Standing in long lines in the shops, coaxing clean laundry from an outdated washing machine, traveling despite unpredictable train schedules, and being without hot water, fruit, and vegetables through the gray winter months failed to dull Paul Gleye’s perceptions during the year he lived in Weimar, East Germany. Day by day Gleye documented his varied observations and experiences, unaware that they would prove a unique record of what would soon be an extinct society.
Gleye was in East Germany as a Fulbright lecturer. Living beyond the capital city of East Berlin and traveling and conversing freely, Gleye gained access to people and places that had been almost completely closed to Americans and other Westerners for decades.
Chronicles the peace process negotiations between Colombian president Juan Manuel Santos and the Marxist Revolutionary Armed Forces of Colombia
In Between the Sword and the Wall: The Santos Peace Negotiations with the Revolutionary Armed Forces of Colombia, Harvey Kline, a noted expert on contemporary Colombian politics, brings to a close his multivolume chronicle of the incessant violence that has devastated Colombia’s population, politics, and military for decades. This, his newest work on the subject, recounts and analyzes the negotiations between Colombian president Juan Manuel Santos and the Marxist Revolutionary Armed Forces of Colombia (FARC), which ended with a peace agreement in 2016.
The FARC insurgency began in 1964, and every Colombian president after 1980 unsuccessfully tried to negotiate a peace agreement with the group. Kline analyzes how the Santos administration was ultimately able to negotiate peace with the FARC. The agreement failed to receive the approval of the Colombian people in an October 2016 plebiscite, but a renegotiated version was later approved by the congress in the same year. Afterward, more than 7,000 rebels turned over their weapons to the UN mission in Colombia. The former combatants were then to be judged by a special court empowered to punish but not imprison those who had violated human rights. Throughout the book, Kline emphasizes the dual nature of the Santos negotiations, first with the FARC and second with the democratic opposition to the agreement led by former president Álvaro Uribe Vélez.
Kline provides readers with a well-researched analysis based on a variety of resources, including media articles and primary documents from the government, international organizations, and the FARC. He also conducted extensive interviews with twenty-eight government officials and Colombian experts from all ideological persuasions.
Their voices come from Bethlehem and Hebron. You can hear them from Jerusalem to Nazareth, and witness their protests in Gaza and Ramallah. From the refugee camps in the West Bank, you can hear the voices of the Palestinian people call out to demand self-determination and a better quality of life. But outside of Israel and the occupied territories, these individual voices are rarely heard—until now.
In Beyond the Wall: Writing a Path through Palestine, internationally renowned feminist critic and writer Bidisha collects the testimonies of an occupied people—ordinary citizens, activists, children—alongside those of international aid workers and foreign visitors for a revelatory look at a population on the margins.
Called “beautifully belligerent, [and] fiercely intelligent” by The Independent and a “dazzlingly creative writer” by the LondonTimes, Bidisha amplifies the voices of the Palestinian people in this book and lends to them her own considerable strength.
Guisela Latorre’s Democracy on the Wall: Street Art of the Post-Dictatorship Era in Chile documents and critically deconstructs the explosion of street art that emerged in Chile after the dictatorship of Augusto Pinochet, providing the first broad analysis of the visual vocabulary of Chile’s murals and graffiti while addressing the historical, social, and political context for this public art in Chile post-1990.
Exploring the resurgence and impact of the muralist brigades, women graffiti artists, the phenomenon of “open-sky museums,” and the transnational impact on the development of Chilean street art, Latorre argues that mural and graffiti artists are enacting a “visual democracy,” a form of artistic praxis that seeks to create alternative images to those produced by institutions of power. Keenly aware of Latin America’s colonial legacy and deeply flawed democratic processes, and distrustful of hegemonic discourses promoted by government and corporate media, the artists in Democracy on the Wall utilize graffiti and muralism as an alternative means of public communication, one that does not serve capitalist or nationalist interests. Latorre posits that through these urban interventions that combine creativity with social action, Chilean street artists formulate visions of what a true democracy looks like.
New media are often greeted with suspicion by older media. The Fourth Estate at the Fourth Wall explores how, when the commercial press arrived in France in 1836, popular theater critiqued its corruption, its diluted politics, and its tendency to orient its content toward the lowest common denominator.
July Monarchy plays, which provided affordable entertainment to a broad section of the public, constitute a large, nearly untapped reservoir of commentary on the arrival of the forty-franc press. Vaudevilles and comedies ask whether journalism that benefits from advertisement can be unbiased. Dramas explore whether threatening to spread false news is an acceptable way for journalists to exercise their influence. Hollinshead-Strick uses both plays and novels to show that despite their claims to enlighten their readers, newspapers were often accused of obscuring public access to information. Balzac’s interventions in this media sphere reveal his utopian views on print technology. Nerval’s and Pyat’s demonstrate the nefarious impact that corrupt theater critics could have on authors and on the public alike.
Scholars of press and media studies, French literature, theater, and nineteenth-century literature more generally will find this book a valuable introduction to a cross-genre debate about press publicity that remains surprisingly resonant today.
This is not your ordinary short story collection. In his newest work, Daniel Chacón subverts expectation and bends the rules of reality to create stories that are intriguing, hilarious, and deeply rooted in Chicano culture. These stories explore the concept of a wall that reaches beyond our immediate thoughts of a towering physical structure. While Chacón aims to address the partition along the U.S.-Mexico border, he also uses these stories to work through the intangible walls that divide communities and individuals—particularly those who straddle multiple cultures in their daily lives.
Set in El Paso and other Latinx-dominant urban spaces, Kafka in a Skirt is an immersive look into the myriad lives of the characters who inhabit these culturally diverse areas. Chacón masterfully weaves elements of the surreal and fantastic through a shining tapestry of fiction, creating moments of touching realism in contrast with scenes that are fascinatingly unfamiliar. Occasionally teasing the ghosts of Jorge Luis Borges and the Argentine poet Alejandra Pizarnik, this collection disregards boundaries and transports readers into a world merely parallel to our own. Kafka in a Skirt unravels the intricacies of culture, sexuality, love, and loneliness in a collection that shows the personal implications of barriers while remaining hopeful and bright.
During the Protestant Reformation, Martin Luther instituted new ideologies addressing gender, marriage, chastity, and religious life that threatened Catholic monasticism. Yet many living in cloistered religious communities, particularly women, refused to accept these new terms and were successful in their opposition to the new Protestant culture.
Focusing primarily on a group of Dominican nuns in Strasbourg, Germany, Amy Leonard's Nails in the Wall outlines the century-long battle between these nuns and the Protestant city council. With savvy strategies that employed charm, wealth, and political and social connections, the nuns were able to sustain their Catholic practices. Leonard's in-depth archival research uncovers letters about and records of the nuns' struggle to maintain their religious beliefs and way of life in the face of Protestant reforms. She tells the story of how they worked privately to keep Catholicism alive-continuing to pray in Latin, smuggling in priests to celebrate Mass, and secretly professing scores of novices to ensure the continued survival of their convents. This fascinating and heartening study shows that, far from passively allowing the Protestants to dismantle their belief system, the women of the Strasbourg convents were active participants in the battle over their vocation and independence.
Every May, for more than a decade, an ever-increasing number of motorcyclists have made the “Run for the Wall,” a cross-country journey from Southern California to the “Wall,” the Vietnam war memorial in Washington, D.C. While the journey’s avowed purpose is political — to increase public awareness about those who remain either prisoners of war or missing in action in Southeast Asia — it also serves as a healing pilgrimage for its participants and as a “welcome-home” ritual many veterans feel they never received.
Run for the Wall is a highly readable ethnographic account of this remarkable American ritual. The authors, themselves motorcyclists as well as Run participants, demonstrate that the event is a form of secular pilgrimage. Here key concepts in American culture— “freedom,” and “brotherhood,” for example—are constructed and deployed in a variety of rituals and symbols to enable participants to come to terms with the consequences of the Vietnam war. While the focus is the journey itself, the book also explores other themes related to American culture and history, including the nature of community, the Vietnam war, and the creation of American secular ritual.
In moving, first-hand accounts, the book tells how participation in the POW-MIA social movement helps individuals find personal and collective meaning in America’s longest and most divisive conflict. Above all, this is a story of a uniquely American form of political action, ritual, pilgrimage, and the social construction of memory.
Mass deportation is at the forefront of political discourse in the United States. The Shadow of the Wall shows in tangible ways the migration experiences of hundreds of people, including their encounters with U.S. Border Patrol, cartels, detention facilities, and the deportation process. Deportees reveal in their heartwrenching stories the power of family separation and reunification and the cost of criminalization, and they call into question assumptions about human rights and federal policies.
The authors analyze data from the Migrant Border Crossing Study (MBCS), a mixed-methods, binational research project that offers socially relevant, rigorous social science about migration, immigration enforcement, and violence on the border. Using information gathered from more than 1,600 post-deportation surveys, this volume examines the different faces of violence and migration along the Arizona-Sonora border and shows that deportees are highly connected to the United States and will stop at nothing to return to their families. The Shadow of the Wall underscores the unintended social consequences of increased border enforcement, immigrant criminalization, and deportation along the U.S.-Mexico border.
Alison Elizabeth Lee
Daniel E. Martínez
Prescott L. Vandervoet
Novelist and essayist Hilary Masters recreates a moment in 1940s Pittsburgh when circumstances, ideology, and a passion for the arts collided to produce a masterpiece in another part of the world.
E. J. Kaufmann, the so-called "merchant prince" who commissioned Frank Lloyd Wright's Fallingwater, was a man whose hunger for beauty included women as well as architecture.
He had transformed his family's department store into an art deco showcase with murals by Boardman Robinson and now sought to beautify the walls of the YM&WHA of which he was the president. Through his son E. J. Kaufmann, jr (the son preferred the lowercase usage), he met Juan O'Gorman, a rising star in the Mexican pantheon of muralists dominated by Diego Rivera, O'Gorman's friend and mentor.
O'Gorman and his American wife spent nearly six months in Pittsburgh at Kaufmann's invitation while the artist researched the city's history and made elaborate cartoons for the dozen panels of the proposed mural. Like Rivera, O'Gorman was an ardent Marxist whose views of society were radically different from those of his host, not to mention the giants of Pittsburgh's industrial empire-Carnegie, Frick, and Mellon. The murals were never painted, but why did Kaufmann commission O'Gorman in the first place? Was it only a misunderstanding?
In the discursive manner for which his fiction and essays are noted, Masters pulls together the skeins of world events, the politics of art patronage, and the eccentric personalities and cruel histories of the period into a pattern that also includes the figures of O'Gorman and his wife Helen, and Kaufmann, his wife Liliane, and their son. Masters traces the story through its many twists and turns to its surprising ending: E. J. Kaufmann's failure to put beautiful pictures on the walls of the Y in Pittsburgh resulted in Juan O'Gorman's creation of a twentieth-century masterpiece on a wall in the town of Pátzcuaro, Mexico.
Curtis J. Austin’s Up Against the Wall chronicles how violence brought about the founding of the Black Panther Party in 1966 by Huey P. Newton and Bobby Seale, dominated its policies, and finally destroyed the party as one member after another—Eldridge Cleaver, Fred Hampton, Alex Rackley—left the party, was killed, or was imprisoned. Austin shows how the party’s early emphasis in the 1960s on self-defense, though sorely needed in black communities at the time, left it open to mischaracterization, infiltration, and devastation by local, state, and federal police forces and government agencies. Austin carefully highlights the internal tension between advocates of a more radical position than the Panthers took, who insisted on military confrontation with the state, and those such as Newton and David Hilliard, who believed in community organizing and alliance building as first priorities. Austin interviewed a number of party members who had heretofore remained silent. With the help of these stories, Austin is able to put the violent history of the party in perspective and show that the “survival” programs, such as the Free Breakfast for Children program and Free Health Clinics, helped the black communities they served to recognize their own bases of power and ability to save themselves.
Ilan Stavans University of Pittsburgh Press, 2018 Library of Congress PS3619.T385W35 2018 | Dewey Decimal 741.5973
The Wall is a poetic exploration—across time, space, and language, real as well as metaphorical—of the U.S.-Mexican wall dividing the two civilizations, of similar walls (Jerusalem, China, Berlin, Warsaw, etc.) in history, and of the act of separating people by ideology, class, race, and other subterfuges. It is an indictment of hateful political rhetoric. In the spirit of Virgil’s Aeneid and Spoon River Anthology by Edgar Lee Master, it gives voice in symphonic fashion to an assortment of participants (immigrants, border patrol, soldiers, activists, presidents, people dead and alive) involved in the debate on walls. It brings in elements of literature and pop culture, fashion and cuisine. Poetry becomes a tool to explore raw human emotions in all its extremes.
The Wall and the Garden was first published in 1968. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The election day sermon in colonial New England was an annual, formal address by a minister of the gospel to the newly assembled legislature of the colony. The tradition began in the Massachusetts Bay colony in 1634, and it continued, in Boston, for 250 years. In this volume, Professor Plumstead presents a collection of nine of the Massachusetts election sermons, chosen from among the surviving Massachusetts sermons which were printed between 1661 and 1775. They are not chosen as representative but, rather, as the best, judged on a basis of literary excellence and ideas and points of style relevant to later developments in American literature and history. There are changes in style and theme in the 105 years between the first and the last selection, and, in his brief introduction to each of the sermons, the editor discusses these changes and the sermon's relationship to the tradition as a whole.
In a general introduction, Professor Plumstead provides background information about the history and significance of the election sermons. As he makes clear, the election sermon tradition offers a vantage point for seeing both continuity and change in colonial intellectual history. The sermons in this collection will complement colonial studies by bringing the reader close to the spirit of the times.
The title of the volume, The Wall and the Garden, derives from the frequent use by colonial preachers of the metaphors of the garden and the wall to describe the colonies and their spiritual enemies.
The Wall of Respect: Public Art and Black Liberation in 1960s Chicago is the first in-depth, illustrated history of a lost Chicago monument. The Wall of Respect was a revolutionary mural created by fourteen members of the Organization of Black American Culture (OBAC) on the South Side of Chicago in 1967. This book includes photographs by Darryl Cowherd, Bob Crawford, Roy Lewis, and Robert A. Sengstacke, and gathers historic essays, poetry, and previously unpublished primary documents from the movement’s founders that provide a guide to the work’s creation and evolution.
The Wall of Respect received national critical acclaim when it was unveiled on the side of a building at Forty-Third and Langley in Chicago’s Bronzeville neighborhood. Painters and photographers worked side by side on the mural's seven themed sections, which featured portraits of Black heroes and sheroes, among them John Coltrane, Nina Simone, Billie Holiday, Malcolm X, Muhammad Ali, and W. E. B. Du Bois. The Wall became a platform for music, poetry, and political rallies. Over time it changed, reflecting painful controversies among the artists as well as broader shifts in the Civil Rights and Black Liberation Movements.
At the intersection of African American culture, politics, and Chicago art history, The Wall of Respect offers, in one keepsake-quality work, an unsurpassed collection of images and essays that illuminate a powerful monument that continues to fascinate artists, scholars, and readers in Chicago and across the United States.
With Our Backs to the Wall
David Stevenson Harvard University Press, 2011 Library of Congress D531.S73 2011 | Dewey Decimal 940.434
Why did World War I end with a whimper—an arrangement between two weary opponents to suspend hostilities? Why did the Allies reject the option of advancing into Germany and taking Berlin? Most histories of the Great War focus on the avoidability of its beginning. This book focuses on Germany’s inconclusive defeat and its ominous ramifications.