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When the White House Calls tells the life story of John Price, one of Utah’s most prominent citizens, beginning with his birth in Germany through his years as a successful builder and real estate developer—with business interests in broadcasting, manufacturing, distribution, and banking—to his life as a diplomat. Born in Berlin on August 18, 1933, Hans Joachim Praiss was five years old when he and his family fled Nazi Germany in April 1939. The family found temporary refuge in Panama, finally arriving at Ellis Island in September 1940 and settling in New York City. Following the advice of a professor at CCNY, Price traveled west to fulfill a geology fieldwork course requirement, but upon seeing the snow-capped mountains surrounding Salt Lake City, knew he would stay. He earned his Bachelor of Science in Geological Engineering from the University of Utah in 1956. He practiced in that field before tiring of the often rigorous travel requirements and the desolate nature of the work. He soon turned to new opportunities.

Years later, after operating successful business enterprises throughout the Intermountain region and nationally, and serving on numerous local, state, and national boards, Price had become the consummate entrepreneur, businessman, and community leader. He was ready to serve his country when the White House called. In February 2002 he was sworn in as U.S. Ambassador to the Republic of Mauritius, the Republic of Seychelles, and the Union of the Comoros, three Indian Ocean island nations off the east coast of Africa, where he served until 2005.

In this telling autobiography, John Price focuses on his years as an ambassador and includes his thoughts on the future of sub-Saharan Africa. The account of his service as a diplomat offers readers a view of the daily life of an ambassador—the protocol for official meetings with heads of state, the routine of the office, the process of handling official communications, and the intricacies of diplomacy. More than that, in a world concerned with the global war on terror, he reflects on the three island nations where he served and on the region’s increasing strategic importance to the national security of the United States.

In the years since the 2001 attacks on the World Trade Center and the Pentagon, the al-Qaeda movement has grown and its members have dispersed throughout the world, including the region known as the Horn of Africa and East Africa. Price calls attention to the vulnerability of sub-Saharan Africa as a haven for terrorists, and the critical need for our engagement of this desperate continent with economic development, health care, and education to counter this threat. His concern for this region of Africa is carefully articulated in the text, as well as in interviews (included as appendixes) with notable country leaders. When the White House Calls is a compelling story of the American Dream realized, and the importance of service to country. This is a book that will both educate and inspire young people, their mentors, and others, as they work to make a difference in the world.
 

Donald Davidson (1893-1968) may well be the most unjustifiably neglected figure in twentieth-century southern literature. One of the most important poets of the Fugitive movement, he also produced a substantial body of literary criticism, the libretto for an American folk opera, a widely used composition textbook, and the recently discovered novel The Big Ballad Jamboree. As a social and political activist, Davidson had significant impact on conservative thought in this century, imfluencing important scholars from Cleanth Brooks to M. E. Bradford.

Despite these accomplishments, Donald Davidson has received little critical attention from either the literary or the southern scholarly community. Where No Flag Flies is Mark Royden Winchell's redress of this critical disservice. A comprehensive intellectual biography of Davidson, this seminal work offers a complete narrative of Davidson's life with all of its triumphs and losses, frustrations and fulfillments.

Winchell provides the reader with more than a simple study of a man and his achievements; he paints a complete portrait of the times in which Davidson published, from the 1930s to the early 1960s. Davidson was more directly involved in political and social activities than most writers of his generation, and Winchell provides the context, both literary and historical, in which Davidson's opinions and works developed. At the same time, Winchell offers detailed evaluations of Davidson's poetry, fiction, historical writings, and essays.

Drawing upon a wealth of previously unpublished archival material, including Davidson's letters and diary, Where No Flag Flies provides unique access to one of the most original minds of the twentieth-century South. Donald Davidson may not have achieved the recognition he deserved, but this remarkable biography finally makes it possible for a considerable literary audience to discover his true achievement.

Chicago in the 1920s: Clark Street was the city’s last Swedetown, a narrow corridor of weather-beaten storefronts, coal yards, and taverns running along the north side of the city and the locus of Swedish community life in Chicago during the first half of the twentieth century. It represented a way station for a generation of working-class immigrants escaping the hardships of the old country for the promise of a brighter new day in a halfway house of sorts, perched between the old and new lands. For Richard C. Lindberg, whose Swedish immigrant parents and grandparents settled there, it was also the staging ground for an intensely personal, multigenerational, coming-of-age drama based on the struggles of two disparate families—their dreams and their depravities, their victories and their failures.

Whiskey Breakfast is Lindberg’s captivating tale of life as a first-generation baby-boomer Swedish American, caught between the customs of a land he had never been to and the desire to conform and fit into a troubled existence, tragically scarred by alcoholism, divorce, and peer abuse. But it is also a powerful and intimate portrait of his immigrant ancestors, and especially of his father, Oscar—a contractor and master builder who helped develop Chicago’s post–World War II suburbs. A paradoxical man, known to some as a socialist, an anarchist, and a serious drinker, Oscar would carry with him to the grave a sixty-two-year-old family secret, a secret that for Lindberg lies at the very heart of the great Swedish unrest that drove his father and countless other men and women out of Sweden and onward to America.

Masterfully blending autobiography with immigrant history, Whiskey Breakfast surrounds Lindberg’s family story with Swedish cultural history and politics, as well as remarkable Chicago history and how Clark Street and Swedetown became, and in many ways remain, a center of Swedish immigrants’ social and cultural life. Far from a eulogy for an idealized past, Lindberg has crafted a moving and sobering memoir of a young man’s struggle to come to terms with his father and himself, his immigrant heritage, and his native home.

“One of the greatest artists our country has is Benny Golson. He is not only a great musician, but an original and fabulous composer. He is inventive and creative and his work is loved the world over. Benny is a rare, creative genius. All I would like to say is THREE CHEERS for Benny Golson!”—Tony Bennett

“Composer supreme, tenor man supreme, jazz man supreme, good guy supreme: that’s BENNY GOLSON!"—Sonny Rollins

Born during the de facto inaugural era of jazz, saxophonist Benny Golson learned his instrument and the vocabulary of jazz alongside John Coltrane while Golson was still in high school in Philadelphia. Quickly establishing himself as an iconic fixture on the jazz landscape, Golson performed with dozens of jazz greats, from Sonny Rollins, Coleman Hawkins, and Jimmy Heath to Dizzy Gillespie, Freddie Hubbard, and many others. An acclaimed composer, Golson also wrote music for Hollywood films and television and composed such memorable jazz standards as “Stablemates,” “Killer Joe,” and “Whisper Not.”

An eloquent account of Golson’s exceptional life—presented episodically rather than chronologically—Whisper Not includes a dazzling collection of anecdotes, memories, experiences, and photographs that recount the successes, the inevitable failures, and the rewards of a life eternally dedicated to jazz.

Her parents never really explained what a D.P. was. Years later Daiva Markelis learned that “displaced person” was the designation bestowed upon European refugees like her mom and dad who fled communist Lithuania after the war. Growing up in the Chicago suburb of Cicero, though, Markelis had only heard the name T.P., since her folks pronounced the D as a T: “In first grade we had learned about the Plains Indians, who had lived in tent-like dwellings made of wood and buffalo skin called teepees. In my childish confusion, I thought that perhaps my parents weren’t Lithuanian at all, but Cherokee. I went around telling people that I was the child of teepees.” So begins this touching and affectionate memoir about growing up as a daughter of Lithuanian immigrants. 

Markelis was raised during the 1960s and 1970s in a household where Lithuanian was the first language. White Field, Black Sheep derives much of its charm from this collision of old world and new: a tough but cultured generation that can’t quite understand the ways of America and a younger one weaned on Barbie dolls and The Brady Bunch, Hostess cupcakes and comic books, The Monkees and Captain Kangaroo. Throughout, Markelis recalls the amusing contortions of language and identity that animated her childhood. She also humorously recollects the touchstones of her youth, from her First Communion to her first game of Twister. Ultimately, she revisits the troubles that surfaced in the wake of her assimilation into American culture: the constricting expectations of her family and community, her problems with alcoholism and depression, and her sometimes contentious but always loving relationship with her mother.

Deftly recreating the emotional world of adolescence, but overlaying it with the hard-won understanding of adulthood, White Field, Black Sheep is a poignant and moving memoir—a lively tale of this Lithuanian-American life.

Though Walt Whitman created no Irish characters in his early works of fiction, he did include the Irish as part of the democratic portrait of America that he drew in Leaves of Grass. He could hardly have done otherwise. In 1855, when the first edition of Leaves of Grass was published, the Irish made up one of the largest immigrant populations in New York City and, as such, maintained a cultural identity of their own. All of this “Irishness” swirled about Whitman as he trod the streets of his Mannahatta, ultimately becoming part of him and his poetry. As members of the working class, famous authors, or close friends, the Irish left their mark on Whitman the man and poet. In Whitman and the Irish, Joann Krieg convincingly establishes their importance within the larger framework of Whitman studies.

Focusing on geography rather than biography, Krieg traces Whitman's encounters with cities where the Irish formed a large portion of the population—New York City, Boston, Camden, and Dublin—or where, as in the case of Washington, D.C., he had exceptionally close Irish friends. She also provides a brief yet important historical summary of Ireland and its relationship with America.

Whitman and the Irish does more than examine Whitman's Irish friends and acquaintances: it adds a valuable dimension to our understanding of his personal world and explores a number of vital questions in social and cultural history. Krieg places Whitman in relation to the emerging labor culture of ante-bellum New York, reveals the relationship between Whitman's cultural nationalism and the Irish nationalism of the late nineteenth century, and reflects upon Whitman's involvement with the Union cause and that of Irish American soldiers.

Few American writers were as concerned with their public image as was Walt Whitman. He praised his own work in unsigned reviews; he included engravings or photographs of himself in numerous editions of his work; and he assisted in the writing of two biographies of himself. Whitman was also written about extensively by others throughout his lifetime. Whitman in His Own Time is a collection of these contemporary accounts of the "good gray poet."

The interviews with and recollections of Whitman collected by Joel Myerson represent a wide spectrum of accounts—visitors from America and abroad; newspaper interviewers; Whitman's doctor and nurse during his final illness; his literary executors; a student from his early schoolteaching days; and such well-known authors as Bronson Alcott, John Burroughs, and Henry David Thoreau. The selections also paint a well-rounded picture of Whitman, from his early days as a schoolteacher to the moment of his death, and demonstrate a varying range of attitudes toward the poet. Yet throughout the entire collection, Whitman himself holds center stage, and he is seen as vividly today as he was over one hundred years ago. Myerson's introduction to this expanded edition places these accounts of Whitman within the context of the time and discusses new scholarship on Whitman's life.

Who Am I? is the bittersweet memoir of a Chinese American who came to this country as a twenty-year-old graduate student and stayed to become one of America’s most innovative intellectuals, whose work has explored the aesthetic and moral dimensions of human relations with landscape, nature, and environment. This unusually introspective autobiography mixes Yi-Fu Tuan’s reflections on a life filled with recognition, accolades, and affection with what he deems moral failings, his lack of courage—including the courage to be open about his homosexuality.

In 1989 the Geto Boys released a blistering track, “Size Ain’t Shit,” that paid tribute to the group’s member Bushwick Bill. Born with dwarfism, Bill was one of the few visibly disabled musicians to achieve widespread fame and one of the even fewer to address disability in a direct, sustained manner. Initially hired as a dancer, Bill became central to the Geto Boys as the Houston crew became one of hip-hop’s most important groups.

Why Bushwick Bill Matters chronicles this crucial artist and explores what he reveals about the relationships among race, sex, and disability in pop music. Charles L. Hughes examines Bill's recordings and videos (both with the Geto Boys and solo), from the horror-comic persona of “Chuckie” to vulnerable verses in songs such as “Mind Playing Tricks On Me,” to discuss his portrayals of dwarfism, addiction, and mental illness. Hughes also explores Bill’s importance to his era and to the longer history of disability in music. A complex figure, Bill exposed the truths of a racist and ableist society even as his violent and provocative lyrics put him in the middle of debates over censorship and misogyny. Confrontational and controversial, Bushwick Bill left a massive legacy as he rhymed and swaggered through an often-inaccessible world.

There are two ways to leave the Amish—one is through life and the other through death. When Saloma Miller Furlong’s father dies during her first semester at Smith College, she returns to the Amish community she had left twenty four years earlier to attend his funeral. Her journey home prompts a flood of memories. Now a mother with grown children of her own, Furlong recalls her painful childhood in a family defined by her father’s mental illness, her brother’s brutality, her mother’s frustration, and the austere traditions of the Amish—traditions Furlong struggled to accept for years before making the difficult decision to leave the community. In this personal and moving memoir, Furlong traces the genesis of her desire for freedom and education and chronicles her conflicted quest for independence. Eloquently told, Why I Left the Amish is a revealing portrait of life within—and without—this frequently misunderstood community.

In the '60s and '70s, America's music scene was marked by raucous excess, reflected in the tragic overdoses of young superstars such as Jimi Hendrix and Janis Joplin. At the same time, the uplifting harmonies and sunny lyrics that propelled Karen Carpenter and her brother, Richard, to international fame belied a different sort of tragedy—the underconsumption that led to Karen's death at age thirty-two from the effects of an eating disorder.

In Why Karen Carpenter Matters, Karen Tongson (whose Filipino musician parents named her after the pop icon) interweaves the story of the singer’s rise to fame with her own trans-Pacific journey between the Philippines—where imitations of American pop styles flourished—and Karen Carpenter’s home ground of Southern California. Tongson reveals why the Carpenters' chart-topping, seemingly whitewashed musical fantasies of "normal love" can now have profound significance for her—as well as for other people of color, LGBT+ communities, and anyone outside the mainstream culture usually associated with Karen Carpenter’s legacy. This hybrid of memoir and biography excavates the destructive perfectionism at the root of the Carpenters’ sound, while finding the beauty in the singer's all too brief life.

The assumptions that military service helps candidates attract votes—while lacking it harms a candidate’s chances—has been an article of faith since the electoral coronation of George Washington in 1789. Perhaps the most compelling fact driving the perception that military service helps win votes is the large number of veterans who have held public office. Some candidates even exaggerate their military service to persuade voters. However, sufficient counter-examples undermine the idea that military veterans enjoy an advantage when seeking political office.

In Why Veterans Run, Jeremy Teigenexplains the tendency of parties to elevate those with armed forces experience to run for high office. He describes the veteran candidate phenomenon by examining the related factors and patterns, showing why different eras have more former generals running and why the number of veterans in election cycles varies. With both quantitative and qualitative analysis, Why Veterans Run investigates each postwar era in U.S. electoral history and elaborates why so many veterans run for office. Teigen also reveals how election outcomes with veteran candidates illuminate the relationship between the military and civilian spheres as well as the preferences of the American electorate.