
In Written in the Sky: Lessons of a Southern Daughter, Patricia Foster presents a double portrait of place and family, a book of deeply personal essays that interrogate the legacy of racial tensions in the South, the constriction of caste and gender, and the ways race, class, and white privilege are entwined in her family story. After interviewing girls at Booker T. Washington High School in Tuskegee, Alabama, visiting the National Memorial for Peace and Justice in Montgomery, Alabama, and exploring Africatown in Plateau, Alabama, Patricia Foster was moved to reflect on the racial scars and crossroads in her southern past as well as to reckon with the intimate places of her own wounding and grief.
The story of place, she discovers, emerges not only from family histories and cultural traditions but also from wrestling with a culture’s irreconcilable ideas: the hard push to determine what matters. What matters to her are the shadow stories beneath our mythologies, the complicated and radiant narratives that must be excavated and reckoned with, stories that have no neat or binary resolution, stories full of luminous moments and riveting facts, and stories where the secrets hide. Written in the Sky presents the best of nonfiction storytelling: searingly honest portraits, dramatic encounters, and lyrical narratives that will interest teachers and students as well as social justice advocates, policymakers, and readers compelled by stories of awakening and the white-hot beauty of language.
Dennis Cooper is one of the most inventive and prolific artists of our time. Working in a variety of forms and media since he first exploded onto the scene in the early 1970s, he has been a punk poet, a queercore novelist, a transgressive blogger, an indie filmmaker—each successive incarnation more ingenious and surprising than the last. Cooper’s unflinching determination to probe the obscure, often violent recesses of the human psyche have seen him compared with literary outlaws like Rimbaud, Genet, and the Marquis de Sade.
In this, the first book-length study of Cooper’s life and work, Diarmuid Hester shows that such comparisons hardly scratch the surface. A lively retrospective appraisal of Cooper’s fifty-year career, Wrong tracks the emergence of Cooper’s singular style alongside his participation in a number of American subcultural movements like New York School poetry, punk rock, and radical queercore music and zines. Using extensive archival research, close readings of texts, and new interviews with Cooper and his contemporaries, Hester weaves a complex and often thrilling biographical narrative that attests to Cooper’s status as a leading figure of the American post–War avant-garde.
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