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Edward Davoll was a respected New Bedford whaling captain in an industry at its peak in the 1850s. But mid-career, disillusioned with whaling, desperately lonely at sea, and experiencing financial problems, he turned to the slave trade, with disastrous results. Why would a man of good reputation, in a city known for its racial tolerance and Quaker-inspired abolitionism, risk engagement with this morally repugnant industry?

In this riveting biography, Anthony J. Connors explores this question by detailing not only the troubled, adventurous life of this man but also the turbulent times in which he lived. Set in an era of social and political fragmentation and impending civil war, when changes in maritime law and the economics of whaling emboldened slaving agents to target captains and their vessels for the illicit trade, Davoll's story reveals the deadly combination of greed and racial antipathy that encouraged otherwise principled Americans to participate in the African slave trade.

West African Challenge to Empire examines the anticolonial war in the Volta and Bani region in 1915–16. It was the largest challenge that the French ever faced in their West African colonial empire, and one of the largest armed oppositions to colonialism anywhere in Africa. How such a movement could be organized in the face of European technological superiority despite the fact that this region is generally described as having consisted of rival villages and descent groups is a puzzle. In this jointly written book the two authors provide a detailed political and military history of this event based on archival research and ethnographic fieldwork. Using cultural and sociological analysis, it probes the origins of the movement, its internal organization, its strategy, and the reasons for its initial success and why it spread.

In 2001 the authors of West African Challenge to Empire were awarded the Amaury Talbot Prize for African Anthropology by the Royal Anthropological Institute.

The culturally rooted comic traditions of koteba theater and joking kinship have shaped West African comedies through various forms of humor. Débrouillardise (hustle) has turned the urban scene into a comic scene, a site for individual realization. To highlight the ever-growing production and success of comedies and other popular genres, West African Screen Media: Comedy, TV Series, and Transnationalization explores the distribution and reception of selected productions by emphasizing the public’s strong resonance with local stories and a character-based comedy involving popular comedians. In contrast to art films or “auteur films” that tend to be confined to the festival circuit, comedies and popular genres reach a far wider audience through local distribution networks, satellite TV channels, pirated DVDs, and online distribution platforms. This book engages a discussion of contemporary African media productions as seen outside the usual frameworks of cinéma engagé, the art house, or auteur approaches. While examining production and distribution through the lenses of proximity, appropriation, and transnationalization, this volume invites readers to reconsider the way genre films, as well as other kinds of productions, have been previously evaluated and in doing so addresses the critical neglect of comedy and other popular genres in the scholarship on African cinema.

The subject of this book is an unpredented economic and moral experiment between two countries - the Federal Republic of Germany and the new state of Israel. It is a narrative in contemporary social and economic history which recounts an almost unknown story, and does so on the basis of sustained and brilliant research by a scholar committed to the humanity and importance of his subject.

First published in 1982, West Virginia University: Symbol of Unity in a Sectionalize State details the history of WVU from before its inception as the Agricultural College of West Virginia in 1867 to its expansion and development in the 1980s. This comprehensive history includes an index of people, places and events; photographs and illustrations; and in-depth descriptions of campuses, buildings, colleges, and academic and sports programs. A joint effort between William T Doherty, Jr., a Professor Emeritus History at WVU and Festus P. Summers, the first University Librarian who passed away before this project was complete, this new edition once again grants access to the diverse and complex elements which shaped the institution.  

The first period of the twentieth century - that stretch of years beginning in the 1870s and ending with the United States' entry into World War I - is known as the Gilded Age. This was the era of the "Robber Barons" and the origin of modern America. These were the years in which developments in coal, steam, oil, and gas forged our national infrastructure. West Virginia and the Captains of Industry show how the excesses of the Gilded Age and the latitude our government accorded industrialists of the time created an impact on the fragile economy of our new state that accounts for much of the political and economic landscape of modern West Virginia. Gracefully written and thoroughly researched, West Virginia and the Captains of Industry has become a classic work of West Virginia history since its first publication by the West Virginia University Press in 1975. Anyone interested in the history of our state must read this revised edition; then again, so must anyone interested in the future of West Virginia.

This book explores the unique history of West Virginia, the only state born out of the Civil War. Western Virginians faced a dual crisis of allegiance and identity, torn between their historical ties to the secessionist state of Virginia and their loyalty to the Union. The population included a significant number of enslaved people, for whom the conflict’s outcome would have major consequences. Many Civil War narratives focus on major battles, but William Kerrigan shifts attention to the civilians of Western Virginia—both free and enslaved—who endured military occupation, raids, and guerrilla warfare. Civilians faced loyalty oaths, arrests, property destruction, and invasions by soldiers and partisans from both sides. Enslaved individuals played an active role, providing intelligence and assistance to Union forces and risking their lives for their freedom. At the same time, political leaders grappled with complex legal and political questions, first rejecting secession from the Union and subsequently pursuing their own secession from Virginia to form the new state of West Virginia. Their challenges included framing a new government, defining the state’s borders, addressing the future of slavery, and securing federal recognition. Postwar reconstruction in West Virginia presented its own challenges, distinct from those of other border states, as the return of defeated Confederates threatened the stability of the new state. The book highlights how the experiences of Western Virginia’s noncombatants, political leaders, and enslaved people contributed to the region’s turbulent transformation during and after the Civil War.

John Alexander Williams's West Virginia: A History is widely considered one of the finest books ever written about our state. In his clear, eminently readable style, Williams organizes the tangled strands of West Virginia's past around a few dramatic events-the battle of Point Pleasant, John Brown's insurrection in Harper's Ferry, the Paint Creek labor movement, the Hawk's Nest and Buffalo Creek disasters, and more. Williams uses these pivotal events as introductions to the larger issues of statehood, Civil War, unionism, and industrialization. Along the way, Williams conveys a true feel for the lives of common West Virginians, the personalities of the state's memorable characters, and the powerful influence of the land itself on its own history.

West Virginia: Its Farms and Forests, Mines and Oil-Wells celebrates the state of West Virginia. Originally published in 1865 as a series of studies on mineral resources, observations on agriculture, and interviews with businessmen, West Virginia details the industrial statistics, terrain, and population of a state during its infancy. With no record of natural wealth or reported transactions of agriculture or geography prior to this overview, West Virginia sparked the curiosity of non-residents, enticing investment and settlement through descriptions of abundant natural resources and an agreeable industrial condition. With an introduction by Kenneth R. Bailey, this new edition reminds us of the state’s alluring beginning and rich, yet often exploited development.
 

In the heady and hallucinogenic days of the 1960s and ’70s, a diverse range of artists and creative individuals based in the American West—from the Pacific coast to the Rocky Mountains and the Southwest—broke the barriers between art and lifestyle and embraced the new, hybrid sensibilities of the countercultural movement. Often created through radically collaborative artistic practices, such works as Paolo Soleri’s earth homes, the hand-built architecture of the Drop City and Libre communes, Yolanda López’s political posters, the multisensory movement workshops of Anna and Lawrence Halprin, and the immersive light shows and video-based work by the Ant Farm and Optic Nerve collectives were intended to generate new life patterns that pointed toward social and political emancipation.

In West of Center, Elissa Auther and Adam Lerner bring together a prominent group of scholars to elaborate the historical and artistic significance of these counterculture projects within the broader narrative of postwar American art, which skews heavily toward New York’s avant-garde art scene. This west of center countercultural movement has typically been associated with psychedelic art, but the contributors to this book understand this as only one dimension of the larger, artistically oriented, socially based phenomenon. At the same time, they reveal the disciplinary, geographic, and theoretical biases and assumptions that have led to the dismissal of countercultural practices in the history of art and visual culture, and they detail how this form of cultural and political activity found its place in the West.

A companion to an exhibition originating at the Museum of Contemporary Art Denver, this book illuminates how, in the western United States, the counterculture’s unique integration of art practices, political action, and collaborative life activities serves as a linchpin connecting postwar and contemporary artistic endeavors.

African Americans who moved to California in hopes of finding freedom and full citizenship instead faced all-too-familiar racial segregation. As one transplant put it, "The only difference between Pasadena and Mississippi is the way they are spelled." From the beaches to streetcars to schools, the Golden State—in contrast to its reputation for tolerance—perfected many methods of controlling people of color.

Lynn M. Hudson deepens our understanding of the practices that African Americans in the West deployed to dismantle Jim Crow in the quest for civil rights prior to the 1960s. Faced with institutionalized racism, black Californians used both established and improvised tactics to resist and survive the state's color line. Hudson rediscovers forgotten stories like the experimental all-black community of Allensworth, the California Ku Klux Klan's campaign of terror against African Americans, the bitter struggle to integrate public swimming pools in Pasadena and elsewhere, and segregationists' preoccupation with gender and sexuality.

Sex can be an oppressive force, a tool to shame, divide, and control a population. But it can also be a force for change, for the legal and physical challenge of inequity and injustice. In West of Sex, Pablo Mitchell uses court transcripts and criminal cases to provide the first coherent picture of Mexican-American sexuality at the turn of the twentieth century, and a truly revelatory look at sexual identity in the borderlands.

As Mexicans faced a rising tide of racial intolerance in the American West, some found cracks in the legal system that enabled them to assert their rights as full citizens, despite institutional hostility. In these chapters, Mitchell offers a rare glimpse into the inner workings of ethnicity and power in the United States, placing ordinary Mexican women and men at the center of the story of American sex, colonialism, and belonging.

Other chapters discuss topics like prostitution, same-sex intimacy, sexual violence, interracial romance, and marriage with an impressive level of detail and complexity. Written in vivid and accessible prose, West of Sex offers readers a new vision of sex and race in American history.

Expanding the scope of American borderland and frontier literary scholarship, West of the Border examines the writings of nineteenth- and turn-of-the-century Native, African, Asian, and Anglo American frontier writers. This book views frontiers as “human spaces” where cultures make contact as it considers multicultural frontier writers who speak from “west of the border.”

James P. Beckwourth, a half-black fur trader; Sarah Winnemucca Hopkins, a Paiute translator; Salishan author Mourning Dove; Cherokee novelist John Rollin Ridge; Sui Sin Far, an Anglo-Chinese short story writer, and her sister, romance novelist Onoto Watanna; and Mary Austin, a white southwestern writer- each of these intercultural writers faces a rite of passage into a new social order. Their writings negotiate their various frontier ordeals: the encroachment of pioneers on the land; reservation life; assimilation; Christianity; battles over territories and resources; exclusion; miscegenation laws; and the devastation of the environment.

In West of the Border, Noreen Groover Lape raises issues inherent in American pluralism today by broaching timely concerns about American frontier politics, conceptualizing frontiers as intercultural contact zones, and expanding the boundaries of frontier literary studies by giving voice to minority writers.

West to Far Michigan is a study of the lower peninsula's occupation by agriculturalists, whose presence forever transformed the land and helped to create the modern state of Michigan. This is not simply a history of Michigan, but rather a work that focuses on why the state developed as it did. Although Michigan is seen today as an industrial state whose history is couched in terms of the fur trade and the international rivalry for the Great Lakes, agricultural settlement shaped its expansion. Using a model of agricultural colonization derived from comparative studies, Lewis examines the settlement process in Michigan between 1815 and 1860. This period marked the opening of Michigan to immigrants, saw the rise of commercial agriculture, and witnessed Michigan's integration into the larger national economy.
Employing numerous primary sources, West to Far Michigan traces changes and patterns of settlement crucial to documenting the large-scale development of southern Michigan as a region. Diaries, letters, memoirs, gazetteers, and legal documents serve to transform the more abstract elements of economic and social change into more human terms. Through the experiences of the early Agriculturists process, we can gain insight into how their triumphs played out in communities within the region to produce small-scale elements that comprise the fabric of the larger cultural landscape.

The concept of the American West is an essential part of our national psyche. Identifying the West, however, is a difficult matter. From pinpointing the region’s ambiguous boundaries, to defining its significance to each American, scholars from a multitude of disciplines have disagreed about the geography, history, and meaning of the West since we first advanced on the frontier.
In Western Places, American Myths: How We Think About the West, geographer Gary J. Hausladen brings together leading scholars to consider how popular perceptions about the West contribute to our understanding of the region’s geography. Topics include ranching, gambling, cinema, the National Park System, and the roles of minorities in Western expansion. The essays are divided into three sections. “Continuity and Change” addresses themes that are relevant to the entire region including the relationship between the American West and the academic field of historical geography. In part two, “Enduring Regional Voices,” the essays depart from predominantly white Euro-American male interpretations to study other perspectives, namely those of women, Mormons, Mexican Americans, and Native Americans. “The West as Visionary Place” investigates the culture of the region.
Drawing from diverse media, contributors explore various images and their contributions to our understanding about the American West. In the final chapter, key western movies are used to examine the issues of settlement and utopianism, as well as empire and territorial expansion. As a collection, these twelve essays reflect the eclectic nature of Western scholarship, examining diverse topics—some historical, some contemporary—from sometimes conflicting perspectives, with widely divergent scope and voices. Western Places, American Myths brings together geography, history, popular culture, and a comprehensive view of the region, bridging the humanities and social sciences.

Identifying distinct social groups of the past has always challenged archaeologists because understanding how people perceived their identity is critical to the reconstruction of social organization. Material culture has been the standard measure of distinction between groups, and the distribution of ceramics and other artifacts has often been used to define group boundaries. Western Pueblo Identities argues that such an approach is not always appropriate: demographic and historical factors may affect the extent to which material evidence can define such boundaries. Andrew Duff now examines a number of other factors—relationships among settlement size, regional population densities, the homogeneity of material culture, and local and long-distance exchange—in order to trace the history of interaction and the formation of group identity in east-central Arizona and west-central New Mexico from A.D. 1275 to 1400.

Using comparative data from the Upper Little Colorado and Zuni regions, Duff demonstrates differences in patterns of interaction within and between regions with different population densities. He then links these differences to such factors as occupational history, immigrant populations, the negotiation of social identities, and the emergence of new ritual systems. Following abandonments in the Four Corners area in the late 1200s, immigrants with different historical backgrounds occupied many Western Pueblo regions—in contrast to the Hopi and Zuni regions, which had more stable populations and deeper historical roots.

Duff uses chemical analyses of ceramics to document exchange among several communities within these regions, showing that people in less densely settled regions were actively recruited by residents of the Hopi and Zuni regions to join their settlements. By the time of the arrival of the Spaniards, two distinct social and territorial groups—the Hopi and Zuni peoples—had emerged from this scattering of communities. Duff's new interpretations, along with new data on ceramic exchange patterns, suggest that interaction is a better way to measure identity than more commonly used criteria. His work offers new perspectives on the role of ritual in social organization and on identity formation in Pueblo IV society and is rich in implications for the study of other sedentary, middle-range societies.

The 2015 theme for Manifest West’s annual anthology is “Western Weird.” The works in this collection reflect both myths and suspected truths about the part of the United States we call “the West.” But this year’s edition focuses entirely on the tradition of the strange. To borrow from Jeff VanderMeer’s definition for speculative fiction’s “New Weird,” this volume creates a new parallel genre for work that subverts the traditional romanticized ideas about place, playing with clichés about the West in order to put these elements to discomfiting, rather than consoling, ends.

Topics included in this collection of poetry, fiction, and creative nonfiction range from the West’s numinous fascination with E.T., Bigfoot, and ghosts and its celebration of its indigenous fauna and deadly landscapes to its uncomfortable relationships with its own marginalized peoples and its unforgiving and sometimes violent traditions. The tone of these works ranges from light—even campy—to chilling, but all allow readers to gaze straight into the many faces of what makes the West a weird place.

For the first time in the series, this volume includes solicited work as well as open submissions, including a number of established and award-winning writers and serving its mission by giving voice to brand-new writers.
 

Western Weird is the fourth volume in Western Press Books’ literary anthology series, Manifest West. The press, affiliated with Western State Colorado University, annually produces one anthology focused on Western regional writing

A history of the Western in fiction and on film that shows how it reflects the changing obsessions and fears of American culture

Few genres are so closely identified with America as the Western. In this wide-ranging examination of the Western and its appeal, Lee Clark Mitchell ranges from the novels of James Fenimore Cooper to Louis L'Amour, and from classic films like Stagecoach to spaghetti Westerns like A Fistful of Dollar to show how Westerns helped assuage a series of crises in American culture. This landmark book shows that the Western owes its perennial appeal not to unchanging conventions but to the deftness with which it responds to the obsessions and fears of its audience. And no obsession, Lee Mitchell argues, has figured more prominently in the Western than what it means to be a man. 

Upstream from Moab on the Colorado River, near the Colorado state line, there is a relatively short, deep canyon that has become one of the most popular river-running destinations in America. The canyon is known as Westwater. Its popularity is largely due to the thrill provided by possibly the most, certainly one of the most, dangerous and challenging stretches of white water on the Colorado-Skull Rapid. Near the head of the canyon are the remnants of the tiny town of Westwater, which has had an interesting and eventful history of its own, partly because of the river and canyon, partly because of the railroad that passes through it, and partly because of its remoteness. It has attracted over the years more than its fair share of colorful characters-government explorers and agents, boosters and get-rich-quick dreamers, cattle and sheep men, outlaws and bootleggers, and, of course, river runners. Mike Milligan, who came to know the area as a river guide, has written a thorough history of this out-of-the-way place. While it has a colorful history that makes its story interesting in and of itself, Westwater's significance derives more from a phenomenon of the modern West-thousands of recreational river runners. They have pushed a backwater place into the foreground of modern popular culture in the West. Westwater seems to represent one common sequence in western history: the late opening of unexplored territories; sporadic, ultimately often unsuccessful attempts to develop them; renewed obscurity when development doesn't succeed; their attraction of a marginal society of misfits or loners; and modern rediscovery of them due to new cultural motives, especially outdoors recreation, which has brought a great number of people into thousands of remote corners of the West.

The first of two groundbreaking volumes on gay history in Wisconsin, We’ve Been Here All Along provides an illuminating and nuanced picture of Wisconsin’s gay history from the reporting on the Oscar Wilde trials of 1895 to the landmark Stonewall Riots of 1969. Throughout these decades, gay Wisconsinites developed identities, created support networks, and found ways to thrive in their communities despite various forms of suppression—from the anti-vice crusades of the early twentieth century to the post-war labeling of homosexuality as an illness to the Lavender Scare of the 1950s.

In We’ve Been Here All Along, R. Richard Wagner draws on historical research and materials from his own extensive archive to uncover previously hidden stories of gay Wisconsinites. This book honors their legacy and confirms that they have been foundational to the development and evolution of the state since its earliest days

Paul A. Van Dyke’s new book, Whampoa and the Canton Trade: Life and Death in a Chinese Port, 1700–1842, authoritatively corrects misconceptions about how the Qing government treated foreigners when it controlled all trade in the Guangzhou port. Van Dyke reappraises the role of Whampoa in the system—a port twenty kilometres away from Guangzhou—and reassesses the government’s attitude towards foreigners, which was much more accommodating than previous research suggested. In fact, Van Dyke shows that foreigners were not bound by local laws and were given freedom of movement around Whampoa and Canton to the extent that they were treated with leniency even when found in off-limit places. Whampoa and the Canton Trade recounts the lives of seamen who travelled half-way around the globe at great risk and lived through a historic period that would become the framework for subsequent encounters between China and the rest of the world. Were it not for the exchanges between the major powers and the Qing empire, the world—as we know it—would be a rather different place. Hence, Van Dyke’s command of data mining shows that Whampoa was a key pillar in the Canton System and, thus, in the making of the modern world economy.

In this lucid and balanced treatise Alan Jacobs reveals the true parameters of Auden's change after the poet's move to America in 1939. By carefully examining poems that represent transitional moments in Auden's thinking, Jacobs identifies the points at which the tectonic plates of the poet's intellect clashed and the buckles and rifts these pressures caused in Auden's body of work.

Close to death, an old man collapses and struggles to his bed. The sounds of the endless night unsettle him, triggering images, questions, and memories. In What Darkness Was, Inka Parei, author of The Shadow-Boxing Woman, allows the reader to inhabit a singular German mind. Precise and observant—but uncomprehending and on the brink of hysteria—the old man wracks his brain as the questions flow like water: why did he inherit the building he now lives in? Why did he leave the city that was his home for so long? Is he even here voluntarily? And who was that suspicious stranger on the stairs? Lying in bed, the old man is aware that these questions may be the last puzzles he ever solves.

Combining tight prose with a compulsive delight in detail, Parei’s second novel in English presents a dynamic portrait of the West German soul from World War II through the German Autumn of 1977.

 

What did the Romans know about their world? Quite a lot, as Daryn Lehoux makes clear in this fascinating and much-needed contribution to the history and philosophy of ancient science. Lehoux contends that even though many of the Romans’ views about the natural world have no place in modern science—the umbrella-footed monsters and dog-headed people that roamed the earth and the stars that foretold human destinies—their claims turn out not to be so radically different from our own.

 

Lehoux draws upon a wide range of sources from what is unquestionably the most prolific period of ancient science, from the first century BC to the second century AD. He begins with Cicero’s theologico-philosophical trilogy On the Nature of the Gods, On Divination, and On Fate, illustrating how Cicero’s engagement with nature is closely related to his concerns in politics, religion, and law. Lehoux then guides readers through highly technical works by Galen and Ptolemy, as well as the more philosophically oriented physics and cosmologies of Lucretius, Plutarch, and Seneca, all the while exploring the complex interrelationships between the objects of scientific inquiry and the norms, processes, and structures of that inquiry. This includes not only the tools and methods the Romans used to investigate nature, but also the Romans’ cultural, intellectual, political, and religious perspectives. Lehoux concludes by sketching a methodology that uses the historical material he has carefully explained to directly engage the philosophical questions of incommensurability, realism, and relativism.

 

By situating Roman arguments about the natural world in their larger philosophical, political, and rhetorical contexts, What Did the Romans Know? demonstrates that the Romans had sophisticated and novel approaches to nature, approaches that were empirically rigorous, philosophically rich, and epistemologically complex.     

Geoffrey Galt Harpham’s book takes its title from a telling anecdote. A few years ago Harpham met a Cuban immigrant on a college campus, who told of arriving, penniless and undocumented, in the 1960s and eventually earning a GED and making his way to a community college. In a literature course one day, the professor asked him, “Mr. Ramirez, what do you think?” The question, said Ramirez, changed his life because “it was the first time anyone had asked me that.” Realizing that his opinion had value set him on a course that led to his becoming a distinguished professor.
            That, says Harpham, was the midcentury promise of American education, the deep current of commitment and aspiration that undergirded the educational system that was built in the postwar years, and is under extended assault today. The United States was founded, he argues, on the idea that interpreting its foundational documents was the highest calling of opinion, and for a brief moment at midcentury, the country turned to English teachers as the people best positioned to train students to thrive as interpreters—which is to say as citizens of a democracy. Tracing the roots of that belief in the humanities through American history, Harpham builds a strong case that, even in very different contemporary circumstances, the emphasis on social and cultural knowledge that animated the midcentury university is a resource that we can, and should, draw on today.
 

In What Does It Mean to Be Post-Soviet? Madina Tlostanova traces how contemporary post-Soviet art mediates this human condition. Observing how the concept of the happy future—which was at the core of the project of Soviet modernity—has lapsed from the post-Soviet imagination, Tlostanova shows how the possible way out of such a sense of futurelessness lies in the engagement with activist art. She interviews artists, art collectives, and writers such as Estonian artist Liina Siib, Uzbek artist Vyacheslav Akhunov, and Azerbaijani writer Afanassy Mamedov who frame the post-Soviet condition through the experience and expression of community, space, temporality, gender, and negotiating the demands of the state and the market. In foregrounding the unfolding aesthesis and activism in the post-Soviet space, Tlostanova emphasizes the important role that decolonial art plays in providing the foundation upon which to build new modes of thought and a decolonial future.

Are gardens works of art? What is involved in creating a garden? How are gardens experienced by those who stroll through them?

In What Gardens Mean, Stephanie Ross draws on philosophy as well as the histories of art, gardens, culture, and ideas to explore the magical lure of gardens. Paying special attention to the amazing landscape gardens of eighteenth-century England, she situates gardening among the other fine arts, documenting the complex messages gardens can convey and tracing various connections between gardens and the art of painting.

What Gardens Mean offers a distinctive blend of historical and contemporary material, ranging from extensive accounts of famous eighteenth-century gardens to incisive connections with present-day philosophical debates. And while Ross examines aesthetic writings from the seventeenth and eighteenth centuries, including Joseph Addison's Spectator essays on the pleasures of imagination, the book's opening chapter surveys more recent theories about the nature and boundaries of art. She also considers gardens on their own terms, following changes in garden style, analyzing the phenomenal experience of viewing or strolling through a garden, and challenging the claim that the art of gardening is now a dead one.

Showing that an artistic lineage can be traced from gardens in the Age of Satire to current environmental installations, this book is a sophisticated account of the myriad pleasures that gardens offer and a testimony to their enduring sensory and cognitive appeal. Beautifully illustrated and elegantly written, What Gardens Mean will delight all those interested in the history of gardens and the aesthetic and philosophical issues that they invite.

"Replete with provocative musings, Ross delineates links that should prove interesting to readers engaged in pondering our capacity to relate to the natural world through the gardens we create."—Booklist

"[A]n innovative and absorbing study of the garden as an object of aesthetic interest."—Allen Carlson, Journal of Aesthetics and Art Criticism

"[P]leasantly readable. . . . A thought-provoking book for all who reflect as they dig."—Noel Kingsbury, Country Life

"[A] refreshing view of the subject. . . . Ross's book is continually illuminating in unexpected ways."—Gillian Darley, Architects' Journal

"What Gardens Mean is a wonderful intellectual combination of discussions on the interdisciplinary histories of art, gardening, and philosophy."—Choice

Art criticism was once passionate, polemical, and judgmental; now critics are more often interested in ambiguity, neutrality, and nuanced description. And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. How is it that even as criticism drifts away from academia, it becomes more academic? How is it that sifting through a countless array of colorful periodicals and catalogs makes criticism seem to slip even further from our grasp? In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes.

"In What Happened to Art Criticism?, art historian James Elkins sounds the alarm about the perilous state of that craft, which he believes is 'In worldwide crisis . . . dissolving into the background clutter of ephemeral cultural criticism' even as more and more people are doing it. 'It's dying, but it's everywhere . . . massively produced, and massively ignored.' Those who pay attention to other sorts of criticism may recognize the problems Elkins describes: 'Local judgments are preferred to wider ones, and recently judgments themselves have even come to seem inappropriate. In their place critics proffer informal opinions or transitory thoughts, and they shy from strong commitments.' What he'd like to see more of: ambitious judgment, reflection about judgment itself, and 'criticism important enough to count as history, and vice versa.' Amen to that."—Jennifer Howard, Washington Post Book World

The debate about evolution and creationism is striking evidence of the tensions between biblical and philosophical-scientific explanations of the origins of the universe. For most of the past twenty centuries, important historical context for the debate has been supplied by the relation (or "counterpoint") between two monumental texts: Plato's Timaeus and the Book of Genesis.

In What Has Athens to Do with Jerusalem?, Jaroslav Pelikan examines the origins of this counterpoint. He reviews the central philosophical issues of origins as posed in classical Rome by Lucretius, and he then proceeds to an examination of Timaeus and Genesis, with Timaeus' Plato representing Athens and Genesis' Moses representing Jerusalem. He then follows the three most important case studies of the counterpoint--in the Jewish philosophical theology of Alexandria, in the Christian thought of Constantinople, and in the intellectual foundations of the Western Middles Ages represented by Catholic Rome, where Timaeus would be the only Platonic dialogue in general circulation.

Whatever Plato may have intended originally in writing Timaeus, it has for most of the intervening period been read in the light of Genesis. Conversely, Genesis has been known, not in the original Hebrew, but in Greek and Latin translations that were seen to bear a distinct resemblance to one another and to the Latin version of Timaeus. Pelikan's study leads to original findings that deal with Christian doctrine in the period of the church fathers, including the Three Cappadocians (Basil of Caesarea, Gregory of Nazianzus, and Gregory of Nyssa) in the East, and in the West, Ambrose, Augustine, and Boethius. All of these vitally important authors addressed the problem of the "counterpoint," and neither they nor these primary texts can become fully intelligible without attention to the central issues being explored here.

What Has Athens to Do with Jerusalem? will be of interest to historians, theologians, and philosophers and to anyone with interest in any of the religious traditions addressed herein.

 

Ferrell Secakuku remembers the ancient farming rites of his Hopi people but saw them replaced by a cash economy. Sheep rancher Joe Manterola recalls watching hard scrabble farms on what is now tree-studded grassland on Garland Prairie. Navajo Rose Gishie once saw freshly dug holes fill with clean, drinkable water where none rises today. All over northern Arizona, people have seen the landscapes change, and livelihoods with them. In this remarkable book they share their stories.

Thirteen narratives—from ranchers, foresters, scientists, Native American farmers, and others—tell how northern Arizona landscapes and livelihoods reflect rapid social and environmental change. The twentieth century saw huge changes as Arizona’s human population swelled and vacation-home developments arose in the backcountry. Riparian areas dried up, cattle ranching declined, and some wildlife species vanished while others thrived. The people whose words are preserved here have watched it all happen.

The book is a product of Northern Arizona University’s Ecological Oral Histories project, which has been collecting remembrances of long-time area residents who have observed changes to the land from the 1930s to the present day. It carves a wide swath, from the Arizona Strip to the Mogollon Rim, from valleys near Prescott to the New Mexico line. It takes readers to the Bar Heart Ranch north of Williams and to the Doy Reidhead Ranch southeast of Holbrook, to the forests of Flagstaff and the mesas of Indian country.

Enhanced with more than fifty illustrations, this book brings environmental change down to earth by allowing us to see it through the eyes of those whose lives it has directly touched. What Has Passed and What Remains is a window on the past that carries important lessons for the future.

 

Maryse Condé is one of the best-known and most beloved French Caribbean literary voices. The author of more than twenty novels, she was shortlisted for the Man Booker International Prize in 2015 and has long been recognized as a giant of Black feminist literature. While Condé has previously published an autobiography of her childhood, What Is Africa to Me? tells for the first time the story of her early adult years in Africa—years formative not only for her, but also for African colonies appealing for their own independence.

What Is Africa to Me? traces the late 1950s to 1968, chronicling Condé’s life in Sékou Touré’s Guinea to her time in Kwame N’Krumah’s Ghana, where she rubbed shoulders with Malcolm X, Che Guevara, Julius Nyerere, and Maya Angelou. Accusations of subversive activity resulted in Condé’s deportation from Ghana. Settling down in Sénégal, Condé ended her African years with close friends in Dakar, including filmmakers, activists, and Haitian exiles, before putting down more permanent roots in Paris.

Condé’s story is more than one of political upheaval, however; it is also the story of a mother raising four children as she battles steep obstacles, of a Guadeloupean seeking her identity in Africa, and of a young woman searching for her freedom and vocation as a writer. What Is Africa to Me? is a searing portrait of a literary genius—it should not be missed.