Abolitionists have been painted in extremes—vilified as reckless zealots who provoked the bloodletting of the Civil War, or praised as daring reformers who hastened the end of slavery. Delbanco sees them as the embodiment of a driving force in American history: the recurrent impulse of an adamant minority to rid the world of outrageous evil.
Abraham Lincoln as a Man of Ideas
Allen C. Guelzo, with a Foreword by Michael Lind Southern Illinois University Press, 2017 Library of Congress E457.2.G875 2009 | Dewey Decimal 973.7092
Despite the most meager of formal educations, Lincoln had a tremendous intellectual curiosity that drove him into the circle of Enlightenment philosophy and democratic political ideology. And from these, Lincoln developed a set of political convictions that guided him throughout his life and his presidency. This compilation of ten essays from Lincoln scholar Allen C. Guelzo uncovers the hidden sources of Lincoln’s ideas and examines the beliefs that directed his career and brought an end to slavery and the Civil War.
"In order to accept the enormous responsibility that comes of being in the world, we must first conceive, in spite of all the obstacles, the state of actually being the world." It is for this reason that John R. Campbell came to the Klamath marshes, a wetland in southern Oregon formed by three ancient, shallow lakes.
Absence and Light is Campbell's account of his exploration of the marshes and a meditation on the world he found there, on his growing understanding of the physical, emotional, moral, and aesthetic meaning of that world, on his own growth as a man. Through Campbell's eyes, we observe the stirring and astonishing beauty of the marshes and their creatures, and the utter poignancy of their fragility before the heedless ambitions of humankind.
This is nature writing at its most profound and moving, writing that in examining and defining the world of nature helps us to understand the very complicated and contradictory realities of being human. Campbell's luminous descriptions and mystical insights will long linger in the reader's memory.
The Abstract Wild
Jack Turner University of Arizona Press, 1996 Library of Congress QH81.T87 1996 | Dewey Decimal 508
If anything is endangered in America it is our experience of wild nature—gross contact. There is knowledge only the wild can give us, knowledge specific to it, knowledge specific to the experience of it. These are its gifts to us.
How wild is wilderness and how wild are our experiences in it, asks Jack Turner in the pages of The Abstract Wild. His answer: not very wild. National parks and even so-called wilderness areas fall far short of offering the primal, mystic connection possible in wild places. And this is so, Turner avows, because any managed land, never mind what it's called, ceases to be wild. Moreover, what little wildness we have left is fast being destroyed by the very systems designed to preserve it.
Natural resource managers, conservation biologists, environmental economists, park rangers, zoo directors, and environmental activists: Turner's new book takes aim at these and all others who labor in the name of preservation. He argues for a new conservation ethic that focuses less on preserving things and more on preserving process and "leaving things be." He takes off after zoos and wilderness tourism with a vengeance, and he cautions us to resist language that calls a tree "a resource" and wilderness "a management unit."
Eloquent and fast-paced, The Abstract Wild takes a long view to ask whether ecosystem management isn't "a bit of a sham" and the control of grizzlies and wolves "at best a travesty." Next, the author might bring his readers up-close for a look at pelicans, mountain lions, or Shamu the whale. From whatever angle, Turner stirs into his arguments the words of dozens of other American writers including Thoreau, Hemingway, Faulkner, and environmentalist Doug Peacock.
We hunger for a kind of experience deep enough to change our selves, our form of life, writes Turner. Readers who take his words to heart will find, if not their selves, their perspectives on the natural world recast in ways that are hard to ignore and harder to forget.
Academic Motherhood tells the story of over one hundred women who are both professors and mothers and examines how they navigated their professional lives at different career stages. Kelly Ward and Lisa Wolf-Wendel base their findings on a longitudinal study that asks how women faculty on the tenure track manage work and family in their early careers (pre-tenure) when their children are young (under the age of five), and then again in mid-career (post-tenure) when their children are older. The women studied work in a range of institutional settings—research universities, comprehensive universities, liberal arts colleges, and community colleges—and in a variety of disciplines, including the sciences, the humanities, and the social sciences.
Much of the existing literature on balancing work and family presents a pessimistic view and offers cautionary tales of what to avoid and how to avoid it. In contrast, the goal of Academic Motherhood is to help tenure track faculty and the institutions at which they are employed “make it work.” Writing for administrators, prospective and current faculty as well as scholars, Ward and Wolf-Wendel bring an element of hope and optimism to the topic of work and family in academe. They provide insight and policy recommendations that support faculty with children and offer mechanisms for problem-solving at personal, departmental, institutional, and national levels.
For many students in Nevada and throughout the nation, they are the first in their family to go to college—these students are identified as “first-generation.” The population of first-generation students continues to increase year-over-year and their unique needs have shaped the way education practitioners must approach serving future students effectively.
This collection of essays, written by University of Nevada, Reno (UNR) faculty and students, is an examination of the programs and strategies created to support first-generation and other underrepresented student populations. In addition, it serves as a dedication to the families and students whose hopes and dreams include the attainment of a college degree. Readers will gain insight into the framework needed to provide accessible programs and services to a large and diverse student population before, during, and after college graduation as well as first-hand success stories from the students themselves.
Each generation hopes for a better life for their children. Higher education, in particular, has been a dream for many in this country that has been made possible through public and private financial support. Every new generation of college-bound students faces new and evolving challenges, but the fierce dedication and commitment demonstrated in these pages define the key to developing a thriving and diverse institution that helps all students succeed.
The compelling essays in Bernard Quetchenbach’s Accidental Gravity move from upstate New York to the western United States, from urban and suburban places to wild lands. In the first section of the book, he focuses on suburban neighborhoods, where residents respond ambivalently to golf-course geese and other unruly natural presences; in the second section, he juxtaposes these humanized places with Yellowstone National Park. Quetchenbach writes about current environmental issues in the Greater Yellowstone area—wildfire, invasive species, ever-increasing numbers of tourists—in the context of climate change and other contemporary pressures.
Accidental Gravity negotiates the difficult edge between a naive belief in an enduring, unassailable natural world and the equally naive belief that human life takes place in some unnatural, more mediated context. The title refers to the accidental but nonetheless meaningful nexus where the personal meets and combines with the universal—those serendipitous moments when the individual life connects to the larger rhythms of time and planet.
“Sizing up and taking down the things we read, watch, and play, this all-star team of analysts provides a series of delights
and surprises that will make you ponder anew the deep structures that inform our lives, even when we think we’re off-duty.”—Kyle Smith, movie critic, New York Post
Contemporary popular culture, from books to film to television to music to the deepest corners of the internet, has provoked a great deal of criticism, some of it well deserved. Yet for many Americans, and particularly for younger Americans, popular culture is culture. It is the only kind of cultural experience they seek and the currency in which they trade.
In Acculturated, twenty-three thinkers examine the rituals, the myths, the tropes, the peculiar habits, the practices, and the neuroses of our modern era. Every culture finds a way for people to tell stories about ourselves. We rely on these stories to teach us why we do the things we do, to test the limits of our experience, to reaffirm deeply felt truths about human nature, and to teach younger generations about vice and virtue, honor and shame, and a great deal more. A phenomenon like the current crop of reality television shows, for example, with their bevy of “real” housewives, super-size families, and toddler beauty-pageant candidates, seems an unlikely place to find truths about human nature or examples of virtue. And yet on these shows, and in much else of what passes for popular culture these days, a surprising theme emerges: Move beyond the visual excess and hyperbole, and you will find the makings of classic morality tales.
As the title suggests, readers will find in these pages “ACulture Rated.” This lively roundtable of “raters” includes not only renowned cultural critics like Caitlin Flannigan and Chuck Colson, but also celebrated culture creators like the producers of the hit ABC comedy Modern Family and the host of TLC’s What Not to Wear. Editors Christine Rosen and Naomi Schaefer Riley have tasked these contributors—both the critics and the insiders—with taking a step or two back from the unceasing din of popular culture so that they might better judge its value and its values and help readers think more deeply about the meaning of the narratives with which they are bombarded every waking minute. In doing so, the editors hope to foster a wide-reaching public conversation—one that will help all of us to think more clearly about our culture.
Free excerpts, videos, and additional commentary available on www.acculturated.com.
In this honest and tender collection of essays, award-winning memoirist Michele Weldon asks what it means to be a mature woman seeking a life of purpose and meaning through work, family, and relationships. Facing ageism and invisibility within popular culture, Weldon examines the effects of raising children, striving for applause, failing expectations, forming new friendships, reconciling lost dreams, and restoring one’s faith. With sincerity and humor, she unwraps family traditions, painting classes, lap swimming, dress codes, and career disappointments. She addresses white privilege and her evolving understanding of racism. And she asks crucial questions about mortality, finding connection in writing and stories.
Frank, eloquent, and daring, Weldon dissects the intricacies of life, journeying toward self-discovery as a mother, daughter, sister, and friend. Readers of any age or gender will recognize the universal experience of learning to accept oneself and asking essential questions—even if there are no easy answers.
In Adventures of a Deaf-Mute, Deaf New Englander William B. Swett recounts his adventures in the White Mountains of New Hampshire in the late 1860s. Given to us in short, energetic episodes, Swett tells daring stories of narrow escapes from death and other perilous experiences during his time as a handyman and guide at the Profile House, a hotel named for the nearby Old Man of the Mountain rock formation. A popular destination, the hotel attracted myriad guests, and Swett’s tales of rugged endurance are accompanied by keen observations of the people he meets.
Confident in his identity as a Deaf “mute,” he notes with wry humor the varied perceptions of deafness that he encounters. As a signing Deaf person from a prominent multigenerational Deaf family, he counters negative stereotypes with generosity and a smart wit. He takes pride in his physical abilities, which he showcases through various stunts and arduous treks in the wilderness. However, Swett’s writing also reveals a deep awareness of the fragility and precariousness of life. This is a portrait of a man testing his physical and emotional limits, written from the vantage point of someone who is no longer a young man but is still very much in the prime of his life.
This collection also includes “Mr. Swett and His Diorama,” an article from 1859 in which Swett describes his miniature recreation of the Battle of Lexington, as well as Manual Alphabets, a pamphlet published in 1875 on the history of manual alphabets that includes short biographies of Thomas Hopkins Gallaudet and Laurent Clerc, two pioneers of Deaf education in the United States. The work is accompanied by a new introduction that offers a reflection on Swett’s life and the time in which he lived.
Aesop’s Anthropology is a guide for thinking through the perplexing predicaments and encounters that arise as the line between human and nonhuman shifts in modern life. Recognizing that culture is not unique to humans, John Hartigan Jr. asks what we can learn about culture from other species. He pursues a variety of philosophical and scientific ideas about what it means to be social using cultural dynamics to rethink what we assume makes humans special and different from other forms of life. Through an interlinked series of brief essays, Hartigan explores how we can think differently about being human.
Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.
The UNESCO headquarters in Paris. The Pirelli skyscraper in Milan. The Palazetto dello Sport in Rome. The "soaring beauty" of Pier Luigi Nervi's visionary designs and buildings changed cityscapes in the twentieth century. His uncanny ingenuity with reinforced concrete, combined with a gift for practical problem solving, revolutionized the use of open internal space in structures like arenas and concert halls. Aesthetics and Technology in Building: The Twenty-First-Century Edition introduces Nervi's ideas about architecture and engineering to a new generation of students and admirers. More than 200 photographs, details, drawings, and plans show how Nervi put his ideas into practice. Expanding on the seminal 1961 Norton Lectures at Harvard, Nervi analyzes various functional and construction problems. He also explains how precast and cast-in-place concrete can answer demands for economy, technical and functional soundness, and aesthetic perfection. Throughout, he uses his major projects to show how these now-iconic buildings emerged from structural truths and far-sighted construction processes. This new edition features dozens of added images, a new introduction, and essays by Joseph Abram, Robert Einaudi, Alberto Bologna, and Gabriele Neri on Nervi's life, work, and legacy.
A new statement of how "beauty" in nature is understood and appreciated.
Aesthetic experience is one of the fundamental ways that we develop a relationship to our natural surroundings. Emily Brady provides a comprehensive study of this type of experience and the central philosophical issues related to it, developing her own original theory of aesthetic appreciation of nature. She provides useful background to the current debate and an up-to-date critical appraisal of contemporary theories.
The context of the contemporary debate is laid out through a discussion of aesthetic experience and aesthetic qualities; early theories of aesthetic appreciation of nature, including the beautiful, the sublime, and the picturesque; and differences between artistic and environmental appreciation and interpretation. Brady situates her own approach in relation to a set of noncognitive accounts of appreciation. Her "integrated aesthetic" brings together various features of appreciation, including the senses, emotion, and imagination, with a reappraisal of the concept of disinterestedness. These ideas are further developed within the more practical domains of aesthetic judgment and education of the environment and through an examination of the role of aesthetic value in environmental conservation.
Arnold Berleant of Long Island University, a pioneer in this area of research, has declared Brady’s work, "admirably comprehensive coverage of the subject." Julie C. Van Camp of California State University, Long Beach, has said, "The bibliography is priceless. . . . The discussions of such philosophers as Kant and Dewey seem plausible and understandable to an audience of students and the educated public." This book will be valuable to readers interested in such wide-ranging subjects as philosophy, aesthetics, ethics, ecology, conservation, environmental policy-making, geography, and landscape architecture.
Civil wars, corporate exploitation, AIDS, and Ebola—but also democracy, burgeoning cities, and unprecedented communication and mobility: the future of Africa has never been more uncertain. Indeed, that future is one of the most complex issues in contemporary anthropology, as evidenced by the incredible wealth of ideas offered in this landmark volume. A consortium comprised of some of the most important scholars of Africa today, this book surveys an intellectual landscape of opposed perspectives in order to think within the contradictions that characterize this central question: Where is Africa headed?
The experts in this book address Africa’s future as it is embedded within various social and cultural forms emerging on the continent today: the reconfiguration of the urban, the efflorescence of signs and wonders and gospels of prosperity, the assorted techniques of legality and illegality, lotteries and Ponzi schemes, apocalyptic visions, a yearning for exile, and many other phenomena. Bringing together social, political, religious, and economic viewpoints, the book reveals not one but multiple prospects for the future of Africa. In doing so, it offers a pathbreaking model of pluralistic and open-ended thinking and a powerful tool for addressing the vexing uncertainties that underlie so many futures around the world.
The African Genius presents the ideas, social systems, religions, moral values, arts, and metaphysics of a range of African peoples. Basil Davidson points toward the Africa that might emerge from an ancient civilization that was overlaid and battered by colonialism, then torn apart by the upheaval of colonialism’s dismantlement. Davidson disputes the notion that Africa gained under colonialism by entering the modern world. He sees, instead, an ancient order replaced by modern dysfunction. Davidson’s depiction of the sophisticated “native genius” that has carried Africans through centuries of change is vital to an understanding of modern Africa as well.
The sixty-two short essays in After the Bell describe in many voices the emotional complexity and historical record of one experience most of us have in common: elementary and secondary school, from our first day all the way to graduation. Whether public or private, rural or urban, school is the first place we navigate on our own, learning how we stand apart, how we stand out, and where we do or don't fit in.
The essays are by emerging as well as established fiction writers, poets, social commentators, and educational theorists. Told from the point of view of students, teachers, parents, and administrators through the multiple perspectives or race, class, physical and intellectual abilities, and sexually, the stories reveal how memories of our school days haunt and sustain us.
Traditionally, the critical reputation of Nobel Prize-winning American novelist John Steinbeck (1902-1968) has rested on his achievements of the 1930s, especially In Dubious Battle (1936), Of Mice and Men (19370, The Long Valley (1938), and, of course, The Grapes of Wrath (1939), one of the most powerful – and arguable on of the greatest – American novels of this century.
Book reviewers and academic critics often turned antagonistic toward Steinbeck when he no longer produced work with the sweeping reach and social consciousness of The Grapes of Wrath. He was accused of selling out, or co-opting his talent, when in fact the inordinate public success of Grapes and especially its attendant notoriety had caused a backlash for Steinbeck. As a result he became self-conscious about his own ability, and suspicious of that “clumsy vehicle,” the novel. The very act of researching and writing Grapes, which occupied him fully for several years and which he had already conceived as his final book on proletarian themes, changed him drastically.
No longer willing to be the chronicler of Depression-era subjects, Steinbeck went afield to find new roots, new sources, new forms. For example, in the six years following the publication of Grapes, Steinbeck completed a suit of love poems; a full-length novel (bastardized by Alfred Hitchcock in his 1943 film, Lifeboat); a nonfiction scientific book, Sea of Cortez: A Leisurely Journal of Travel and Research (with Edward F. Ricketts); a documentary film, The Forgotten Village; a documentary book to help the war effort, Bombs Away: The Story of a Bomber Team; a series of articles he wrote as a war correspondent for the New York Herald Tribune (later collected as Once There Was a War); and two novels, The Moon Is Down and Cannery Row.
Steinbeck came to define himself less as a novelist and more as a man of letters, a restless experimenter with form and subject matter, and a prophetic postmodernist whose key subject for the rest of his career was the dilemma of individual choice and ethical consciousness. Thus, Steinbeck’s later fiction, from The Moon Is Down (1942) through The Winter of Our Discontent (1962), and his later nonfiction, from Sea of Cortez (1941) through Travels with Charley (1962) and America and Americans (1966), often shows a different set of stylistic, thematic, and philosophical bearings from his earlier work and underscores his dramatic shift toward “individual thinking.” A full appreciation of Steinbeck’s mid-career metamorphosis and, consequently, of his later achievement requires a corresponding shift in critical approach – a departure from the traditional New Critical norms. Instead of marginalizing these works, all the contributors to this volume agree that Steinbeck’s later publications merit – indeed, demand – closer scrutiny.
Written especially for this collection in honor of Professor Tetsumaro Hayashi, the distinguished founder and editor-in-chief of the Steinbeck Quarterly, on his retirement from Ball State University and his move to Kwassui Women’s College in Nagasaki, Japan, these essays explore new ways of addressing Steinbeck’s later work and career, and include forays into subjects as diverse as ethnicity and music. They range from treatment of his post-structuralist use of language in Sea of Cortez and his involvement as a speech writer for Franklin Delano Roosevelt’s reelection bid in 1944 to the influence of Charles Darwin’s theories of sexual selection in The Wayward Bus, his revision of the myth of Cain in The Winter of Our Discontent, and his employment of Arthurian quest values in his last book, America and Americans.
For this group of critics – which includes respected veteran Steinbeck scholars Robert DeMott, John Ditsky, Mimi Gladstein, Cliff Lewis, Robert Morsberger, Susan Shillinglaw, and Roy Simmonds, as well as talented new voices Debra Barker, Kevin Hearle, Michael Meyer, Brian Railsback, Eiko Shiraga, and Geralyn Strecker – The Moon is Down and The Wayward Bus loom as significant works in the post 1930s re-evaluation (two essays each appear on these works). The book also includes Donald Coers’s interview with the writer’s widow, Elaine Steinbeck, the first of its kind ever published. After The Grapes of Wrath opens with eminent Americanist Warren French’s appreciation of Professor Hayashi’s distinguished career and his influence in Steinbeck studies; a bibliography of Hayashi’s major publication concludes this honorary gathering.
If you could meet one deceased literary figure, who would that be? What would you ask? What would you say, and why? In AfterWord: Conjuring the Literary Dead, eighteen distinguished authors respond to this challenge by creating imagined conversations with a constellation of British and American authors, from Samuel Johnson to Jane Austen to Samuel Beckett to Edith Wharton.
Each chapter embarks on an intellectual, emotional, and often humorous voyage as the layers of time are peeled away, letting readers experience authors as they really were in their own era or, on occasion, transported to the present. As eccentric as it is eclectic, this collection takes the audience on a dizzying descent into a literary Inferno where biographers, novelists, and critics eat the food of the dead and return to tell the tale. Readers will take great pleasure in seeing what happens when scholars are loosed from the chains of fact and conduct imaginary interviews with deceased authors.
Covering 200 years of literary history, the essays in AfterWord draw upon the lifelong, consuming interest of the contributors, each fashioning a vivid, credible portrait of a vulnerable, driven, fully human character. As contributors appeal to what Margaret Atwood calls the deep human desire to “go to the land of the dead, to bring back to the living someone who has gone there,” readers are privy to questions that have seldom been asked, to incidents that have been suppressed, to some of the secrets that have puzzled readers for years, and to novel literary truths about the essential nature of each author.
Contributors to AfterWord are: Catherine Aird (on Rudyard Kipling), Brian Aldiss (on Thomas Hardy), Margaret Atwood (on negotiating with the dead), William M. Chace (on Ezra Pound), Nora Crook (on the Shelleys), Paul Delany (on George Gissing), Colin Dexter (on Alfred Edward Housman), Margaret Drabble (on Arnold Bennett), Peter Firchow (on George Orwell), Alan W. Friedman (on Samuel Beckett), Eugene Goodheart (on Jane Austen), John Halperin (on Edith Wharton), Francis King (on Oscar Wilde), Jeffrey Meyers (on Samuel Johnson), Cynthia Ozick (on Henry James), Jay Parini (on Robert Frost), Carl Rollyson (on William Faulkner), Dale Salwak and Laura Nagy (on literary imagination), Alan Sillitoe (on Joseph Conrad), and Ann Thwaite (on Frances Hodgson Burnett, Edmund Gosse, A. A. Milne, and Emily Tennyson).
A collection of portraits of many remarkable Alabamians, famous and obscure, profiled by award-winning journalist and novelist Roy Hoffman
Alabama Afternoons is a collection of portraits of many remarkable Alabamians, famous and obscure, profiled by award-winning journalist and novelist Roy Hoffman. Written as Sunday feature stories for the Mobile Press-Register with additional pieces from the New York Times, Preservation, and Garden & Gun, these profiles preserve the individual stories—and the individual voices within the stories—that help to define one of the most distinctive states in the union.
Hoffman recounts his personal visits with writer Mary Ward Brown in her library in Hamburg, with photographer William Christenberry in a field in Newbern, and with storyteller Kathryn Tucker Windham and folk artist Charlie “Tin Man” Lucas at their neighboring houses in Selma. Also highlighted are the lives of numerous alumni of The University of Alabama—among them Mel Allen, the “Voice of the Yankees” from 1939 to 1964; Forrest Gump author Winston Groom; and Vivian Malone and James Hood, the two students who entered the schoolhouse door in 1963. Hoffman profiles distinguished Auburn University alumni as well, including Eugene Sledge, renowned World War II veteran and memoirist, and Neil Davis, the outspoken, nationally visible editor of the Lee County Bulletin.
Hoffman also profiles major and minor players in the civil rights movement, from Johnnie Carr, raised in segregated Montgomery and later president of the Montgomery Improvement Association; and George Wallace Jr., son of the four-time governor; to Theresa Burroughs, a Greensboro beautician trampled in the march over the Edmund Pettus Bridge; and Diane McWhorter, whose award- winning book explores the trouble- filled Birmingham civil rights experience. Juxtaposed with these are accounts of lesser-known individuals, such as Sarah Hamm, who attempts to preserve the fading Jewish culture in Eufaula; Edward Carl, who was butler and chauffeur to Bellingrath Gardens founder Walter Bellingrath in Theodore; and cousins William Bolton and Herbert Henson, caretakers of the coon dog cemetery in Russellville.
Hoffman’s compilation of life stories creates an engaging and compelling look into what it means to be from, and shaped by, Alabama. “Alabama Afternoons,” he writes in the introduction, “is a small part of the even bigger question of what it means to be an American.”
Read an article about domestic lives by Roy Hoffman in the New York Times here: http://www.nytimes.com/2010/11/25/garden/25Domestic.html
This aptly named book contains 22 selections by John Muir, John McPhee, Barry Lopez, and others on Alaska and to some extent on the neighboring Yukon, accompanied by a small but evocative collection of photographs of Eskimos. The pieces, most of which are top-notch, vividly describe the harsh climate, the Arctic and sub-Arctic habitats, and the animals of Alaska, and tell the stories of the Native Americans and others who have made their home or worked in the North. This excellent sampler of some of the best writing on Alaska is recommended for academic and, especially, public libraries.
Albert Camus Harvard University Press, 2013 Library of Congress DT295.C293 2013 | Dewey Decimal 965.04
More than 50 years after independence, Algerian Chronicles, with its prescient analysis of the dead end of terrorism, appears here in English for the first time. Published in France in 1958—the year the war caused the collapse of the Fourth French Republic—it is one of Albert Camus’ most political works: an exploration of his commitment to Algeria.
Advisors face quite a challenge as they sort through the daunting and ever-changing world of nationally competitive undergraduate and graduate fellowships in order to assist talented students searching for funding for exceptional academic opportunities.
This collection of essays helps advisors by providing information about major changes in the fellowship and scholarship landscape. Included is guidance on the new Schwarzman scholarship for study in China, the recently added video interview for the Mitchell scholarship, and the new rules for the Rhodes personal statement (an advisor’s take). Additionally, seasoned advisors share practical advice, ranging from workshops that engage students and faculty to helpful technological tools to personal statements and office assessments. Keeping the focus on the scholar in the scholarship process is a central theme. All before Them is an important addition to any faculty mentor’s or scholarship advisor’s toolkit.
Amidst Mad Cow scares and consumer concerns about how farm animals are bred, fed, and raised, many farmers and homesteaders are rediscovering the traditional practice of pastoral farming. Grasses, clovers, and forbs are the natural diet of cattle, horses, and sheep, and are vital supplements for hogs, chickens, and turkeys. Consumers increasingly seek the health benefits of meat from animals raised in green paddocks instead of in muddy feedlots.
In All Flesh Is Grass: The Pleasures and Promises of Pasture Farming, Gene Logsdon explains that well-managed pastures are nutritious and palatable—virtual salads for livestock. Leafy pastures also hold the soil, foster biodiversity, and create lovely landscapes. Grass farming might be the solution for a stressed agricultural system based on an industrial model and propped up by federal subsidies.
In his clear and conversational style, Logsdon explains historically effective practices and new techniques. His warm, informative profiles of successful grass farmers offer inspiration and ideas. His narrative is enriched by his own experience as a “contrary farmer” on his artisan-scale farm near Upper Sandusky, Ohio.
All Flesh Is Grass will have broad appeal to the sustainable commercial farmer, the home-food producer, and all consumers who care about their food.
Gambling, the risky enterprise of chance, is one of America’s favorite pastimes. Office March Madness brackets, a day at the race track, a friendly wager, the random ridiculous Super Bowl prop bet, bingo night, or the latest media frenzy over the Powerball jackpot—all emphasize the ubiquity of this major economic force and cultural phenomenon. Approximately 70 percent of Americans regularly engage in some form of betting, amounting to over $140 billion in combined casino and lottery revenue every year. A hundred years ago, however, legal gambling was a rarity in the United States.
A fresh take on the history of modern American gambling, All In provides a closer look at the shifting economic, cultural, religious, and political conditions that facilitated gambling’s expansion and prominence in American consumerism and popular culture. In its pages, a diverse range of essays covering commercial and Native American casinos, sports betting, lotteries, bingo, and more piece together a picture of how gambling became so widespread over the course of the twentieth century.
Drawing from a range of academic disciplines, this collection explores five aspects of American gambling history: crime, advertising, politics, religion, and identity.
In doing so, All In illuminates the on-the-ground debates over gambling’s expansion, the failed attempts to thwart legalized betting, and the consequences of its present ubiquity in the United States.
All My Days Are Saturdays
Sam Pickering University of Missouri Press, 2014 Library of Congress AC8.P658 2014 | Dewey Decimal 814.54
A New York Times article once stated that “the art of the essay as delivered by [Sam] Pickering is the art of the front porch ramble.” As Pickering himself puts it, “Well, I have gotten considerably older, and humor has come to mean more and more to me. And if I’m on the front porch, I am in a rocking chair.” All My Days Are Saturdays offers fifteen new pieces in which he ponders a world that has changed and, in new ways, still delights him. This collection features Pickering writing about teaching and his recent retirement, visits to various locales, and, as he tell us, “the many people I meet…who tell me their stories, small tales that make one laugh and sigh.”
Distinctive and unmistakable, Pickering’s style deftly mixes the colloquial language of everyday life with references to a lifetime of extensive reading. The seamless blend of these two worlds in his writing is indicative of how they fuse together in his daily life. As Pickering puts it, “All my life I have roamed libraries, almost as much as I have roamed the natural world. I try to get at many truths, but when I tell the truth, I ‘tell it slant.’ I do so to describe life as it is and indeed celebrate that ‘as it is.’”
“Pickering is a master of his craft, one of the finest of personal essayists around, and these essays bear many of the characteristics of his other volumes—reflections on his everyday activities and on individuals around him, humorous exchanges with his wife, and so forth. But this volume seems to have something else as well. We find here a thoughtful meditation on time and self and relative old age demonstrating a close attention to the natural world—a tone not unlike Thoreau’s at times.” -- Fred C. Hobson, Professor of English, University of North Carolina, Chapel Hill, and author or editor of fourteen books, most recently A Southern Enigma: Essays on the U.S. South
A collection of personal essays examining relationships, whiteness, and masculinity.
Nicholas Ward’s debut essay collection, All Who Belong May Enter, centers on self-exploration and cultural critique. These deeply personal essays examine whiteness, masculinity, and a Midwest upbringing through tales of sporting events, parties, posh (and not-so-posh) restaurant jobs, and the many relationships built and lost along the way. With a storyteller’s spirit, Ward recounts and evaluates the privilege of his upbringing with acumen and vulnerability. Ward’s profound affection for his friends, family, lovers, pets, and particularly for his chosen home, Chicago, shines through. This collection offers readers hope for healing that comes through greater understanding and inquiry into one’s self, relationships, and culture. Through these essays, Ward acknowledges his position within whiteness and masculinity, and he continuously holds himself and the society around him accountable.
All Who Belong May Enter was selected by Jaquira Díaz as the winner of the 2020 Autumn House Press Nonfiction Prize.
Of Angie Estes, the poet and critic Stephanie Burt has written that she “has created some of the most beautiful verbal objects in the world.” In The Allure of Grammar, Doug Rutledge gathers insightful responses to the full range of Estes’s work—from a review of her first chapbook to a reading of a poem appearing in her 2018 book, Parole—that approach these beautiful verbal objects with both intellectual rigor and genuine awe.
In addition to presenting an overview of critical reactions to Estes’s oeuvre, reviews by Langdon Hammer, Julianne Buchsbaum, and Christopher Spaide also provide a helpful context for approaching a poet who claims to distrust narrative. Original essays consider the craft of Estes’s poetry and offer literary analysis. Ahren Warner uses line breaks to explore a postmodern analysis of Estes’s work. Mark Irwin looks at her poetic structure. Lee Upton employs a feminist perspective to explore Estes’s use of italics, and B. K. Fischer looks at the way she uses dance as a poetic image. Doug Rutledge considers her relationship to Dante and to the literary tradition through her use of ekphrasis. An interview with Estes herself, in which she speaks of a poem as an “arranged place . . . where experience happens,” adds her perspective to the mix, at turns resonating with and challenging her critics.
The Allure of Grammar will be useful for teachers and students of creative writing interested in the craft of non-narrative poetry. Readers of contemporary poetry who already admire Estes will find this collection insightful, while those not yet familiar with her work will come away from these essays eager to seek out her books.
Long frequented by pirates and haunted by pariahs, Baja California has become a favorite destination for whale watchers, hikers, and scuba divers. For Bruce Berger it has been more. In Almost an Island, he takes readers beyond the Baja of guidebooks and offers a wildly entertaining look at the real Baja California.
Eight hundred miles long, Baja California is the remotest region of the Sonoran desert, a land of volcanic cliffs, glistening beaches, fantastical boojum trees, and some of the greatest primitive murals in the Western Hemisphere. In Almost an Island, Berger recounts tales from his three decades in this extraordinary place, enriching his account with the peninsula's history, its politics, and its probable future—rendering a striking panorama of this land so close to the United States, so famous, and so little known.
Readers will meet a cast of characters as eccentric as the place itself: Brandy, who ranges the desert in a sand buggy while breathing from an oxygen tank; Katie, the chanteuse; nuns illegally raising pigs. They will encounter the tourist madness of a total eclipse, the story of the heir to an oasis, a musical Mata Hari, rare pronghorn antelope, and a pet tarantula. In prose as glittering as this desert engulfed by the sea, Almost an Island is a fascinating journey into the human heart of a spectacular land.
Alms for Oblivion
Edward DahlbergForeword by Sir Herbert Read University of Minnesota Press, 1967
Alms for Oblivion was first published in 1967. 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.
This volume makes available in book form a collection of seventeen essays by Edward Dahlberg, who has been called one of the great unrecognized writers of our time. Some of the selections have never been published before; others have appeared previously only in magazines of limited circulation. There is a foreword by Sir Herbert Read.
The individual essays are on a wide range of subjects: literary, historical, philosophical, personal. The longest is a discussion of Herman Melville's work entitled "Moby-Dick - A Hamitic Dream." The fate of authors at the hands of reviewers is the subject of the essay called "For Sale." In "No Love and No Thanks" the author draws a characterization of our time. He presents a critique of the poet William Carlos Williams in "Word-Sick and Place- Crazy," and a discussion of F. Scott Fitzgerald in "Peopleless Fiction." In "My Friends Stieglitz, Anderson, and Dreiser" he discusses not only Alfred Stieglitz, Sherwood Anderson, and Theodore Dreiser but other personalities as well. He also writes of Sherwood Anderson in "Midwestern Fable." In "Cutpurse Philosopher" the subject is William James. "Florentine Codex" is about the conquistadores. Other essays in the collection are the following: "Randolph Bourne," "Our Vanishing Cooperative Colonies," "Chivers and Poe," "Domestic Manners of Americans," "Robert McAlmon: A Memoir," "The Expatriates: A Memoir," and an essay on Allen Tate.
A bullet misses its target in Sarajevo, a would-be Austrian painter gets into the Viennese academy, Lord Halifax becomes British prime minister in 1940 instead of Churchill: seemingly minor twists of fate on which world-shaking events might have hinged. Alternative history has long been the stuff of parlor games, war-gaming, and science fiction, but over the past few decades it has become a popular stomping ground for serious historians. The historian Richard J. Evans now turns a critical, slightly jaundiced eye on a subject typically the purview of armchair historians. The book’s main concern is examining the intellectual fallout from historical counterfactuals, which the author defines as “alternative versions of the past in which one alteration in the timeline leads to a different outcome from the one we know actually occurred.” What if Britain had stood at the sidelines during the First World War? What if the Wehrmacht had taken Moscow? The author offers an engaging and insightful introduction to the genre, while discussing the reasons for its revival in popularity, the role of historical determinism, and the often hidden agendas of the counterfactual historian. Most important, Evans takes counterfactual history seriously, looking at the insights, pitfalls, and intellectual implications of changing one thread in the weave of history. A wonderful critical introduction to an often-overlooked genre for scholars and casual readers of history alike.
Alternative Pathways to Complexity focuses on the themes of architecture, economics, and power in the evolution of complex societies. Case studies from Mesoamerica, Asia, Africa, and Europe examine the relationship between political structures and economic configurations of ancient chiefdoms and states through a framework of comparative archaeology.
A group of highly distinguished scholars takes up important issues, theories, and methods stemming from the nascent body of research on comparative archaeology to showcase and apply important theories of households, power, and how the development of complex societies can be extended and refined. Drawing on the archaeological, ethnohistorical, and ethnographic records, the chapters in this volume contain critical investigations on the role of collective action, economics, and corporate cognitive codes in structuring complex societies.
Alternative Pathways to Complexity is an important addition to theoretical development and empirical research on Mesoamerica, the Old World, and cross-cultural studies. The theoretical implications addressed in the chapters will have broad appeal for scholars grappling with alternative pathways to complexity in other regions as well as those addressing diverse cross-cultural research.
Contributors: Sarah B. Barber, Cynthia L. Bedell, Christopher S. Beekman, Frances F. Berdan, Tim Earle, Carol R. Ember, Gary M. Feinman, Arthur A. Joyce, Stephen A. Kowalewski, Lisa J. LeCount, Linda M. Nicholas, Peter N. Peregrine, Peter Robertshaw, Barbara L. Stark, T. L. Thurston, Deborah Winslow, Rita Wright
Noel Perrin’s delightful account of building a sugarhouse and making maple sugar in Vermont first appeared twenty years ago. Like a sturdy New England farmhouse, Perrin has added to it over the years to reflect his subsequent sugaring experiences, and includes in this latest edition a “postpostpostscript.” His celebration of simple, hard work to produce a “quite wonderful, maybe even sacred article” has not been diminished by plastic tubing, thrip infestations, and the strange new market for Vermont sap water.
When defining culture, one must indeed take into account even the minutest of details. What of a lighter, for example, or a telephone? The essays in this new collection examine just that. The contributors pose not only a historical, pragmatic use for the items, but also delve into more imaginative aspects of what defines us as Americans. Both the lighter and the telephone are investigated, as well as how the lava lamp represents sixties counterculture and containment. The late nineteenth-century corset is discussed as an embodiment of womanhood, and an Amish quilt is used as an illustration of cultural continuity. These are just a few of the artifacts discussed. Scholars will be intrigued by the historical interpretations that contributors proposed concerning a teapot, card table, and locket; students will not only find merit in the expositions, but also by learning from the models how such interpretation can be carried out. This collection helps us understand that very thing that makes us who we are. Viewing these objects from both our past and our present, we can begin to define what it is to be American.
For ages an endeavor simply ignored and for decades a calling held in contempt, the study of popular culture has in our time been coming of age. For this, we can thank scholars such as Professor Lohof. In this volume he discusses some aspects of American popular culture: advertising and celebrities, architecture, short fiction and magazines, the academy. Professor Lohof analyzes these subjects with a variety of methodological approaches: the myth/image movement; the literature of sociology, structuralist theory and statistical content analysis.
American Culture comprises fifteen essays looking at the familiar and the less familiar in American society: urbanites in Pittsburgh and Indianapolis, rural communities in the American West, Hispanics in Wisconsin, Samoans in California, the Amish, and the utopian religious communities of the Shakers and Oneida. The essays address a wide range of topics and a spectrum of occupations-miners, whalers, farmers, factory workers, physicians and nurses-to consider such questions as why some religious sects remain distinctive, separate, and viable; how groups use of such things as nicknames and family reunions to maintain ties within the community; how immigrant communities organize to sustain traditional cultural activities.
These eleven original essays by leading wildlife management and public policy scholars deal with policy issues, management perspectives, and the public attitudes about wildlife that shape the world of the wildlife manager.
Part 1 contains William R. Mangun’s introductory essay "Fish and Wildlife Policy Issues" and Daniel J. Decker et al.’s "Toward a Comprehensive Paradigm of Wildlife."
Ann H. Harvey’s "Interagency Conflict and Coordination in Wildlife Management," Philip S. Cook and Ted T. Cable’s "Developing Policy for Public Access to Private Land," and Debra A. Rose’s "Implementing Endangered Species Policy" make up part 2.
Part 3 consists of Cliff Hamilton’s "Pursuing a New Paradigm in Funding State Fish and Wildlife Programs" and Trellis G. Green’s "Use of Economics in Federal and State Fishery Allocation Decisions."
The fourth part includes James J. Kennedy and Jack Ward Thomas’s "Exit, Voice, and Loyalty of Wildlife Biologists in Public Natural Resource/Environmental Agencies"; Jean C. Mangun et al.’s "Nonconsumptive Wildlife-Associated Recreation in the United States"; and Barbara A. Knuth’s "Natural Resource Hazards: Managing to Protect People from the Resource."
In part 5, Joseph F. Coates looks to the future in "Public Policy Actors and Futures."
Since the release of Rosemary's Baby in 1968, the American horror film has become one of the most diverse, commercially successful, widely discussed, and culturally significant film genres. Drawing on a wide range of critical methods---from close textual readings and structuralist genre criticism to psychoanalytical, feminist, and ideological analyses---the authors examine individual films, directors, and subgenres.
In this collection of twelve essays, Gregory Waller balances detailed studies of both popular films (Night of the Living Dead, The Exorcist, and Halloween) and particularly problematic films (Don't Look Now and Eyes of Laura Mars) with discussions of such central thematic preoccupations as the genre's representation of violence and female victims, its reflexivity and playfulness, and its ongoing redefinition of the monstrous and the normal.
In addition, American Horrors includes a filmography of movies and telefilms and an annotated bibliography of books and articles about horror since 1968.
This collection of essays taken from a series of papers given at the Popular Culture division of the MLA convention in 1987 consists of a serious investigation of Popular Culture and in simplest terms investigates what people do and why they do it. Rolin's collection deals with the national identity of consumer countries and comes to grips with the fact that the consumption of foreign products could generate emoions of disjunction and displacement.
Following his English setters into thickets in search of grouse and woodcock, Mark Parman feels the pull of older ways and lost wisdom. How rare it is, in our high-tech world, to find oneself completely off the track, bewildered in the wild, and then find the path home by sight and scent and memory.
Among the Aspen interweaves tales of companionable dogs, lucky hunts, and favorite coverts where quarry lurks with ruminations on the demise of hunting traditions, the sale of public lands and the privatization of places to hunt, the growing indifference to science, and the loss of wilderness on a planet increasingly transformed by the sprawl of humanity.
“Experience” is a thoroughly political category, a social and historical product not authored by any individual. At the same time, “the personal is political,” and one's own lived experience is an important epistemic resource. In Anaesthetics of Existence Cressida J. Heyes reconciles these two positions, drawing on examples of things that happen to us but are nonetheless excluded from experience. If for Foucault an “aesthetics of existence” was a project of making one's life a work of art, Heyes's “anaesthetics of existence” describes antiprojects that are tacitly excluded from life—but should be brought back in. Drawing on critical phenomenology, genealogy, and feminist theory, Heyes shows how and why experience has edges, and she analyzes phenomena that press against those edges. Essays on sexual violence against unconscious victims, the temporality of drug use, and childbirth as a limit-experience build a politics of experience while showcasing Heyes's much-needed new philosophical method.
Temple worship has long distinguished the Church of Jesus Christ of Latter-day Saints from mainstream Christendom. Even the denominations that trace their roots to LDS Church founder Joseph Smith have largely defined temple doctrines and ordinances as relics of the past; others have adopted and restored them to what they deem to be their purest form. To understand the LDS people is to grasp the impact the temple has had on church members as they embraced both temple-related teachings as essential to exaltation as well as the brick-and-mortar structures that stand as symbols of faith and sacrifice.
Christian Larsen has assembled a collection of essays that illuminate the role of the temple and its rocky relationship with controversial subjects such as race and marriage. Some temples were built, abandoned, and given new life; others were either constructed for temporary use or never built at all. The nature of LDS temple ordinances is such that what LDS members deem sacred, others dismiss as secret.
Photographer and writer Joel Katz presents a pictorial chronicle of his travels through the shifting islands of fear and loss, freedom and deliverance that was segregated Mississippi during the Freedom Summer of 1964
In June 1964, college student Joel Katz boarded a Greyhound bus in Hartford, Connecticut, for Jackson, Mississippi. He carried few possessions—a small bag of clothes, a written invitation to call on Frank Barber, who was special assistant to Governor Paul Johnson, and a Honeywell Pentax H1-A camera with three lenses.
A few days after his arrival in Jackson, the city’s Daily News ran on its front page an FBI alert seeking Andrew Goodman, James Chaney, and Michael Schwerner, three field workers from the Congress of Racial Equality (CORE) who’d gone missing while investigating a church burning in Neshoba County. In the uneasy silence of their disappearance, Katz began a seven-week journey across the state. Along the way, he met the people of Mississippi, black and white, of all ages and classes, from the humble to the grand. These Mississippians encouraged or obstructed change in their traditional culture or simply observed the edifice of that culture tremble and fall.
During 1964’s Freedom Summer, Katz met ministers making history and journalists writing it. He photographed Martin Luther King Jr. and James Abernathy, taught at a freedom school, interviewed a leader of the White Citizens Councils, was harassed by Jackson police, and escaped death in Vicksburg. Six weeks after Katz arrived in Mississippi, the FBI found the bodies of Goodman, Chaney, and Schwerner in an earthen dam.
Inspired by the social documentary photographs of Walker Evans and Robert Frank, Katz snapped hauntingly quotidian photos on his Pentax camera. Amid acts of brutal savagery and transcendent courage that transfixed the nation, Katz discovered resilient individuals living quiet lives worthy of witness. And I Said No Lord is a moving and luminous record of Americans in evolution.
Craig Waddell presents essays investigating Rachel Carson’ s influential 1962 book, Silent Spring. In his foreword, Paul Brooks, Carson’ s editor at Houghton Mifflin, describes the process that resulted in Silent Spring. In an afterword, Linda Lear, Carson’ s recent biographer, recalls the end of Carson’ s life and outlines the attention that Carson’ s book and Carson herself received from scholars and biographers, attention that focused so minutely on her life that it detracted from a focus on her work. The foreword by Brooks and the afterword by Lear frame this exploration within the context of Carson’ s life and work.
Contributors are Edward P. J. Corbett, Carol B, Gartner, Cheryll Glotfelty, Randy Harris, M. Jimmie Killingsworth, Linda Lear, Ralph H. Lutts, Christine Oravec, Jacqueline S. Palmer, Markus J. Peterson, Tarla Rai Peterson, and Craig Waddell. Together, these essays explore Silent Spring’ s effectiveness in conveying its disturbing message and the rhetorical strategies that helped create its wide influence.
Jane Gallop Duke University Press, 2002 Library of Congress PN98.W64G33 2002 | Dewey Decimal 801.9509048
"Anecdote" and "theory" have diametrically opposed connotations: humorous versus serious, specific versus general, trivial versus overarching, short versus grand. Anecdotal Theory cuts through these oppositions to produce theory with a sense of humor, theorizing which honors the uncanny detail of lived experience. Challenging academic business as usual, renowned literary scholar Jane Gallop argues that all theory is bound up with stories and urges theorists to pay attention to the "trivial," quotidian narratives that theory all too often represses.
Published during the 1990s, these essays are united through a common methodological engagement—writing that recounts a personal anecdote and then attempts to read that anecdote for the theoretical insights it affords. Gallop addresses many of the major questions of feminist theory, regularly revisiting not only ‘70s feminism, but also poststructuralism and the academy, for, as Gallop explains, the practice of anecdotal theory derives from psychoanalysis, deconstruction, and feminism. Whether addressing issues of pedagogy, the sexual position one occupies when on the academic job-market, bad-girl feminists, or the notion of sisterhood, these essays exemplify theory grappling with its own erotics, theory connected to the real. They are bold, illuminating, and—dare we say—fun.
Another Way the River Has collects Robin Cody’s finest nonfiction writings, many appearing for the first time in print. Cody’s prose rings with a sense of place. He is a native speaker who probes the streams and woods and salmon that run to the heart of what it means to live and love, to work and play, in Oregon.
His characters—from loggers to fishers to cowboys to the kids on his school bus—are smart and curious, often off-beat, always vivid. Cody brings the ear of a novelist and the eye of a reporter to the people and places that make the Northwest, and Northwest literature, distinctive.
“A rock, you know, will sink like a stone in water. But a flat rock, slung spinningly near the water surface and at an angel parallel to it, will go skipping across the water in defiance of gravity and common sense. How cool is that?! The first time a boy pulls this off ranks just short of first-time sex on the scale of things he will want to do over and over whenever he can and as long as he lives.”
Answerable Style was first published in 1953. 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.
By the use of both new and traditional techniques of critical analysis, Arnold Stein presents in this volume of six essays a fresh interpretation of Milton's epic.
Beginning with the assumption that style is "answerable" to idea, he has tried to trace Milton's epic vision as it is bodied forth in patterns of structure (the ideas tested in action) and patterns of expression (the ideas tested in style). Mr. Stein explains: "My approach is in part based on an attempt to accept as fact both that I am a twentieth century reader and that this is a seventeenth-century poem. Milton is, I think, illuminated by some modern critical considerations; and some of those considerations are in turn illuminated, and some are found wanting."
"Elegantly written essays. . . . Roseberry is the real gem, an anthropologist with extensive Latin American field experience and an impressive scholarly grasp of the histories of anthropology and Marxist theory."--Micaela di Leonardo, The Nation "An extremely stimulating volume . . . rich and provocative, and codifies a new depature point."--Choice "As a critic . . . Roseberry writes with sustained force and clarity. . . . his principal points emerge with a directness that will make this book attractive to a wide range of readers."--American Anthropologist "Roseberry in among the most astute, careful, and theoretically cogent of the anthropologists of his generation. . . . [This book] illustrates well the breadth and coherence of his thinking and guides the reader through the complicated intersections of anthropology with history, political economy, Marxism, and Latin American studies."--Jane Schneider, CUNY In Anthropologies and Histories, William Roseberry explores some of the cultural and political implications of an anthropological political economy. In his view, too few of these implications have been explored by authors who dismiss the very possibility of a political economic understanding of culture. Within political economy, readers are offered sophisticated treatments of uneven development, but when authors turn to culture and politics, they place contradictory social experiences within simplistic class or epochal labels. Within cultural anthropology, history is often little more than new terrain for extending anthropological practice. Roseberry places culture and history in relation to each other, in the context of a reflection on the political economy of uneven development. In the first half of this books, he looks at and critiques a variety of anthropological understandings of culture, arguing for an approach that sees culture as socially constituted and socially constitutive. Beginning with a commentary on Clifford Geertz's seminal essay on the Balinese cockfight, Roseberry argues that Geertz and his followers pay insufficient attention to cultural differentiation, to social and political inequalities that affect actors' different understandings of the world, other people, and of themselves. Sufficient attention to such questions, Roseberry argues, requires a concern for political economy. In the second half of the book, Roseberry explores the assumptions and practices of political economy, indicates the kind of problems that should be central to such an approach, and reviews some of the inadequacies of anthropological studies. William Roseberry is a professor of anthropology at the New School for Social Research.
Antinomies of Modernity asserts that concepts of race, Orient, and nation have been crucial to efforts across the world to create a sense of place, belonging, and solidarity in the midst of the radical discontinuities wrought by global capitalism. Emphasizing the continued salience at the beginning of the twenty-first century of these supposedly nineteenth-century ideas, the essays in this volume stress the importance of tracking the dynamic ways that race, Orient, and nation have been reworked and used over time and in particular geographic locations.
Drawing on archival sources and fieldwork, the contributors explore aspects of modernity within societies of South Asia, the Middle East, and Africa. Whether considering how European ideas of Orientalism became foundational myths of Indian nationalism; how racial caste systems between blacks, South Asians, and whites operate in post-apartheid South Africa; or how Indian immigrants to the United States negotiate their identities, these essays demonstrate that the contours of cultural and identity politics did not simply originate in metropolitan centers and get adopted wholesale in the colonies. Colonial and postcolonial modernisms have emerged via the active appropriation of, or resistance to, far-reaching European ideas. Over time, Orientalism and nationalist and racialized knowledges become indigenized and acquire, for all practical purposes, a completely "Third World" patina. Antinomies of Modernity shows that people do make history, constrained in part by political-economic realities and in part by the categories they marshal in doing so. Contributors. Neville Alexander, Andrew Barnes, Vasant Kaiwar, Sucheta Mazumdar, Minoo Moallem, Mohamad Tavakoli-Targhi, A. R. Venkatachalapathy, Michael O. West
2020 American Book Award winner, Walter & Lillian Lowenfels Criticism Award
Weatherford Award winner, nonfiction
With hundreds of thousands of copies sold, a Ron Howard movie in the works, and the rise of its author as a media personality, J. D. Vance’s Hillbilly Elegy: A Memoir of a Family and Culture in Crisis has defined Appalachia for much of the nation. What about Hillbilly Elegy accounts for this explosion of interest during this period of political turmoil? Why have its ideas raised so much controversy? And how can debates about the book catalyze new, more inclusive political agendas for the region’s future?
Appalachian Reckoning is a retort, at turns rigorous, critical, angry, and hopeful, to the long shadow Hillbilly Elegy has cast over the region and its imagining. But it also moves beyond Hillbilly Elegy to allow Appalachians from varied backgrounds to tell their own diverse and complex stories through an imaginative blend of scholarship, prose, poetry, and photography. The essays and creative work collected in Appalachian Reckoning provide a deeply personal portrait of a place that is at once culturally rich and economically distressed, unique and typically American. Complicating simplistic visions that associate the region almost exclusively with death and decay, Appalachian Reckoning makes clear Appalachia’s intellectual vitality, spiritual richness, and progressive possibilities.
Marcia Bonta University of Pittsburgh Press, 1991 Library of Congress QH104.5.A6B66 1991 | Dewey Decimal 508.748
Marcia Bonta is a naturalist-writer who has lived on a 500-acre mountain-top farm in central Pennsylvania for twenty years. Appalachian Spring is her personal account of that glorious spectacle - the coming of the spring to the woods and fields of Appalachia.
Tony Kushner's complex and demanding play Angels in America: A Gay Fantasia on National Themes has been the most talked about, analyzed, and celebrated play of the decade. The critic Harold Bloom has included Kushner's play in his "Western canon" alongside Shakespeare and the Bible, and drama scholar John M. Clum has termed it "a turning point in the history of gay drama, the history of American drama, and of American literary culture." While we might be somewhat wary of the instant canonization that such critical assessments confer, clearly Kushner's play is an important work, honored by the Pulitzer Prize, thought worthy of recognition on "purely aesthetic" grounds at the same time that it has been embraced--and occasionally rejected--for its politics.
Kushner's play explicitly positions itself in the current American conflict over identity politics, yet also situates that debate in a broader historical context: the American history of McCarthyism, of immigration and the "melting pot," of westward expansion, and of racist exploitation. Furthermore, the play enters into the politically volatile struggles of the AIDS crisis, struggles themselves interconnected with the politics of sexuality, gender, race, and class.
The original essays in Approaching the Millennium explore the complexities of the play and situate it in its particular, conflicted historical moment. The contributors help us understand and appreciate the play as a literary work, as theatrical text, as popular cultural phenomenon, and as political reflection and intervention. Specific topics include how the play thematizes gender and sexuality, race and ethnicity; the postmodern incarnation of the Brechtian epic; AIDS and the landscape of American politics. The range of different international productions of Angels in America provides a rich basis for discussion of its production history, including the linguistic and cultural shifts required in its "translation" from one stage to the next.
The last section of Approaching the Millennium includes interviews with Tony Kushner and other key creators and players involved in the original productions of Angels. The interviews explore issues raised earlier in the volume and dialogues between the creative artists who have shaped the play and the critics and "theatricians" engaged in responding to it.
Contributors to this volume are Arnold Aronson, Art Borreca, Gregory W. Bredbeck, Michael Cadden, Nicholas de Jongh, Allen J. Frantzen, Stanton B. Garner, Deborah R. Geis, Martin Harries, Steven F. Kruger, James Miller, Framji Minwalla, Donald Pease, Janelle Reinelt, David Román, David Savran, Ron Scapp, and Alisa Solomon.
Deborah Geis is Associate Professor of English, Queens College, City University of New York. Steven F. Kruger is Professor and Chair of the Department of English, Queens College, City University of New York.
Rated Outstanding by the American Association of School Libraries
This is the first book to be written by autistic college students about the challenges they face. Aquamarine Blue 5 details the struggle of these highly sensitive students and shows that there are gifts specific to autistic students that enrich the university system, scholarship, and the world as a whole.
Dawn Prince-Hughes presents an array of writings by students who have been diagnosed with Asperger’s Syndrome or High-Functioning Autism, showing their unique ways of looking at and solving problems. In their own words, they portray how their divergent thinking skills could be put to great use if they were given an opportunity. Many such students never get the chance because the same sensitivity that gives them these insights makes the flicker of fluorescent lights and the sound of chalk on the board unbearable For simple—and easily remedied—reasons, we lose these students, who are as gifted as they are challenged.
Aquamarine Blue 5 is a showcase of the strength and resilient character of individuals with Asperger’s Syndrome. It will be an invaluable resource for those touched by this syndrome, their friends and families, and school administrators.
Archetypal Light: Poems
Elizabeth Dodd University of Nevada Press, 2001 Library of Congress PS3554.O3177A89 2001 | Dewey Decimal 811.54
Poet Elizabeth Dodd’s world stretches from the lightless cave home of the eyeless, transparent fish known as a blindcat to the imagination of painter Georgia O’Keeffe. In this brilliantly crafted collection, Dodd reveals her mastery of the medium—her closely observed images, compelling metaphors, and deep understanding of and sympathy for the natural world; the rhythms of geologic time; and the seasons of the living year. Dodd possesses the rare gift that links the vagaries of the human experience with the mysterious truths of universal life, the vastness of the night sky with the equally vast potentials of the human heart.
As a practitioner, administrator, teacher, theorist, and leader, Mark A. Greene (1959–2017) was one of the most influential archivists of his generation on US archival theory and practice. He helped shape the modern American archivist identity through the establishment of a core set of values for the profession.
In this exquisite collection of essays, twenty-three archivists from repositories across the profession examine the values that comprise the Core Values statement of the Society of American Archivists. For each value, several archivists comment on what the value means to them and how it reflects and impacts archival work. These essays clearly demonstrate how core values empower archivists’ interactions with resource providers, legislators, donors, patrons, and the public. For anyone who wishes to engage in thinking about what archivists do and why, Archival Values is essential reading.
As sites of documentary preservation rooted in various national and social contexts, artifacts of culture, and places of uncovering, archives provide tangible evidence of memory for individuals, communities, and states, as well as defining memory institutionally within prevailing political systems and cultural norms. By assigning the prerogatives of record keeper to the archivist, whose acquisition policies, finding aids, and various institutionalized predilections mediate between scholarship and information, archives produce knowledge, legitimize political systems, and construct identities. Far from being mere repositories of data, archives actually embody the fragments of culture that endure as signifiers of who we are, and why. The essays in Archives, Documentation, and Institutions of Social Memory conceive of archives not simply as historical repositories but as a complex of structures, processes, and epistemologies situated at a critical point of the intersection between scholarship, cultural practices, politics, and technologies.
This volume brings together Seth Benardete's studies of Hesiod's Theogony, Homer's Iliad, and Greek tragedy, of eleven Platonic dialogues, and Aristotle's Metaphysics. These essays, some never before published, others difficult to find, span four decades of his work and document its impressive range. Benardete's philosophic reading of the poets and his poetic reading of the philosophers share a common ground that makes this collection a whole. The key, suggested by his reflections on Leo Strauss in the last piece, lies in the question of how to read Plato. Benardete's way is characterized not just by careful attention to the literary form that separates doctrine from dialogue, and speeches from deed; rather, by following the dynamic of these differences, he uncovers the argument that belongs to the dialogue as a whole. The "turnaround" such an argument undergoes bears consequences for understanding the dialogue as radical as the conversion of the philosopher in Plato's image of the cave.
Benardete's original interpretations are the fruits of this discovery of the "argument of the action."
Arkansas has long been recognized as a state with a rich archaeological heritage that is unsurpassed in North America. The Toltec Mounds were made famous by the Smithsonian's research at the turn of the century. The Sloan site, dated to 8500 B.C., is the oldest documented burial ground in the New World. The alluvial plain of the central Mississippi River valley supported perhaps the greatest prehistoric urban population. And the Parkin site has yielded important information about the de Soto incursion into the continent. This festschrift recognizes the contributions made in researching this varied heritage by Dan and Phyllis Morse from the inception of the Arkansas Archeological Survey in 1967 to their retirement in 1997. The essays were prepared by thirteen of their colleagues, recognized experts in archaeology and related fields, and represent state-of-the-art knowledge about Arkansas's archaeology. The topics range broadly: from prehistoric environments and regional syntheses to specialized studies of specific culture periods and historical archaeology. Paul and Hazel Delcourt and Roger Saucier provide a chapter that will serve as a standard reference for many years on Holocene environments; Chris Gillam's contribution demonstrates the utility of Geographic Information Systems in broad-scale pattern analysis; Robert Mainfort uses large collections of ceramics to show that traditional methods for grouping Late Mississippian sites are insufficient; Michael Hoffman introduces a new line of evidence from old newspaper accounts; and Frank Schambach, in reinterpreting the spectacular Spiro site in eastern Oklahoma, gives us a powerful, classic example of archaeological and ethnohistoric interpretation. This volume will, of course, be of great interest to professional archaeologists and anthropologists, but the essays are also accessible to students, amateur archaeologists, historians, and enthusiastic general readers. As the new millennium dawns, this book celebrates the legacy of two very distinguished careers in archaeology and heralds the proliferation of innovative new approaches and techniques for the continuing study of Arkansas's prehistoric peoples.
The Arms of Morpheus:Essays on Swedenborg and Mysticism addresses the relatively untapped subject of the eighteenth-century Swedish philosopher and mystic Emanuel Swedenborg and his place within the mystical tradition. Highlighting the congruencies and disparities of his ideas with those mystics and visionaries who preceded him and those that followed after, the volume opens with a wonderful essay on Swedenborg by the Nobel Prize winner Czeslaw Milosz and is followed by essays that offer important comparisons between Swedenborg and Jacob Boehme, Rudolf Steiner, Madame Guyon, the Kabbalah, Ibn ‘Arabi, and Paracelsus.
This volume, the fifth in the Journal of the Swedenborg Society series, contains the following seven essays:
• Czeslaw Milosz, “Swedenborg the Mystic”
• Ariel Hessayon, “Jacob Boehme, Swedenborg and Their Readers”
• Gary Lachman, “Swedenborg, Rudolf Steiner and the Hypnagogic State”
• Richard Lines, “The Feminine Mysticism of Madame Guyon”
• Reuben Bell, “Swedenborg and the Kabbalah”
• James Wilson, “Swedenborg and Paracelsus”
• José Antonio Antón-Pacheco, “Ibn ‘Arabi and Swedenborg”
Also included are a preface by Stephen McNeilly, a chronology of Swedenborg, biographies of the subjects of the essays, and an index.
When Martin Esslin published The Theatre of the Absurd in 1961 he caught the pulse of Western drama as it burst into bold and surprising new forms after the Second World War. Around the Absurd is the first book to examine the history, impact, and legacy of that theater. In provocative essays by leading critics from both sides of the Atlantic (including Jan Kott, Herbert Blau, Katharine Worth, Theodore Shank, and Benedict Nightingale), this forum carries forward Esslin's seminal work by surveying the theater terrain both before and after that time. Featuring original studies of Maeterlinck, O'Neill, Ionesco, Beckett, Pinter, Fornes, and the international scene of performance art, this timely collection details the key role of the absurd in the transformation from a modern to a postmodern repertory. Around the Absurd will appeal to scholars, students, and critics of the dramatic arts as well as to the theater-going public
There is a common perception in the arts today that overtly activist art—often seen to sacrifice an aesthetic pleasure for a subversive one—is no longer in fashion. In bringing together sixteen of the most important essays on activist and community-based art from the pages of Afterimage—one of the most influential journals in the media and visual arts fields for more than twenty-five years—Grant H. Kester demonstrates that activist art, far from being antithetical to the true meaning of the aesthetic, can be its most legitimate expression.
Forging a style of criticism where aesthetic, critical, theoretical, and activist concerns converge, Afterimage has shaped American debates around the politics of visual production and arts education while offering a voice to politically involved artists and scholars. Art, Activism, and Oppositionality insists not only on the continuing relevance of an activist stance to contemporary art practice and criticism, but also on the significance of an engaged art practice that is aligned with social or political activism. With essays that span fifteen years—roughly from Ronald Reagan’s 1980 presidential win to the 1994 Republican victories in Congress, a period marked by waning public support for the arts and growing antagonism toward activist art—Art, Activism, and Oppositionality confronts issues ranging from arts patronage, pedagogy, and the very definitions of art and activism to struggles involving AIDS, reproductive rights, sexuality, and racial identity.
Contributors. Maurice Berger, Richard Bolton, Ann Cvetkovich, Coco Fusco, Brian Goldfarb, Mable Haddock, Grant H. Kester, Ioannis Mookas, Chiquita Mullins Lee, Darrell Moore, Lorraine O’Grady, Michael Renov, Martha Rosler, Patricia Thomson, David Trend, Charles A. Wright Jr., Patricia R. Zimmerman
“In this inviting blend of biography and memoir, novelist Otto (How to Make an American Quilt) examines her life in terms of the women artists who influenced her.…Otto provides a fascinating tour of art through the lens of her own experience. Creatives of all sorts will enjoy [her] wide-ranging insights.” —Publishers Weekly
In Art for the Ladylike, Whitney Otto limns the lives of eight pioneering women photographers—Sally Mann, Imogen Cunningham, Judy Dater, Ruth Orkin, Tina Modotti, Lee Miller, Madame Yvonne, and Grete Stern—to in turn excavate her own writer’s life. The result is an affecting exploration of what it means to be a woman, what it means to be an artist, and the perils and rewards of being both at once. In considering how feminism, career, and motherhood were entangled throughout her subjects’ lives as they tirelessly sought to render their visions and paved the way for others creating within the bounds of domesticity, Otto assesses her own struggles with balancing writing and the pulls of home life. Ultimately, she ponders the persistent question that artistic women face in a world that devalues women’s ambition: If what we love is what we are, how do those of us with multiple loves forge lives with room for everything?
In Art, Space, Ecology, internationally renowned curator and critic John K. Grande interviews twenty major contemporary artists whose works engage with the natural environment. Whether their medium is sculpture, nature interventions, performance, body art, or installation, these discussions, complemented by eighty stunning photographs, reveal the artists’ diverse backgrounds and methods, expressions and realizations.Ultimately, the natural world serves as a canvas to explore the intersections of art, space, and the environment, thereby raising questions about our relationship with landscape itself. The essence of the art form is a dynamic interactivity, and the dialogues between Grande and the artists mirror the encounter of object and environment, artist and audience, society and nature. This work is rounded out with an engaging introduction by writer and curator Edward Lucie-Smith, who sets the stage for some of the most insightful and compelling discussions on art to be found.
We have books that contain collected essays, verse, and humor. What we see less often are books that contain collected interviews on various topics. Interviews have a certain outside discipline about them. The one interviewed responds to a question someone else asks of him. Often the questions are unexpected, sometimes annoying. Answers have a freshness to them. They can be more personal, frank.
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.
At the Heart of Work and Family presents original research on work and family by scholars who engage and build on the conceptual framework developed by well-known sociologist Arlie Russell Hochschild. These concepts, such as "the second shift," "the economy of gratitude," "emotion work," "feeling rules," "gender strategies," and "the time bind," are basic to sociology and have shaped both popular discussions and academic study. The common thread in these essays covering the gender division of housework, childcare networks, families in the global economy, and children of consumers is the incorporation of emotion, feelings, and meaning into the study of working families. These examinations, like Hochschild's own work, connect micro-level interaction to larger social and economic forces and illustrate the continued relevance of linking economic relations to emotional ones for understanding contemporary work-family life.
Charles Bernstein is our postmodern jester of American poesy, equal part surveyor of democratic vistas and scholar of avant-garde sensibilities. In a career spanning thirty-five years and forty books, he has challenged and provoked us with writing that is decidedly unafraid of the tensions between ordinary and poetic language, and between everyday life and its adversaries. Attack of the Difficult Poems, his latest collection of essays, gathers some of his most memorably irreverent work while addressing seriously and comprehensively the state of contemporary humanities, the teaching of unconventional forms, fresh approaches to translation, the history of language media, and the connections between poetry and visual art.
Applying an array of essayistic styles, Attack of the Difficult Poems ardently engages with the promise of its title. Bernstein introduces his key theme of the difficulty of poems and defends, often in comedic ways, not just difficult poetry but poetry itself. Bernstein never loses his ingenious ability to argue or his consummate attention to detail. Along the way, he offers a wide-ranging critique of literature’s place in the academy, taking on the vexed role of innovation and approaching it from the perspective of both teacher and practitioner.
From blues artists to Tin Pan Alley song lyricists to Second Wave modernist poets, The Attack of the Difficult Poems sounds both a battle cry and a lament for the task of the language maker and the fate of invention.
Spanning the past three decades, these essays focus on the roles of the writer and literature today. In the first half of this series of witty, probing essays on reading and writing, Wolf examines the individual's, in particular the writer's, relationship to society. The final sections, "On War and Peace and Politics" and "The End of the German Democratic Republic," demonstrate the ways in which Wolf's political thinking has evolved and cast light on the political situation in East Germany prior to reunification.
"An important publication, ably served by the editing of Alexander Stephan; the knowledgeable translation by Jan Van Heurck; and Grace Paley's sisterly introduction, which . . . claims at least the later Christa Wolf for a pacifist feminism."—Peter Demetz, New York Times
In Available Surfaces , T. R. Hummer explores the art of making both poetry and music, and of the concept of "making" itself. He draws on childhood experiences and experiences as an adult, as a poet, and as an explorer of unworldly spaces to examine that "something ineffable about the process of making of which the poem is the exemplary artifact."
Hummer grew up in the deep South, and spent many of his high school years playing saxophone in various rock and roll bands before he met poetry. This musical influence is visible in his work: he often discusses poetry together with music, or music with poetry, and his career has included both writing and performance.