A SCHOLARLY BOOK REPOSITORY
The responses in At a Breezy Time of Day are occasioned when someone writes or phones with a request for an interview. There may be a common theme but often side questions come up. We are curious about what someone has to say – about sports, about God, about Plato, about education, about books, about just about anything. Usually central questions occur. The same question can be answered in different ways. We often have more to say on a given topic than we do say on our first being asked about it.
These interviews appeared in various on-line and printed sources. Having them collected in one text makes the interview form itself seem more substantial. Interviews too often seem to be passing, ephemeral things, but often we want to hold on to them. There is something more existential about them. Yet there is also something more lightsome about them also. The truth of things seems more bearable when it is spoken, when it has a human voice.
So, as the title of this collection intimates, we begin with the very first interview in the Garden of Eden. We touch many places and issues. The interview always has somewhere even in its written form the touch of the human voice. The one who interviews invites us to speak, to tell us what we hold, why we hold it. Interviews are themselves part of that engagement in conversation that defines our kind in its search for a full knowledge of what is.
We know that when we have said the last word, much remains to be said. We can rejoice both in what we know, and in what we know that we do not know. I believe it was Socrates who, in an earlier form of interview at the end of The Apology, alerted us to be aware of what we know and to await the many other interviews that we hope to carry on with so many others of our kind in the Isles of the Blessed.
In light of the resurgence of the far Right across Europe and some of the rhetoric of the 2024 General Election, which carried whiffs of political authoritarianism, Could It Happen Here? explores the possible consequences of a British prime minister refusing to leave office. Mapping out the processes that might occur after such an eventuality, the responsibilities of key players in the United Kingdom’s democratic system, and the integrity of that system after years of stress, Peter Hennessy and Andrew Blick analyze the United Kingdom’s “unwritten” constitution and provide a crucial recommendation for protecting and strengthening the resilience of its parliamentary democracy.
On January 17, 1979, driven by new information that some of the worst criminals in the state's penitentiaries were about to be released (and fears that James Earl Ray might be one of them), a small bipartisan group chose to take charge. Senior Democratic leaders, friends of the sitting governor, together with the Republican governor-elect Lamar Alexander (now US Senator from Tennessee), agreed to oust Blanton from office before another night fell. It was a maneuver unique in American political history.
Expanded edition, with a newly discovered account of the events by Senator Lamar Alexander:
"In December 2015 something unexpected happened. Keel [Hunt] delivered to my Nashville office a brown three-ring binder. He had only recently discovered it in a box that had been in storage for thirty years." —Senator Lamar Alexander
This binder contained the forgotten typescript, written in 1985, of Alexander's recollections of the events leading up to his early inauguration on January 17, 1979. In this expanded edition of Coup, the Senator's 22,000-word text has been added as a lost footnote to Hunt's definitive account.
From the foreword by John L. Seigenthaler:
"The individual stories of those government officials involved in the coup—each account unique, but all of them intersecting—were scattered like disconnected pieces of a jigsaw puzzle on the table of history until the author conceived this book. Perhaps because it happened so quickly, and without major disagreement, protest, or dissent, this truly historic moment has been buried in the public mind. In unearthing the drama in gripping detail, Keel Hunt assures that the 'dark day' will be remembered as a bright one in which conflicted politicians came together in the public interest."
Schutt's indomitable, original talent is once again on full display in each of these deeply informed, intensely realized stories. Many of the narratives take place in a space as small as a house, where the doors are many and what is hidden behind these thin domestic barriers tends towards violence, abusive sex, and mental anguish. Schutt opens these doors in sudden, bold moments that also reveal how the characters are often hopeful, even optimistic. With a style that is at once sensual and spare, dreamlike and deliberate, she exposes the terrible intimacy of the rooms and corridors of our innermost lives.
"To perform heroically in a perilous situation is one thing, but I found that, in my case, the real difficulty was in getting myself into a spot where heroism was possible. Nobody on latrine duty ever got the Medal of Honor."
Cixous's elusive writing bears all the trademarks of her poetic, provocative style, vivid with word play, intense feeling and a stream-of-consciousness that moves freely over time and place. The narrator's mother claims not to remember what happened, and the brother tries to fill in some gaps in the story. By the end of the book we understand the significance of the title: one day Cixous's mother returned to the clinic to find the baby on the brink of death. Rather than attempt to save him she chose to end his suffering.
By closing the door to the imaginary clinic at the end, the narrator at last resolves the feelings of guilt and realizes that each human being has a fate they must endure. Informed by psychoanalytical theory, and always brutally honest, The Day I Wasn't There is above all an intimate study of a woman's inner landscape.
A Day in a Medieval City breathes life into the activities of the city streets, homes, fields, schools, and places of worship. With entertaining anecdotes and gritty details, it engages the modern reader with its discoveries of the religious, economic, and institutional practices of the day. From urban planning and education to child care, hygiene, and the more leisurely pursuits of games, food, books, and superstitions, Frugoni unearths the daily routines of the private and public lives of citizens. A Day in a Medieval City is a charming portal to the Middle Ages that you'll surely want with you on your travels to Europe—or in your armchair.
“Stunningly beautiful . . . and a good read as well. . . . It’s amazing how much wealth of detail and image Ms. Frugoni has packed into this delightful, relatively small book.”—Steve Goode, Washington Times
“Charming and insightful. . . .Written with exceptional grace and infused with a warm sense of humanity.”—Library Journal
A single day in a semilegal market in Lima, Peru, reveals a social world that defies conventional economic logic.
In the heart of Lima’s historic center, the markets of El Hueco (“The Hole”) and sprawling Mesa Redonda pulse with life, with thousands of vendors selling everything from knockoff electronics to religious icons. In A Day in “The Hole,” anthropologist Daniella Gandolfo immerses readers in a single, tumultuous day—the thirty-fourth anniversary of a vendors’ cooperative—while examining the dynamics that sustain these marketplaces.
Through a blend of cinematic storytelling and incisive anthropological insight, Gandolfo reveals a world with its own unique codes. She inspects how vendors embrace expenditure over profit and instability over order, and moving through the sights and sounds of El Hueco and Mesa Redonda, she finds a dissident economy that is as much about survival as it is about spectacle. Gandolfo redefines how we think about urban economies and the unexpected ways these defiant communities thrive in this textured portrait of Lima’s markets and the people who animate them.
The Day of the Cattleman was first published in 1929. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The legend of the Wild West, as celebrated in thousands upon thousands of western stories and movies, radio and television programs, has a firm grip on the imaginations of both young and old, not only in America but in many other lands. But, popular though such versions are, they do not tell how the west was really won. Professor Osgood's account sets the record straight for those who want authentic history rather than melodramatic fiction.
"The range cattleman," Professor Osgood writes, "has more solid achievements to his credit than the creation of a legend. He was the first to utilize the semi-arid plains. Using the most available natural resources, the native grasses, as a basis, he built up a great and lucrative enterprise, attracted eastern and foreign capital to aid him in the development of a new economic area, stimulated railroad building in order that the product of the ranges might get to an eastern market, and laid the economic foundation of more than one western commonwealth."
Professor Osgood traces the rise and fall of the range cattle industry, particularly in Montana and Wyoming, from 1845 to the turn of the century. He gives a detailed account of the activities of the stock growers' associations and of the cattlemen's relations with the railroads and with the Federal government.
The book has won critical acclaim both in this country and abroad. The Saturday Review has described it as an "honest, scientific, and thorough examination" of a "semi-epic phase of Western life, now almost completely dead." In England, the Times Literary Supplement called it "the only substantial record of this particular chapter in the history of the West."
Focusing on the power of public ritual to serve as a communication medium, this revised and updated edition combines a mix of ethnography, historical research, oral history, and critical cultural analysis to explore the manifold and unexpected transformations that occur when the tradition is embraced by the mainstream. A testament to the complex role of media and commercial forces in constructions of ethnic identity, Day of the Dead in the USA provides insight into the power of art and ritual to create community, transmit oppositional messages, and advance educational, political, and economic goals.
Today Chicano-style Day of the Dead events take place in all fifty states. This revised edition provides new information about:
- The increase in events across the US, incorporating media coverage and financial aspects,
- Recent political movements expressed in contemporary Day of the Dead celebrations, including #BlackLivesMatter and #MeToo
- Greater media coverage and online presence of the celebration in blogs, websites, and streaming video
- Día de los Muertos themes and iconography in video games and films
- The proliferation of commercialized merchandise such as home goods, apparel, face paints and jewelry at mainstream big box and web retailers, as well as the widespread proliferation of calavera-themed decorations and costumes for Halloween
- 24 new full color illustrations
Focusing on the power of ritual to serve as a communication medium, Regina M. Marchi combines a mix of ethnography, historical research, oral history, and critical cultural analysis to explore the manifold and unexpected transformations that occur when the tradition is embraced by the mainstream. A testament to the complex nature of ethnic identity, Day of the Dead in the USA provides insight into the power of ritual to create community, transmit oppositional messages, and advance educational, political, and economic goals.
Pilipino Cultural Nights at American campuses have been a rite of passage for youth culture and a source of local community pride since the 1980s. Through performances—and parodies of them—these celebrations of national identity through music, dance, and theatrical narratives reemphasize what it means to be Filipino American. In The Day the Dancers Stayed, scholar and performer Theodore Gonzalves uses interviews and participant observer techniques to consider the relationship between the invention of performance repertoire and the development of diasporic identification.
Gonzalves traces a genealogy of performance repertoire from the 1930s to the present. Culture nights serve several functions: as exercises in nostalgia, celebrations of rigid community entertainment, and occasionally forums for political intervention. Taking up more recent parodies of Pilipino Cultural Nights, Gonzalves discusses how the rebellious spirit that enlivened the original seditious performances has been stifled.
Named one of Lit Hub's most anticipated books of the year.
A searing reflection on the last day of the Vietnam War and the beginning of the end of foreign reporting in the nation’s daily newspapers.
Done in a Day turns on a single event: the April 30, 1975, departure of the last helicopter evacuating civilians from the rooftop of the US embassy in Saigon. Elisa Tamarkin’s interest in that helicopter begins with the fact that her stepfather, the Saigon bureau chief for the Chicago Daily News, was on it—the last American correspondent to leave Saigon as it fell. His report was filed from a naval ship on the South China Sea at a time when no other telexes were going through.
Now, more than fifty years later, Tamarkin offers a social and cultural autopsy of that moment, based in personal history but vividly unfolding amid the vast documentation of America’s obvious defeat, which never seemed to register even as it got out, in the writings of journalists and essayists, in the backchannel cables between US ambassador Graham Martin and Henry Kissinger, in congressional hearings, and in photographs of the war’s end. The story is also set against the imminent disappearance of war coverage in city newspapers—and of the newspapers themselves—once proud, in the words of the Chicago Daily News, of bringing readers the “literature of the day” that was “done in a day.”
Done in a Day braids history, criticism, and memoir to tell the paired stories of Saigon’s liberation and the demise of the news. The result is a haunting essay about all that ended in a day—and about what it means to recognize and to write about endings even as we live through them.
It begins by illustrating how widespread anti-Jewish feelings were among the Christian population in 19 th century, focusing on blood libel accusations as well as describing the role of modern antisemitism. Secondly, it tries to identify the structural preconditions as well as specific triggers that turned anti-Jewish feelings into collective violence and analyzes the nature of this violence. Lastly, pogroms in Lithuania are compared to anti-Jewish violence in other regions of the Russian Empire and East Galicia.
This research is inspired by the cultural turn in social sciences, an approach that assumes that violence is filled with meaning, which is “culturally constructed, discursively mediated, symbolically saturated, and ritually regulated.” The author argues that pogroms in Lithuania instead followed a communal pattern of ethnic violence and was very different from deadly pogroms in other parts of the Russian Empire.
Nansen, a Norwegian, was arrested in 1942 by the Nazis, and spent the remainder of World War II in concentration camps--Grini in Oslo, Veidal above the Arctic Circle, and Sachsenhausen in Germany. For three and a half years, Nansen kept a secret diary on tissue-paper-thin pages later smuggled out by various means, including inside the prisoners' hollowed-out breadboards.
Unlike writers of retrospective Holocaust memoirs, Nansen recorded the mundane and horrific details of camp life as they happened, "from day to day." With an unsparing eye, Nansen described the casual brutality and random terror that was the fate of a camp prisoner. His entries reveal his constantly frustrated hopes for an early end to the war, his longing for his wife and children, his horror at the especially barbaric treatment reserved for Jews, and his disgust at the anti-Semitism of some of his fellow Norwegians. Nansen often confronted his German jailors with unusual outspokenness and sometimes with a sense of humor and absurdity that was not appreciated by his captors.
After the Putnam's edition received rave reviews in 1949, the book fell into obscurity. In 1956, in response to a poll about the "most undeservedly neglected" book of the preceding quarter-century, Carl Sandburg singled out From Day to Day, calling it "an epic narrative," which took "its place among the great affirmations of the power of the human spirit to rise above terror, torture, and death." Indeed, Nansen witnessed all the horrors of the camps, yet still saw hope for the future. He sought reconciliation with the German people, even donating the proceeds of the German edition of his book to German refugee relief work. Nansen was following in the footsteps of his father, Fridtjof, an Arctic explorer and humanitarian who was awarded the Nobel Peace Prize in 1922 for his work on behalf of World War I refugees. (Fridtjof also created the "Nansen passport" for stateless persons.)
Forty sketches of camp life and death by Nansen, an architect and talented draftsman, provide a sense of immediacy and acute observation matched by the diary entries. The preface is written by Thomas Buergenthal, who was "Tommy," the ten-year-old survivor of the Auschwitz Death March, whom Nansen met at Sachsenhausen and saved using his extra food rations. Buergenthal, author of A Lucky Child, formerly served as a judge on the International Court of Justice at The Hague and is a recipient of the 2015 Elie Wiesel Award from the US Holocaust Memorial Museum.
Winner of the Gunter Grass Prize
Nowa Ruda is a small town in Silesia, an area that has been a part of Poland, Germany, and the former Czechoslovakia in the past. When the narrator moves into the area, she and discovers everyone-and everything-has its own story. With the help of Marta, her enigmatic neighbor, the narrator accumulates these stories, tracing the history of Nowa Ruda from the founding of the town to the lives of its saints, from the caller who wins the radio quiz every day to the tale of the man who causes international tension when he dies on the border, one leg on the Polish side, the other on the Czech side. Each of the stories represents a brick and they interlock to reveal the immense monument that is the town. What emerges is the message that the history of any place--no matter how humble--is limitless, that by describing or digging at the roots of a life, a house, or a neighborhood, one can see all the connections, not only with one's self and one's dreams but also with all of the universe.
Richly imagined, weaving in anecdote with recipes and gossip, Tokarczuk's novel is an epic of a small place. Since its original publication in 1998 it has remained a bestseller in Poland. House of Day, House of Night is the English-language debut of one of Europe's best young writers.
Gazing up at the heavens from our backyards or a nearby field, most of us see an undifferentiated mess of stars—if, that is, we can see anything at all through the glow of light pollution. Today’s casual observer knows far less about the sky than did our ancestors, who depended on the sun and the moon to tell them the time and on the stars to guide them through the seas. Nowadays, we don’t need the sky, which is good, because we’ve made it far less accessible, hiding it behind the skyscrapers and the excessive artificial light of our cities.
How We See the Sky gives us back our knowledge of the sky, offering a fascinating overview of what can be seen there without the aid of a telescope. Thomas Hockey begins by scanning the horizon, explaining how the visible universe rotates through this horizon as night turns to day and season to season. Subsequent chapters explore the sun’s and moon’s respective motions through the celestial globe, as well as the appearance of solstices, eclipses, and planets, and how these are accounted for in different kinds of calendars. In every chapter, Hockey introduces the common vocabulary of today’s astronomers, uses examples past and present to explain them, and provides conceptual tools to help newcomers understand the topics he discusses.
Packed with illustrations and enlivened by historical anecdotes and literary references, How We See the Sky reacquaints us with the wonders to be found in our own backyards.
Eleanor Roosevelt called her one of the most influential women in America. Among the earliest and most assertive members of the Book-of-the-Month Club selection committee, Dorothy Canfield Fisher helped define literary taste in America for more than three decades. She helped shape the careers of such great writers as Pearl Buck, Isak Dinesen, and Richard Wright. A best-selling author herself, Fisher was also a deeply committed social activist. In Keeping Fires Night and Day, Mark J. Madigan collects much of Fisher's copious correspondence. With letters to Willa Cather, W.E.B. Du Bois, Albert Einstein, Robert Frost, Margaret Mead, James Thurber, and E.B. White, he documents Fisher's personal and professional life and career in a way that no biography could. Set against the American historical and cultural landscape from 1900 to 1958, these letters offer a firsthand account of one of the twentieth century's most remarkable women.
While Fisher's novels treated such conventional subjects as marriage and domestic life, her own life was anything but conventional. When her best-selling novels made her the chief breadwinner in her marriage, her husband, John Fisher, quietly assumed the role of secretary and editor of her work. Fluent in five languages, Dorothy Canfield Fisher founded a Braille press in France and introduced the educational methods of Dr. Maria Montessori to the United States. She became a pioneering advocate of adult education and served as the first woman on the Vermont Board of Education.
In letters to friends, fans, and colleagues, Fisher discussed her homelife, her work, and the world around her. Her passions and concerns-revealed in her correspondence with wit and poignancy-include the "New Woman' and the suffrage movement, racial discrimination and the emergence of the NAACP, the development of the national education system, two world wars, the depression, and the influence of book clubs in the literary market-place.
Dorothy Canfield Fisher "helped twentieth-century American literature to come of age," writes Clifton Fadimon in his Foreward. Yet lasting recognition has eluded her. In Keeping Fires Night and Day the distinctive voice of this gifted, intelligent and spirited woman is heard once again.
The structure of the book reflects a gradual comprehension of Palikur ways of knowing during the course of field research. The text enters into the ethnographic material from the perspective of familiar disciplines—history, geography, astronomy, geometry, and philosophy—and explores the junctures in which conventional disciplinary frameworks cannot adequately convey Palikur understandings. Beginning with reflections on questions of personhood, ethics, and ethnicity, the authors rethink assumptions about history and geography. They learn and recount an alternative way of thinking about astronomy from the Palikur astronomical narratives, and they show how topological concepts embedded in everyday Palikur speech extend to different ways of conceptualizing landscape. In conclusion, they reflect on the challenges of comprehending alternative cosmologies and consider the insights that come from allowing ethnographic material to pose questions of modernist frameworks.
Tales of nocturnal journeys, radical music making, and polymorphous sexuality flow through the arteries of Love Saves the Day like hot liquid vinyl. They are interspersed with a detailed examination of the era’s most powerful djs, the venues in which they played, and the records they loved to spin—as well as the labels, musicians, vocalists, producers, remixers, party promoters, journalists, and dance crowds that fueled dance music’s tireless engine.
Love Saves the Day includes material from over three hundred original interviews with the scene's most influential players, including David Mancuso, Nicky Siano, Tom Moulton, Loleatta Holloway, Giorgio Moroder, Francis Grasso, Frankie Knuckles, and Earl Young. It incorporates more than twenty special dj discographies—listing the favorite records of the most important spinners of the disco decade—and a more general discography cataloging some six hundred releases. Love Saves the Day also contains a unique collection of more than seventy rare photos.
Restless and relentless, Adonis explores the pain and otherness of exile, a state so complete that absence replaces identity and becomes the exile's only presence. Exile can take many forms for the Arabic poet, who must practice his craft as an outsider, separated not only from the nation of his birth but from his own language; in the present as in the past, that exile can mean censorship, banishment, or death. Through these poems, Adonis gives an exquisite voice to the silence of absence.
Beauty pageants play an outsized role in Venezuela. The country has won more international beauty contests than any other. The femininity performed by Venezuelan women in high-profile, widely viewed pageants defines a kind of national femininity. Ochoa argues that as transformistas and misses work to achieve the bodies, clothing and makeup styles, and postures and gestures of this national femininity, they come to embody Venezuelan modernity.
In The Day of the Scorpion, Scott draws us deeper in to his epic of India at the close of World War II. With force and subtlety, he recreates both private ambition and perversity, and the politics of an entire subcontinent at a turning point in history.
As the scorpion, encircled by a ring of fire, will sting itself to death, so does the British raj hasten its own destruction when threatened by the flames of Indian independence. Brutal repression and imprisonment of India's leaders cannot still the cry for home rule. And in the midst of chaos, the English Laytons withdraw from a world they no longer know to seek solace in denial, drink, and madness.
“I think we have to get to the real, to catch the facts we have, to hold on to what we see. . . .in this time where lies are currency,” Sonya Huber writes in her book-length essay Supremely Tiny Acts: A Memoir of a Day. On the theory that naming the truths of quotidian experience can counter the dangerous power of lies, she carefully recounts two anxiety-fueled days one fall. On the first, she is arrested as part of a climate protest in Times Square. On the other, she must make it to her court appearance while also finding time to take her son to get his learner's permit. Paying equal attention to minor details, passing thoughts, and larger political concerns around activism and parenting in the Trump-era United States, Huber asks: How can one simultaneously be a good mother, a good worker, and a good citizen? As she reflects on the meaning of protest and on whiteness and other forms of privilege within political activism, Huber offers a wry, self-aware, and stirring testament to the everyday as a seedbed for meaningful change.
A Swedenborg Perpetual Calendar, originally published in 1902 by the Swedenborg Publishing Association, is a daily devotional calendar consisting of thought-provoking quotes by Emanuel Swedenborg (1688–1772), an Enlightenment-era philosopher, scientist, and mystic whose ideas have inspired generations of religious thinkers and literary figures alike. The Swedenborg Foundation’s new edition of this insightful collection not only includes modern translations of excerpts from the most up-to-date editions and translations of his works but it also provides a fresh perspective on a variety of Swedenborg’s spiritual themes, such as divine love and wisdom, regeneration, divine providence, correspondences, and the afterlife. A useful tool for anyone in search of daily inspiration, A Swedenborg Perpetual Calendar is a timeless treasure that will help guide readers at each step of their spiritual journey.
The subtitle of the book derives from the Tarahumara's belief that the soul works at night while the body sleeps and that during this "day of the moon" both the spirits of the dead and the souls of the living move about in their mysterious ways.
As the authors observe, the fact that "so many men, women, and children persist in distinctive, centuries-old cultural traditions in spite of their nearness to all the complexities and attractions of modern industrial society is an importatn part of the story." Their book tells that story and brings readers closer to understanding the Tarahumara world and way of life.
In her own private ways, Emily Dickinson participated in the popular entertainments of her time. On her piano, she performed popular musical numbers, many from the tradition of minstrelsy, and at theaters, she listened to famous musicians, including Jenny Lind and, likely, the Hutchinson Family Singers. In reading the Atlantic Monthly, the Springfield Republican, and Harper's, she kept up with the roiling conflicts over slavery and took in current fiction and verse. And, she enjoyed the occasional excursion to the traveling circus and appreciated the attractions of the dime museum. Whatever her aspirations were regarding participation in a public arena, the rich world of popular culture offered Dickinson a view of both the political and social struggles of her time and the amusements of her contemporaries.
“Theatricals of Day” explores how popular culture and entertainments are seen, heard, and felt in Dickinson's writing. In accessible prose, Sandra Runzo proposes that the presence of popular entertainment in Dickinson's life and work opens our eyes to new dimensions of the poems, illuminating the ways in which the poet was attentive to strife and conflict, to amusement, and to play.
Within the vast literature on World War II, a much smaller body of work treats the everyday experiences of civilians, particularly in smaller countries drawn into the conflict. Recalling the war in Belgium from a child’s-eye perspective, Vansina describes pangs of hunger so great as to make him crave the bitter taste of cod-liver oil. He vividly remembers the shock of seeing severely wounded men on the grounds of a field hospital, the dangers of crossing fields and swimming in ponds strafed by planes, and his family’s interactions with occupying and escaping soldiers from both sides. After the war he recalls emerging numb from the cinema where he first saw the footage of the Nazi death camps, and he describes a new phase of unrest marked by looting, vigilante justice, and the country’s efforts at reunification.
Vansina, a historian and anthropologist best known for his insights into oral tradition and social memory, draws on his own memories and those of his siblings to reconstruct daily life in Belgium during a tumultuous era.
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