Emily Wilson University of Iowa Press, 2001 Library of Congress PS3623.I58K44 2001 | Dewey Decimal 811.6
The poems in The Keep are influenced by art, by paintings, by “thinking about abstraction and figuration and the space between, beauty apprehended and lost, the divine apprehended and lost.” Emily Wilson's poems are also saturated with nature; from “the great oaks emptying, russet, gusseted” to “the caribou mov[ing] through us beyond numerous,” each image connects the natural world of tides and marshes and forests to the human world of documentation and preservation. The image of the keep as a place of safety and as a kind of prison also informs this very strong collection.
Marian Alexander Spencer was born in 1920 in the Ohio River town of Gallipolis, Ohio, one year after the “Red Summer” of 1919 that saw an upsurge in race riots and lynchings. Following the example of her grandfather, an ex-slave and community leader, Marian joined the NAACP at thirteen and grew up to achieve not only a number of civic leadership firsts in her adopted home city of Cincinnati, but a legacy of lasting civil rights victories.
Of these, the best known is the desegregation of Cincinnati’s Coney Island amusement park. She also fought to desegregate Cincinnati schools and to stop the introduction of observers in black voting precincts in Ohio. Her campaign to raise awareness of industrial toxic-waste practices in minority neighborhoods was later adapted into national Superfund legislation.
In 2012, Marian’s friend and colleague Dot Christenson sat down with her to record her memories. The resulting biography not only gives us the life story of remarkable leader but encapsulates many of the twentieth century’s greatest struggles and advances. Spencer’s story will prove inspirational and instructive to citizens and students alike.
Before World War I, the government reaction to labor dissent had been local, ad hoc, and quasi-military. Sheriffs, mayors, or governors would deputize strikebreakers or call out the state militia, usually at the bidding of employers. When the United States entered the conflict in 1917, government and industry feared that strikes would endanger war production; a more coordinated, national strategy would be necessary. To prevent stoppages, the Department of Justice embarked on a sweeping new effort—replacing gunmen with lawyers. The department systematically targeted the nation’s most radical and innovative union, the Industrial Workers of the World, also known as the Wobblies, resulting in the largest mass trial in U.S. history.
In the first legal history of this federal trial, Dean Strang shows how the case laid the groundwork for a fundamentally different strategy to stifle radical threats, and had a major role in shaping the modern Justice Department. As the trial unfolded, it became an exercise of raw force, raising serious questions about its legitimacy and revealing the fragility of a criminal justice system under great external pressure.
By subverting comedy's rules and expectations, African American satire promotes social justice by connecting laughter with ethical beliefs in a revolutionary way. Danielle Fuentes Morgan ventures from Suzan-Lori Parks to Leslie Jones and Dave Chappelle to Get Out and Atlanta to examine the satirical treatment of race and racialization across today's African American culture. Morgan analyzes how African American artists highlight the ways that society racializes people and bolsters the powerful myth that we live in a "post-racial" nation. The latter in particular inspires artists to take aim at the idea racism no longer exists or the laughable notion of Americans "not seeing" racism or race. Their critique changes our understanding of the boundaries between staged performance and lived experience and create ways to better articulate Black selfhood.
Adventurous and perceptive, Laughing to Keep from Dying reveals how African American satirists unmask the illusions and anxieties surrounding race in the twenty-first century.
To earn the reputation of a literary giant within the generation of Waugh, Orwell, and Greene is no mean feat. To do so with the grace and genius that characterized Anthony Powell—whose twelve-volume A Dance to the Music of Time is possibly the only English-language work to match the majestic scope of Proust's Remembrance of Things Past—is nothing short of spectacular. Yet Powell himself remains absent from his writing; he was, said the New York Times, "a writer of mordant succinctness who rewards the reader while revealing little of himself."
Powell did eventually reveal himself in four volumes of memoirs, published between 1976 and 1982. This edition of Anthony Powell's Memoirs is an abridged and revised version of those volumes, a version that has never before been published in this form in the United States. The result is not only a fascinating view of Powell as a man and an author but also a unique history of British literary society and the social elite Powell lampooned and moved within from the twenties through the eighties. From Eton and Oxford to his life as a novelist and critic, Powell observes all—the obscenity trial sparked by Lady Chatterley's Lover; Shirley Temple's libel suit after Graham Greene reviewed Wee Willie Winkie "with even more than his usual verve"—and paints vivid portraits of Kingsley Amis, V.S. Naipaul, T.S. Eliot, Virginia Woolf, and countless others. Most importantly, Powell's lively memoirs banish all thought of the man as a relic of the British gentry. He was a modernist, a Tory, and more than a little interested in genealogy and peerage, but a man who, according to Ferdinand Mount, "miraculously knew what life was like."
Sam Venable is one of America’s seventy-six million Baby Boomers who are turning into their parents. He can’t quite see without his reading glasses, he thinks the music kids listen to these days is nothing but a loud racket, and his belt is mysteriously creeping up higher and higher on his chest.
The way Venable figures it, he’s roaring along the road (at about twenty-seven miles per hour, the average speed for someone his age) to Codgerville. You Gotta Laugh to Keep From Cryin’ highlights the observations and lifestyle changes (and a few other things he can’t quite seem to remember at the moment) that Venable has made along the way.
From the day his wife discovers his first ear hair, Venable begins to recognize the signs of old age. Though he had reconciled himself to daily fiber and a distinguished head of gray, he is one step further to an insatiable desire for cafeteria food and permanently leaving his car’s right turn signal flashing.
The news isn’t all bad, though. To his surprise, Venable discovers that his new appearance and habits have qualified him for the senior discount on breakfast at his favorite restaurant. After reading about a scientific study concluding that men’s brains shrink faster than women’s in the normal aging process, Venable has a new source of excuses to explain to his wife why he is missing important dates, times, places, and appointments.
As an official CIT (Codger In Training), Venable delights in other newfound freedoms. He can stand in a fast-food line and stare at the menu for a full two minutes without saying a word (besides, he can’t hear the people behind him grumbling). He can drive as slowly as he likes and has perfected the art of maintaining a death grip on the steering wheel of his car. And he really doesn’t have to listen to anyone anymore; he can merely turn their way from time to time and mumble, “Huh?”
From the swinging doors whose “Push/Pull” directions elude him to the high-tech mysteries of ATMs designed to baffle the elderly, Sam Venable’s rollicking view of life after fifty will leave readers laughing and happy to be a member of the AARP set.
The Author: Sam Venable, recognized for his humor writing in 2000, 2001, and 2002 by the Tennessee Press Association, is a columnist for the Knoxville News-Sentinel. He is the author of a number of books, including Rock-Elephant: A Story of Friendship and Fishing and Mountain Hands: A Portrait of Southern Appalachia. He lives in Knoxville, Tennessee.