Looking back at a lifetime of rich experience from Wisconsin’s driftless hills
We all dream of finding the place we can be most ourselves, the landscape that seems to have been crafted just for us. The poet Paul Zimmer has found his: a farm in the driftless hills of southwestern Wisconsin, a region of rolling land and crooked rivers, "driftless" because here the great glaciers of the Patrician ice sheet split widely, leaving behind a heart-shaped area untouched by crushing ice. After the Fire is the story of Zimmer’s journey from his boyhood in the factory town of Canton, Ohio, and his days as a soldier during atomic tests in the Nevada desert, to his many years in the book business as a writer and publisher, and the rural tranquillity of his present life.
Zimmer juxtaposes timeless rustic subjects (tending the land, country people and their ways, the ever-changing beauty of his natural surroundings) with flashbacks to key moments: his first and only boxing match, hearing Count Basie play and discovering his lifelong love of jazz, his return to the France of his ancestors, his painful departure from the publishing world after forty years. These stories are full of humor and pathos, keen insights and poignant meditations, but the real center of the book is the abiding beauty of the driftless hills, the silence and peace that is the source of and reward for Zimmer’s hard-won wisdom. Above all, it is a meditation on the ways that nature provides deep meaning and solace, and a consideration of the importance of finding the right place.In the late 1960s, Malcolm Terence left his job as a reporter for the Los Angeles Times to look for adventure and may have found more than he bargained for. The era had triggered unprecedented social and political changes in America, tectonic shifts that challenged war and the social order that oppressed people along lines of class, gender, and race. One branch was a back-to-the-land movement, and Terence, who had just traveled for a year managing a rock band, strayed into Black Bear Ranch, a commune just starting in a remote corner of the Klamath Mountains near the California-Oregon border.
Black Bear Ranch still exists, but many of its early residents eventually returned to urban civilization. A few, Terence among them, stayed on in neighboring river towns. Some tried logging, others gold mining, and some tried growing marijuana, all with mixed success. The local mining and timber communities had a checkered opinion of their new hippie neighbors, as did the Native tribes, but it was the kind of place where people helped each other out, even if they didn’t always agree.
When wildfires grew large, Terence and other veterans of the commune joined the fire crews run by the US Forest Service. In between, the Black Bear expats built homesteads, planted gardens, delivered babies, and raised their children. They gradually overcame the skepticism of the locals and joined them in political battles against the use of herbicides in the forest and the Forest Service’s campaign to close all the mining claims. As in the best of organizing efforts, the organizers learned as much as they led.
Beginner’s Luck will appeal to anyone who experienced life on a commune in the 1960s–1970s or who wants to learn about this chapter in modern American history. Terence offers insight into environmental activism and the long history of conflict between resource exploitation and Native American rights without lecturing or pontificating. With wit, humor, and humility, his anecdotal essays chronicle a time and place where disparate people came together to form an unlikely community.
Living off the land—hunting, fishing, and farming, along with a range of specialized crafts that provided barter or cash income—was a way of life that persisted well into the twentieth century in the Big Thicket of southeast Texas. Before this way of life ended with World War II, professional photographer Larry Jene Fisher spent a decade between the 1930s and 1940s photographing Big Thicket people living and working in the old ways. His photographs, the only known collection on this subject, constitute an irreplaceable record of lifeways that first took root in the southeastern woodlands of the colonial United States and eventually spread all across the Southern frontier.
Big Thicket People presents Fisher's photographs in suites that document a wide slice of Big Thicket life-people, dogs, camps, deer hunts, farming, syrup mills, rooter hogs and stock raising, railroad tie making, barrel stave making, chimney building, peckerwood sawmills, logging, turpentining, town life, church services and picnics, funerals and golden weddings, and dances and other amusements. Accompanying each suite of images is a cultural essay by Thad Sitton, who also introduces the book with a historical overview of life in the Big Thicket. C. E. Hunt provides an informative biography of Larry Jene Fisher.
Acclaimed author Erik Reece spends a year beside a rural Kentucky stream, in close observation of the natural world’s cycles, revelations, and redemptions.
A critic once wrote that Rebecca West’s Black Lamb and Grey Falcon was about two things: Yugoslavia and everything else. Something similar might be said about Clear Creek. In this boundary-defying work, Erik Reece spends a year beside the stream in his rural Kentucky homeplace, tracking the movements of the seasons, the animals, and the thoughts passing through his mind.
Clear Creek is a series of vignettes that calls us out of our frenzied, digitized world to a slower, more contemplative way of being. Reece’s subjects range from solitude and solidarity to the intricacies of forest communities, and from the genius of songwriter Tom T. Hall to reforestation projects on abandoned strip mines. A work of close observation and carefully grounded insights, Clear Creek articulates a nature-based philosophy for pondering humanity’s current plight.
In Driftless, Danny Wilcox Frazier’s dramatic black-and-white photographs portray a changing Midwest of vanishing towns and transformed landscapes. As rural economies fail, people, resources, and services are migrating to the coasts and cities, as though the heart of America were being emptied. Frazier’s arresting photographs take us into Iowa’s abandoned places and illuminate the lives of those people who stay behind and continue to live there: young people at leisure, fishermen on the Mississippi, veterans on Memorial Day, Amish women playing cards, as well as more recent arrivals: Lubavitcher Hasidic Jews at prayer, Latinos at work in the fields. Frazier’s camera finds these newcomers while it also captures activities that seemingly have gone on forever: harvesting and hunting, celebrating and socializing, praying and surviving.
This collection of photographs is a portrait of contemporary rural Iowa, but it is also more that that. It shows what is happening in many rural and out-of-the-way communities all over the United States, where people find ways to get by in the wake of closing factories and the demise of family farms. Taken by a true insider who has lived in Iowa his entire life, Frazier’s photographs are rich in emotion and give expression to the hopes and desires of the people who remain, whose needs and wants are complicated by the economic realities remaking rural America. Poetic and dark but illuminated with flashes of insight, Frazier’s stunning images evoke the brilliance of Robert Frank’s The Americans.
To view an image gallery, click here.
A renowned Renaissance poet’s homage to Naples makes its debut in modern English translation.
Giovanni Pontano (1429–1503), whose academic name was Gioviano, was one of the great scholar-poets of the Renaissance as well as a leading statesman who served as prime minister to the Aragonese kings of southern Italy. The dominant literary figure of quattrocento Naples, Pontano produced literary works in several genres and was the leader of the Neapolitan academy. The two works included in the present volume, broadly inspired by Virgil, might be considered Pontano’s love songs to the landscapes of Naples. The Eclogues offer a spectacular, panoramic tour of the Bay of Naples region, even as they focus on intimate domestic scenes and allegorize the people and places of the poet’s world. The Garden of the Hesperides is a work of brilliant erudition on an unprecedented poetic topic: the cultivation of citrus trees and the splendid pleasures of gardens. This volume features a newly established Latin text of the Garden of the Hesperides as well as the first published translations of both works into English.
“The classic of all Europe.” —T. S. Eliot
Virgil (Publius Vergilius Maro) was born in 70 BC near Mantua and was educated at Cremona, Milan, and Rome. Slow in speech, shy in manner, thoughtful in mind, weak in health, he went back north for a quiet life. Influenced by the group of poets there, he may have written some of the doubtful poems included in our Virgilian manuscripts. All his undoubted extant work is written in his perfect hexameters. Earliest comes the collection of ten pleasingly artificial bucolic poems, the Eclogues, which imitated freely Theocritus’ idylls. They deal with pastoral life and love. Before 29 BC came one of the best of all didactic works, the four books of Georgics on tillage, trees, cattle, and bees. Virgil’s remaining years were spent in composing his great, not wholly finished, epic the Aeneid, on the traditional theme of Rome’s origins through Aeneas of Troy. Inspired by the Emperor Augustus’ rule, the poem is Homeric in metre and method but influenced also by later Greek and Roman literature, philosophy, and learning, and deeply Roman in spirit. Virgil died in 19 BC at Brundisium on his way home from Greece, where he had intended to round off the Aeneid. He had left in Rome a request that all its twelve books should be destroyed if he were to die then, but they were published by the executors of his will.
The Loeb Classical Library edition of Virgil is in two volumes.
"In this book, I relate the pleasures, as well as the virtues and difficulties of a perhaps simpler than average North American life." So begins ecological thinker and writer Stephanie Mills's Epicurean Simplicity, a thoughtful paean to living, like Thoreau, a deliberate life.
Mills's account of the simple life reaches deep into classical sources of pleasure -- good food, good health, good friends, and particularly the endless delights of the natural world. Her musings about the life she desires -- and the life she has created -- ultimately led her to the third century Greek philosopher Epicurus, whose philosophy was premised on the trustworthiness of the senses, a philosophy that Mills wholeheartedly embraces. While later centuries have come to associate Epicurus's name with hedonism, Mills discovered that he extolled simplicity and prudence as the surest means to pleasure, and his thinking offers an important philosophical touchstone for the book.
As the author explains, one of the primary motivations for her pursuit of simplicity is her concern about the impacts of a consumerist lifestyle on the natural world. Mills touches on broad range of topics relating to that issue -- social justice, biological extinctions, the global economy, and also more personal aspects such as friendship, the process of country living, the joys of physical exertion, the challenges of a writer's life, and the natural history and seasonal delights of a life lived close to nature. An overarching theme is the destructiveness of consumerism, and how even a simple life affects a wide range of organisms and adds strain to the earth's systems. The author uses her own experience as an entry point to the discussion with a self-effacing humor and lyrical prose that bring big topics to a personal level.
Epicurean Simplicity is beautifully crafted, fluid, inspiring, and enlightening, examining topics of critical importance that affect us all. It celebrates the pleasures, beauty, and fulfillment of a simple life, a goal being sought by Americans from all walks of life, from harried single parents to corporate CEOs. For fans of natural history or personal narrative, for those concerned about social justice and the environment, and for those who have come to know and love Stephanie Mills through her speaking and writing, Epicurean Simplicity is a rare treasure.
Engelhardt brings us into the world of his fourth-generation farm family, who lived by the family- and faith-based work ethic and concern for respectability they had inherited from their German and Norwegian ancestors. His writing has a particularly Iowa flavor, a style that needs no definition to those who live in the state. Readers will discover the appeal of his wry, humorous, and kind observations and appreciate his well-informed perspective on these transformative American decades.
“Another fine, reflective, anecdotal look at rural Texas.” —New Yorker
“Graves writes eloquently about a countryman’s concerns. There's not a false note in the book.” —Boston Globe
“Like the unmortared stone fences of Graves’s native hill country, From a Limestone Ledge is constructed of bits and pieces never designed to fit together, yet made to achieve a unity that is more enduring than the sum of its individual parts by the hands of a master craftsman.” —Southwestern Historical Quarterly
“The beauty of his work endures, and there is a greater pride in Texans’ hearts for their home, I think, than there would be if he hadn’t written the books he did.” —Rick Bass, Garden & Gun
“In describing the particulars of his surroundings, Graves often was describing the world in microcosm and the place and plight of humankind in it.” —Bryan Woolley, Dallas Morning News
"In the beginning, there was no real plan, just a road trip that became a journey." In the years 1986 and 1987, Keith Carter and his wife, Patricia, visited one hundred small Texas towns with intriguing names like Diddy Waw Diddy, Elysian Fields, and Poetry. He says, "I tried to make my working method simple and practical: one town, one photograph. I would take several rolls of film but select only one image to represent that dot on my now-tattered map. The titles of the photographs are the actual names of the small towns. . . ." Carter created a body of work that evoked the essence of small-town life for many people, including renowned playwright and fellow Texan, Horton Foote. In 1988, Carter published his one town/one picture collection in From Uncertain to Blue, a landmark book that won acclaim both nationally and internationally for the artistry, timelessness, and universal appeal of its images—and established Carter as one of America's most promising fine art photographers.
Now a quarter century after the book's publication, From Uncertain to Blue has been completely re-envisioned and includes a new essay in which Carter describes how the search for photographic subjects in small towns gradually evolved into his first significant work as an artist. He also offers additional insight into his creative process by including some of his original contact sheets. And Patricia Carter gives her own perspective on their journey in her amplified notes about many of the places they visited as they discovered the world of possibilities from Uncertain to Blue.
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To make a living here, one had to be capable, confident, clever and inventive, know a lot about survival, be able to fashion and repair tools, navigate a boat, fell a tree, treat a snakebite, make a meal from whatever was handy without asking too many questions about it, and get along with folks.
This fascinating and instructive book is the careful and unpretentious account of a man who was artful in all the skills needed to survive and raise a family in an area where most people would be lost or helpless. Smith’s story is an important record of a way of life beginning to disappear, a loss not fully yet realized. We are lucky to have a work that is both instructive and warm-hearted and that preserves so much hard-won knowledge.
In Growing Up in a Land Called Egypt: A Southern Illinois Family Biography,author Cleo Caraway fondly recalls how she and her siblings came of age on the family farm in the 1930s and 1940s. Like many others, the Caraways were affected by the economic hardships of the Great Depression, but Cleo’s parents strived to shelter her and her six siblings from the dire circumstances affecting the nation and their home and allowed them to bask in their idealistic existence. Her love for her family clearly shines from every page as she writes of a simpler time, before World War II divided the family.
Caraway revels in the life her family lived on a southern Illinois hilltop in Murphysboro township, marveling at the mix of commonplace and adventure she experienced in her childhood. She remembers her first day of school, walking three miles to the wondrous one-room building with her siblings; reminisces about strolling through the countryside with her mother, investigating the various plants and flowers, fruits and nuts; and recollects her fascination with the Indian relics she found buried near her home, a hobby she shared with her father. She also writes of seeing Gone with the Wind on the big screen at the Hippodrome in Murphysboro, of learning to sew dresses for her dolls, and of idyllic life on the farm—milking cows, hatching chicks, feeding pigs. Along with her personal memories Caraway includes interviews with neighbors and many fascinating photographs with detailed captions that make the images come alive.
A delightful follow-up to her father’s popular Foothold on a Hillside: Memories of a Southern Illinoisan,Caraway’s book is a pleasant change from the typical accounts of southern Illinois before, during, and after the Great Depression. Instead of hardscrabble grit, Growing Up in a Land Called Egypt offers a refreshingly different view of the period and is certain to be embraced by southern Illinois natives as well as anyone interested in the experiences of a rural family that thrived despite the difficult times. The author’s lighthearted prose, self-deprecating humor, and genuine affection for her family make reading this book a rich and memorable experience.
“A kind of homemade book—imperfect like a handmade thing, a prize. It’s a galloping, spontaneous book, on occasion within whooping distance of that greatest and sweetest of country books, Ivan Turgenev’s A Sportsman’s Notebook.” —Edward Hoagland, New York Times Book Review
“His subjects are trees and brush, hired help, fences, soil, armadillos and other wildlife, flood and drought, local history, sheep and goats . . . and they come to us reshaped and reenlivened by his agreeably individual (and sometimes cranky) notions.” —New Yorker
“If Goodbye to a River was in some sense Graves’s Odyssey, this book is his [version of Hesiod’s] Works and Days. It is partly a book about work, partly a book about nature, but mostly a book about belonging. In the end John Graves has learned to belong to his patch of land so thoroughly that at moments he can sense in himself a unity with medieval peasants and Sumerian farmers, working with their fields by the Tigris.” —Larry McMurtry, Washington Post Book World
“Hard Scrabble is hard pastoral of the kind we have learned to recognize in Wordsworth, Frost, Hemingway, and Faulkner. It celebrates life in accommodation with a piece of the ‘given’ creation, a recalcitrant four hundred or so acres of Texas cedar brake, old field, and creek bottom, which will require of any genuine resident all the character he can muster.” —Southwest Review
Winner, San Antonio Conservation Society Citation, 2005
Runner-up, Carr P. Collins Award, Best Book of Nonfiction, Texas Institute of Letters, 2005
Until the U.S. Army claimed 300-plus square miles of hardscrabble land to build Fort Hood in 1942, small communities like Antelope, Pidcoke, Stampede, and Okay scratched out a living by growing cotton and ranching goats on the less fertile edges of the Texas Hill Country. While a few farmers took jobs with construction crews at Fort Hood to remain in the area, almost the entire population—and with it, an entire segment of rural culture—disappeared into the rest of the state.
In Harder than Hardscrabble, oral historian Thad Sitton collects the colorful and frequently touching stories of the pre-Fort Hood residents to give a firsthand view of Texas farming life before World War II. Accessible to the general reader and historian alike, the stories recount in vivid detail the hardships and satisfactions of daily life in the Texas countryside. They describe agricultural practices and livestock handling as well as life beyond work: traveling peddlers, visits to towns, country schools, medical practices, and fox hunting. The anecdotes capture a fast-disappearing rural society—a world very different from today's urban Texas.
Winner of the 2023 New England Society Book Award in the Historical Nonfiction category
Winner of an Award of Excellence, American Association for State and Local History (AASLH)
In 1822, settlers pushed north from Massachusetts and other parts of New England into Monson, Maine. On land taken from the Penobscot people, they established prosperous farms and businesses. Focusing on the microhistory of this village, Andrew Witmer reveals the sometimes surprising ways that this small New England town engaged with the wider world across the nineteenth and twentieth centuries. Townspeople fought and died in distant wars, transformed the economy and landscape with quarries and mills, and used railroads, highways, print, and new technologies to forge connections with the rest of the nation.
Here and Everywhere Else starts with Monson’s incorporation in the early nineteenth century, when central Maine was considered the northern frontier and over 90 percent of Americans still lived in rural areas; it ends with present-day attempts to revive this declining Maine town into an artists’ colony. Engagingly written, with colorful portraits of local characters and landmarks, this study illustrates how the residents of this remote place have remade their town by integrating (and resisting) external influences.
It’s the 1960s. The Vietnam War is raging and protests are erupting across the United States. In many quarters, young people are dropping out of society, leaving their urban homes behind in an attempt to find a safe place to live on their own terms, to grow their own food, and to avoid a war they passionately decry. During this time, West Virginia becomes a haven for thousands of these homesteaders—or back-to-the-landers, as they are termed by some. Others call them hippies.
When the going got rough, many left. But a significant number remain to this day. Some were artisans when they arrived, while others adopted a craft that provided them with the cash necessary to survive. Hippie Homesteaders tells the story of this movement from the viewpoint of forty artisans and musicians who came to the state, lived on the land, and created successful careers with their craft. There’s the couple that made baskets coveted by the Smithsonian Institution’s Renwick Gallery. There’s the draft-dodger that fled to Canada and then became a premier furniture maker. There’s the Boston-born VISTA worker who started a quilting cooperative. And, there’s the immigrant Chinese potter who lived on a commune.
Along with these stories, Hippie Homesteaders examines the serendipitous timing of this influx and the community and economic support these crafters received from residents and state agencies in West Virginia. Without these young transplants, it’s possible there would be no Tamarack: The Best of West Virginia, the first statewide collection of fine arts and handcrafts in the nation, and no Mountain Stage, the weekly live musical program broadcast worldwide on National Public Radio since 1983. Forget what you know about West Virginia.
Hippie Homesteaders isn’t about coal or hillbillies or moonshine or poverty. It is the story of why West Virginia was—and still is—a kind of heaven to so many.
Most studies of lesbian and gay history focus on urban environments. Yet gender and sexual diversity were anything but rare in nonmetropolitan areas in the first half of the twentieth century. Just Queer Folks explores the seldom-discussed history of same-sex intimacy and gender nonconformity in rural and small-town America during a period when the now familiar concepts of heterosexuality and homosexuality were just beginning to take shape.
Eschewing the notion that identity is always the best measure of what can be known about gender and sexuality, Colin R. Johnson argues instead for a queer historicist approach. In so doing, he uncovers a startlingly unruly rural past in which small-town eccentrics, "mannish" farm women, and cross-dressing Civilian Conservation Corps enrollees were often just queer folks so far as their neighbors were concerned. Written with wit and verve, Just Queer Folks upsets a whole host of contemporary commonplaces, including the notion that queer history is always urban history.
After a brief taste of urban life, and convinced that nothing equaled the formidable challenge of life in the heart of the vast woods, Peter M. Leschak returned to northern Minnesota. Letters from Side Lake chronicles the marvelous range of adventures and reflections-described with thoughtfulness and humor-springing from his pioneer-like existence. In Leschak's unique voice and beautifully crafted style, Letters from Side Lake captures the great pleasures and rugged feats and hardships of North Woods living.
"Letters from Side Lake is a celebration. Leschak revels in what he loves the best: the beauty of the north woods; the sweep of Andromeda across a black sky; the sleek thrust of his canoe slicing across a mirror-flat lake; and the simplicity of small-town life." -Washington Post Book World"A vivid, engaging book by a talented writer." -New York Times Book ReviewEarly in the twentieth century, drawing upon the hundreds of letters written to his father by students who had emigrated to northeastern Iowa from Mecklenburg, in northeastern Germany, Johannes Gillhoff created the composite character of Juernjakob Swehn: the archetype of the upright, honest mensch who personified the German immigrant, on his way to a better life through ambition and hard work. Gillhoff's farmer-hero, planting and harvesting his Iowa acres, joking with his neighbors during the snowy winters, building a church with his own hands, proved so popular with the German public that a million copies of Jürnjakob Swehn der Amerikafahrer are in print. Now for the first time this wise and endearing book is available in English.
“First, let's talk about pigs,”Juernjakob Swehn writes from his farm in Iowa. “In America, pigs have a curly tail and talk in Low German so I can understand them.” Swehn builds a log house and makes a success of farming, marries a woman who's “a whole different nation that has its confidence from the inside,” raises a family, and becomes an elder in the Lutheran church. He recognizes his good fortune but acknowledges that memories of his village grow stronger every year, that “being homesick is the best thing that home can do for you …no power on earth holds on to you like your homeland.” It is this sense of home, both in Iowa and in Mecklenburg, that makes Juernjakob Swehn appeal to today's readers as much as he appealed to readers in 1916.
Parks created a pottery school that attracts students from around the world and developed for himself an international reputation as the creator of powerful, innovative works in clay. Meanwhile, he and his family had to master the skills required of those who choose to live in the back country--growing and hunting their own food, renovating or building from scratch the structures they needed for residences or studios, resolving conflicts with neighbors, inventing their own amusements. The transformation from middle-class urbanity to small-town simplicity is, as Parks reveals, a lurching and sometimes hilarious process, and the achievement of self-sufficiency is similarly fraught with unexpected challenges.
A visitor to Beijing in 1900, Chinese or foreign, would have been struck by the great number of native-place lodges serving the needs of scholars and officials from the provinces. What were these native-place lodges? How did they develop over time? How did they fit into and shape Beijing's urban ecology? How did they further native-place ties?
In answering these questions, the author considers how native-place ties functioned as channels of communication between China's provinces and the political center; how sojourners to the capital used native-place ties to create solidarity within their communities of fellow provincials and within the class of scholar-officials as a whole; how the state co-opted these ties as a means of maintaining order within the city and controlling the imperial bureaucracy; how native-place ties transformed the urban landscape and social structure of the city; and how these functions were refashioned in the decades of political innovation that closed the Qing period. Native-place lodges are often cited as an example of the particularistic ties that characterized traditional China and worked against the emergence of a modern state based on loyalty to the nation. The author argues that by fostering awareness of membership in an elite group, the native-place lodges generated a sense of belonging to a nation that furthered the reforms undertaken in the early twentieth century.
In that always compelling yet simple style that has made Roy Reed one of the country’s foremost journalists, he shows us—as we share with him delightful moments and rich insights on the way to Hogeye—Southerners still different for being Southerners, and country Southerners who are even more so, pained by bruises and comforted by salves that are peculiarly their own.
“I hope that my city friends will not be upset to learn that this book is a little more sympathetic to the Arkansas hill people than it is to New Yorkers,” he says. “I have grown attached to cities over the years, but I am still, somewhere near my heart, a hillbilly. I have gone to a lot of trouble to remember that.”
This book is a special admission into those hills, to Vacation Bible School, tent meetings, sale barns, back roads and pool halls, to dog days in Hogeye.
To read Looking for Hogeye is to sit with Roy Reed on his wide front porch as he tells by the life he lives why, after Washington, London, and New York, he made his home in the north Arkansas hills, where he felt—as he puts it—”like Brer Rabbit reentering the briar patch.”
It is a visit not to be missed, and not to be forgotten.
In the southern Georgia of 1950, Murphy Station is a community marked only by two country stores, two Baptist churches, and a graveyard. Farming is the way of life, and segregation is in full force. Welcome to Deep Dixie.
David Donovan is a young white boy growing up in Murphy Station where even the best farmers are cash poor, and those who work for them, usually blacks, are poorer still. In adult conversation, the main topics are weather, crops, and politics. Within the last category, it’s agreed that the main threats facing America are two: communism and integration. So far as young Dave knows, this isn’t unusual, but already there are changes afoot. In this richly detailed memoir, laced with both humor and tragedy, we see how those changes affect Dave in subtle but ultimately profound ways.
Coming of age in a world with the axiom “no boy a chicken, no man a coward,” Dave has the sorts of boyhood adventures common to the rural South: exploits with firearms, encounters with angry animals, challenges from friends, and a growing interest in girls. As he has these adventures, he also works in the field alongside black farmhands, some of whom teach him vital lessons about the realities of their lives—lessons that begin to challenge the prejudices and preconceptions of his time and place.
By the late 1950s the civil rights movement has become a major force in the South; yet, as David enters high school in 1960 the customs of segregation still hold sway, persisting even when he leaves for college. In his first year away from home, he witnesses the national trauma of the Kennedy assassination, which blunts the promises of Camelot. In Vietnam a few years later, he sees those promises collapse entirely. Returning in 1970 to a Murphy Station much changed from what it was twenty years earlier, David Donovan finds himself transformed as well.
Spring-fed creeks. Old stone houses. Cedar brakes and bleached limestone. The Hill Country holds powerful sway over the imagination of Texans. So many of us dream of having our own little place in the limestone hills. The Hill Country feels just like home, even if you've never lived there.
This beautifully written book explores what the Hill Country has meant as a homeplace to the author, his family, and longtime residents of the area, as well as to newcomers. David Syring listens to the stories that his aunts, uncles, and cousins tell about life in the Hill Country and grapples with their meaning for his own search for a place to belong. He also collects short stories focused around Honey Creek Church to consider how places become containers for memory. And he draws upon several years of living in Fredericksburg to talk about the problems and opportunities created by heritage tourism and the development of the town as a "home" for German Americans. These interconnected stories illuminate what it means to belong to a place and why the Texas Hill Country has become the spiritual, if not actual, home of many people.
Several stark premises have long prevailed in our approach to Russian history. It was commonly assumed that Russia had always labored under a highly centralized and autocratic imperial state. The responsibility for this lamentable state of affairs was ultimately assigned to the profoundly agrarian character of Russian society. The countryside, home to the overwhelming majority of the nation’s population, was considered a harsh world of cruel landowners and ignorant peasants, and a strong hand was required for such a crude society.
A number of significant conclusions flowed from this understanding. Deep and abiding social divisions obstructed the evolution of modernity, as experienced “naturally” in other parts of Europe, so there was no Renaissance or Reformation; merely a derivative Enlightenment; and only a distorted capitalism. And since only despotism could contain these volatile social forces, it followed that the 1917 Revolution was an inevitable explosion resulting from these intolerable contradictions—and so too were the blood-soaked realities of the Soviet regime that came after. In short, the sheer immensity of its provincial backwardness could explain almost everything negative about the course of Russian history.
This book undermines these preconceptions. Through her close study of the province of Nizhnii Novgorod in the nineteenth century, Catherine Evtuhov demonstrates how nearly everything we thought we knew about the dynamics of Russian
society was wrong. Instead of peasants ground down by poverty and ignorance, we find skilled farmers, talented artisans and craftsmen, and enterprising tradespeople. Instead of an exclusively centrally administered state, we discover effective and participatory local government. Instead of pervasive ignorance, we are shown a lively cultural scene and an active middle class. Instead of a defining Russian exceptionalism, we find a world recognizable to any historian of nineteenth-century Europe.
Drawing on a wide range of Russian social, environmental, economic, cultural, and intellectual history, and synthesizing it with deep archival research of the Nizhnii Novgorod province, Evtuhov overturns a simplistic view of the Russian past. Rooted in, but going well beyond, provincial affairs, her book challenges us with an entirely new perspective on Russia’s historical trajectory.
In Reclaiming the Rural: Essays on Literacy, Rhetoric, and Pedagogy, editors Kim Donehower, Charlotte Hogg, and Eileen E. Schell bring together a diverse collection of essays that consider literacy, rhetoric, and pedagogy in the United States, Canada, and Mexico. The essays move beyond the typical arguments for preserving, abandoning, or modernizing by analyzing how rural communities sustain themselves through literate action. The contributors explore the rhetorics of water disputes in the western United States, the histories and influences of religious rhetorics in Mexico, agricultural and rural literacy curricula, the literacies of organizations such as 4-H and Academia de la Nueva Raza, and neoliberal rhetorics. Central to these examinations are the rural populations themselves, which include indigenous peoples in the rural United States, Canada, and Mexico, as well as those of European or other backgrounds.
The strength of the anthology lies in its multiple perspectives, various research sites, and the range of methodologies employed, including rhetorical analyses of economies and environments, media, and public spaces; classroom-based research; historical analysis and archival work; and qualitative research. The researchers engage the duality between the practices of everyday life in rural communities and the practices of reflecting on and making meaning.
Reclaiming the Rural reflects the continually changing, nuanced, context-dependent realities of rural life while acknowledging the complex histories, power struggles, and governmental actions that have affected and continue to affect the lives of rural citizens. This thought-provoking collection demonstrates the value in reclaiming the rural for scholarly and pedagogical analysis.
A photographic diary of a small Midwestern farm and the family who’ve made it their home
In Roshara Journal, father-and-son team Jerry and Steve Apps share the monthly happenings at their family’s farm in central Wisconsin. Featuring Steve’s stunning photos and fifty years of Jerry’s journal entries, Roshara Journal captures the changes—both from month to month and over the decades—on the landscape and farmstead.
The Apps family has owned Roshara since 1966. There they nurture a prairie restoration and pine plantation, maintain a large garden that feeds three generations, observe wildlife species by the dozens, and support a population of endangered butterflies. In documenting life on this piece of land, Jerry and Steve remind us how, despite the pace and challenges of modern life, the seasons continue to influence our lives in ways large and small. Jerry explains that his journal entries become much more than mere observations: "It seems that when I write about something—a bur oak tree, for example—that old tree becomes a part of me. . . . Writing takes me to a place that goes beyond observation and understanding, a place filled with feeling and meaning."
In the tradition of Bernd Heinrich in Maine, Barry Lopez in the Canadian Arctic, and Aldo Leopold just an hour down the road in Baraboo, Jerry and Steve Apps combine observation, experience, and reflection to tell a profound story about one place in the world.
The sound of nineteenth-century women, once thought lost to us, is alive because ordinary women like Emily Hawley Gillespie gave voice to their thoughts in diaries. This condensed version of the 2,500-page journals of Emily Gillespie, faithfully written from 1858 to 1888, is a detailed account of rural Iowa life. More than this, it contains the reflections of a woman who dreamed of being a painter and writer and instead became a wife and a mother, a woman whose radical convictions were recorded in her diary, while publicly she conformed to the prescribed life of a Victorian pioneer woman. Through Emily's journals, readers are offered immediate and unmodified contact with settlers in Iowa one hundred years ago. A wealth of facts are included—what produce she harvested and preserved from her garden, how her husband tended his fields and what he raised, the challenges and rewards of family life.
Judy Lensink's skillful analysis shows the larger patterns in Emily Gillespie's life and provides keys that unlock the diary's secrets. Emily's life is revealed as a youth full of promise fading into middle and declining years of lost dreams and eventual tragedy, which caused her to write, "I have written many things in my journal, but the worst is a secret to be burried when I shall cease to be."
In the lightly-populated northwestern corner of Nevada, a former geologist and rural schoolteacher, a published poet and ranch owner, and an artist and environmentalist make for an intriguing—perhaps even unlikely—trio of friends. In this evocative collection of personal essays, each offers her voice as a testament to the joys and struggles of creating a home and connecting to the land and the people who live there.
Stories of ranch hands and Ladies’ Clubs, raising chickens and raising children, pulling up roots and planting dreams tumble together in a mélange of lives lived well and thoughtfully. Sharing Fencelines is as much about art as it is about activism, as much about personal growth as it is about growing community. What these women offer us is the sweet taste of what is possible, and the blended harmony of their voices echoes across the mountains and washes and deserts, resonating in our own hearts, our own homes.
Carolyn Dufurrena’s "The Flying Heart Museum" pays homage to a layered landscape of unique individuals—not the least of which are her students, searching for themselves in the Nevada wilderness: "You know how your spirit betrays you when you’re not thinking to protect yourself. Jose has been dreaming, doodling away, and his pencil has discovered this flying heart, as big as the Puritan meetinghouse....He has drawn the log cabin around the heart, and labeled it. At recess I ask him, gently, 'So, Jose, what’s in there, in your Flying Heart Museum?'"
In "Shared Fencelines," Linda Hussa reveals the mystery of horses, the gift of water, and the serendipity of love: "My first hurt came from a horse when I tried to shinny up the feathered leg of our old gelding as I’d seen my brother and sister do. Twelve hundred pounds of him stepped on my bare foot. Mom carried her shrieking two-year-old to the house...she cut off the dangling nail saying Popeye didn’t mean to, he just didn’t notice my little foot. Then she cradled my face in her cool hands and said she hoped I would forgive him and we could be friends again."
"Fire Hall" by Sophie Sheppard paints a picture of a families and communities forged against the backdrop of a rugged, rural life: "Here, when there is a funeral, the whole town comes. First to arrive are the older women, vestiges of the Lake City Ladies Club that was disbanded a few years ago because most of the younger women have jobs and no longer stay at home. At the potluck funeral dinner everyone will file in together: the women unfamiliar in dresses ordered from catalogs, the mens' hatless foreheads glowing pale in contrast to the tan of their freshly shaven jaws, the younger people that I won’t recognize."
"I couldn't put it down."
---Barbara Kingsolver
In 1955, Mary and Jim Leader have the American dream: careers in medicine; a young and healthy family; and even a vacation home---a shabby resort far from bustling Chicago. But one hot afternoon changes everything. Mary, now a widow, must find a path out of her grief into a future for herself and five small children.
In Michigan to sell the resort, Mary sees seven hawks riding the storm winds over the lake. This place, she thinks, can heal them with its wild beauty, so she moves her family to the northern lakeshore.
But Mary has forgotten what it's like to live in a tiny rural community, where almost everyone has a stake in maintaining the status quo. Secrets are kept at great cost as Mary's children often struggle to raise themselves. A coming-of-age story for each member of the family, this is a novel of quiet heroism and the power of personal freedom.
Praise for Marjorie Kowalski Cole and her previous novel, Correcting the Landscape:
". . . her writing is simple, vivid and gorgeous."
---Eugene Register-Guard
". . . a remarkable new talent. Critics have lined up to praise the book."
---Tucson Citizen
"Cole's style is subtle but engrossing . . . It is quite a debut."
---Booklist
Cover illustration: ©iStockphoto.com/ImagineGolf
The father of pastoral poetry and his Hellenistic heirs.
Theocritus (early third century BC), born in Syracuse and also active on Cos and at Alexandria, was the inventor of the bucolic genre. Like his contemporary Callimachus, Theocritus was a learned poet who followed the aesthetic, developed a generation earlier by Philitas of Cos (LCL 508), of refashioning traditional literary forms in original ways through tightly organized and highly polished work on a small scale (thus the traditional generic title Idylls: “little forms”). Although Theocritus composed in a variety of genres or generic combinations, including encomium, epigram, hymn, mime, and epyllion, he is best known for the poems set in the countryside, mostly dialogues or song-contests, that combine lyric tone with epic meter and the Doric dialect of his native Sicily to create an idealized and evocatively described pastoral landscape, whose lovelorn inhabitants, presided over by the Nymphs, Pan, and Priapus, use song as a natural mode of expression.
The bucolic/pastoral genre was developed by the second and third members of the Greek bucolic canon, Moschus (fl. mid second century BC, also from Syracuse) and Bion (fl. some fifty years later, from Phlossa near Smyrna), and remained vital through Greco-Roman antiquity and into the modern era.
This edition of Theocritus, Moschus, and Bion, together with the so-called “pattern poems” included in the bucolic tradition, replaces the earlier Loeb Classical Library edition by J. M. Edmonds (1912), using the critical texts of Gow (1952) and Gallavotti (1993) as a base and providing a fresh translation with ample annotation.
"One of the finest examples of the genre of the community survey. . . The book is remarkably free of special pleading. And every chapter is paced with fascinating data and insights. The University of Alabama Prss is to be congratulated for reissuing this splendid community study; the volume fits the description of a classic. And Clarence L. Mohr's introduction alone is worth the price of the volume."
—Journal of Southwest Georgia History
Begun as a series of stories told by Kenneth Grahame to his six-year-old son, The Wind in the Willows has become one of the most beloved works of children’s literature ever written. It has been illustrated, famously, by E.H. Shepard and Arthur Rackham, and parts of it were dramatized by A.A. Milne as Toad of Toad Hall. A century after its initial publication it still enchants. Much in Grahame’s novel—the sensitivity of Mole, the mania of Toad, the domesticity of Rat—permeates our imaginative lives (as children and adults). And Grahame’s burnished prose still dazzles. Now comes an annotated edition of The Wind in the Willows by a leading literary scholar that instructs the reader in a larger appreciation of the novel’s charms and serene narrative magic.
In an introduction aimed at a general audience, Seth Lerer tells us everything that we, as adults, need to know about the author and his work. He vividly captures Grahame’s world and the circumstances under which The Wind in the Willows came into being. In his running commentary on the novel, Lerer offers complete annotations to the language, contexts, allusions, and larger texture of Grahame’s prose. Anyone who has read and loved The Wind in the Willows will want to own and cherish this beautiful gift edition. Those coming to the novel for the first time, or returning to it with their own children, will not find a better, more sensitive guide than Seth Lerer.
Two generations of Alabamians will welcome the reappearance of this classic: those who loved it when it was published to national acclaim in 1948 and who have missed it during the many years it has been out of print, and those who have enjoyed Viola Goode Liddell’s follow-up success, A Place of Springs, and eagerly seek more from her pen.
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