San Francisco Bay Area Sports brings together fifteen essays covering the issues, controversies, and personalities that have emerged as northern Californians recreated and competed over the last 150 years. The area’s diversity, anti-establishment leanings, and unique and beautiful natural surroundings are explored in the context of a dynamic sporting past that includes events broadcast to millions or activities engaged in by just a few.
Professional and college events are covered along with lesser-known entities such as Oakland’s public parks, tennis player and Bay Area native Rosie Casals, environmentalism and hiking in Marin County, and the origins of the Gay Games. Taken as a whole, this book clarifies how sport is connected to identities based on sexuality, gender, race, and ethnicity. Just as crucial, the stories here illuminate how sport and recreation can potentially create transgressive spaces, particularity in a place known for its nonconformity.
Revised and enlarged, the second edition of Sappho to Valéry includes both the originals and translations of ninety-eight poems from nine different languages. Nims offers new and lively interpretations of a number of poems that have been translated and others available in no other English translation.
A former editor of Poetry, John Frederick Nims has published several volumes of his own poetry, poetry in translation, and essays on the form.
Sawmill is a history of logging in the Arkansas and Oklahoma Ouachita Mountains from 1900 to 1950, a penetrating study of the lumber industry, and a significant view of man’s interaction with a major forest resource. It is also a social history in its account of the lumbermen’s quest for the last virgin timber and the effects of its depletion. Kenneth L. Smith interviewed more than three hundred people to develop this lively history of the cutting of virgin shortleaf pine forests.
The Caddo River Lumber Company and the Arkansas mill towns of Rosboro, Glenwood, and Forester provided jobs and homes for many during the brief heyday of the big sawmills. Smith takes a close look at several important timber companies, and at the personality of T. W. Rosborough, a man who bought and sold vast tracts of land and had an almost fatherly concern for both white and black sawmill workers.
The recollections included here provide insight into a population that lived through the Depression years in isolated mountain communities where cats were sometimes sold as possum meat, and where men enjoyed weekend “sip and sniff” poker parties. The book is richly illustrated with photographs from the time of the mills and includes a foldout map.
Sawmill was originally published in 1986 and reprinted in 2006.
Winner of the Virginia C. Ledbetter Prize
Seattle Sports: Play, Identity, and Pursuit in the Emerald City, edited by Terry Anne Scott, explores the vast and varied history of sports in this city where diversity and social progress are reflected in and reinforced by play. The work gathered here covers Seattle’s professional sports culture as well as many of the city’s lesser-known figures and sports milestones. Fresh, nuanced takes on the Seattle Mariners, Supersonics, and Seahawks are joined by essays on gay softball leagues, city court basketball, athletics in local Japanese American communities during the interwar years, ultimate, the fierce women of roller derby, and much more. Together, these essays create a vivid portrait of Seattle fans, who, in supporting their teams—often in rain, sometimes in the midst of seismic activity—check the country’s implicit racial bias by rallying behind outspoken local sporting heroes.
In The Second Great Emancipation, Donald Holley uses statistical and narrative analysis to demonstrate that farm mechanization occurred in the Delta region of Arkansas, Louisiana, and Mississippi after the region’s population of farm laborers moved away for new opportunities. Rather than pushing labor off the land, Holley argues, the mechanical cotton picker enabled the continuation of cotton cultivation in the post-plantation era, opening the door for the civil rights movement, while ushering a period of prosperity into the South.
Finalist, 2016 Miller Williams Poetry Prize
The poems in See You Soon explore the limits of metaphor and language as their voices speak from the beauty and strangeness of daily experience, testing how we make sense of ourselves to ourselves and to one another. There is love in these poems, there is failure and absurdity. The characters, in their various situations and guises, find themselves outside of time, space, and identity—at sunset, in an airport, outside a hookah lounge, as a birthday party clown, after a flood. Its message is the invitation of the title. See You Soon is a statement of the complexity of our mutual direction in time, of camaraderie along the way.
Selected Essays of John Gould Fletcher brings together for the first time a representative selection from Fletcher’s voluminous critical writings. Ranging in subject from Modernist poetics to Asian art, these essays reveal a keen, insightful intellect coming to grips with the central artistic problems of the most revolutionary period in modern literature, painting, music, and philosophy.
First published in Poetry, North American Review, Southern Review, and Criterion, and other leading cultural journals of their day, Fletcher’s essays are arranged in three groups: poetry and poetics; appreciation of individual writers; and essays on art and philosophy.
Significant and long overdue both in terms of the light it sheds on Fletcher and the evolution of the Modernist movement, the collection should challenge all serious students of literature and general readers alike.
A Pulitzer Prize winner best known as an imagist, John Gould Fletcher experimented with every facet of Modernist poetry and influenced poets in both England and the United States. this is the first collection to span his entire career, and brings again to the public eye work that has been unavailable for thirty-five years.
Fletcher is responsible for introducing Ezra Pound to French symbolism, and Amy Lowell to “polyphonic prose,” and his connection with the Southern Fugitive Agrarian movement adds to his significance as the first modern Southern poet. The editors have chosen representative works for his many stages of development and discuss in the introduction Fletcher’s influence on the better-known modernists.
Selected Poems of John Gould Fletcher is the first n a series of books by or about Fletcher to fill an important space in home and public libraries with American literature collections.
Winner of the 2017 Miller Williams Poetry Prize, edited by Billy Collins
“Shows this exceptional poet at his rhyming best.”
—Billy Collins
Self-Portrait in a Door-Length Mirror presents the mirror that reflects not always what is, but what is desired, or not desired. In the opening poem, the speaker, Diane Arbus, looks at her very early pregnant self and asks, “Why would I bring you into this world?” This book answers that question, or tries to: the world is what it is as we try to live as our best selves in that world. But that knowledge of the world is hard and has consequences, and not in the abstract, as Gibson’s poetry dynamically shows.
Employing new formalism, Self-Portrait in a Door-Length Mirror examines historical, familial, and personal pasts as those pasts continue into the present, reminding us, as Faulkner wrote, “The past is never dead. It’s not even past.”
Winner of the 2017 NASSH Book Award for best edited collection.
The hardening of racial lines during the first half of the twentieth century eliminated almost all African Americans from white organized sports, forcing black athletes to form their own teams, organizations, and events. This separate sporting culture, explored in the twelve essays included here, comprised much more than athletic competition; these “separate games” provided examples of black enterprise and black self-help and showed the importance of agency and the quest for racial uplift in a country fraught with racialist thinking and discrimination.
The significance of this sporting culture is vividly showcased in the stories of the Cuban Giants baseball team, basketball’s New York Renaissance Five, the Tennessee State Tigerbelles track-and-field team, black college football’s Turkey Bowl Classic, car racing’s Gold and Glory Sweepstakes, Negro League Baseball’s East-West All-Star game, and many more. These teams, organizations, and events made up a vibrant national sporting complex that remained in existence until the integration of sports beginning in the late 1940s. Separate Games explores the fascinating ways sports helped bind the black community and illuminate race pride, business acumen, and organizational abilities.
Serious Daring is the story of the complementary journeys of two American women artists, celebrated fiction writer Eudora Welty and internationally acclaimed photographer Rosamond Purcell, each of whom initially practiced, but then turned from, the art form ultimately pursued by the other.
For both Welty and Purcell, the art realized is full of the art seemingly abandoned. Welty’s short stories and novels use images of photographs, photographers, and photography. Purcell photographed books, texts, and writing.
Both women make compelling art out of the seeming tension between literary and visual cultures. Purcell wrote a memoir in which photographs became endnotes. Welty re-emerged as a photographer through the publication of four volumes of what she called her “snapshots,” magnificent black-and-white photographs of small-town Mississippi and New York City life.
Serious Daring is a fascinating look at how the road not taken can stubbornly accompany the chosen path, how what is seemingly left behind can become a haunting and vital presence in life and art.
Winner, 2017 Ned Shank Award for Outstanding Preservation Publication from Preserve Arkansas
Shadow Patterns: Reflections on Fay Jones and His Architecture is a collection of critical essays and personal accounts of the man the American Institute of Architects honored with its highest award, the Gold Medal, in 1990.
The essays range from the academic, with appreciations and observations by Juhanni Palaasma and Robert McCarter and Ethel Goodstein-Murphree, to personal reflections by clients and friends. Two of Arkansas’s most accomplished writers, Roy Reed and Ellen Gilchrist, who each live in Fay Jones houses, have provided intimate portrayals of what it’s like to live in, and manage the quirks of, a “house built by a genius,” where “light is everywhere. . . . Everything is quiet, and everything is a surprise,” as Gilchrist says.
Through this compendium of perspectives, readers will learn about Jones’s personal qualities, including his strong will, his ability to convince other people of the rightness of his ideas, and yet his willingness, at times, to change his mind. We also enter into the work: powerful architecture like Stoneflower and Thorncrown Chapel and Pinecote Pavilion, along with private residences ranging from the modest to the monumental. And we learn about his relationship with his mentor, Frank Lloyd Wright.
Shadow Patterns broadens and enriches our understanding of this major figure in American architecture of the twentieth century.
Winner, 2023 Booker Worthern Literary Prize
For nearly a century, British expatriate Charles Joseph Finger (1867–1941) was best known as an award-winning author of children’s literature. In Shared Secrets, Elizabeth Findley Shores relates Finger’s untold story, exploring the secrets that connected the author to an international community of twentieth-century queer literati.
As a young man, Finger reveled in the easy homosociality of his London polytechnical school, where he launched a student literary society in the mold of the city’s private men’s clubs. Throughout his life, as he wandered from England to Patagonia to the United States, he tried to recreate similarly open spaces—such as Gayeta, his would-be art colony in Arkansas. But it was through his idiosyncratic magazine All’s Well that he constructed his most successful social network, writing articles filled with coded signals and winking asides for an inner circle of understanding readers.
Capitalizing on the publishing opportunities of the day, Finger used every means available to express his twin loves—literature and men. He produced an enormous body of work, and his short, semiautobiographical fiction won some critical acclaim. Ultimately, the children’s book that won Finger a Newbery Medal ushered him into the public eye, ending his development as an author of serious queer literature.
Shared Secrets is both the story of Finger’s remarkable, adventurous life and a rare look at a community of gay writers and artists who helped shaped twentieth-century American culture, even as they artfully concealed their own identities.
Confederate general Joseph O. Shelby and his legendary Iron Brigade refused to acknowledge the end of the Civil War. Instead, they fought their way to Mexico in search of a place where they could continue to defy the U.S. government. These veteran Missouri cavalrymen clawed their way for fifteen hundred miles, fighting Juaristas, Indians, desperados, and disgruntled gringos. They disbanded only after they had offered their services to Emperor Maximilian and were turned down.
Shelby’s adjutant, journalist John N. Edwards, first published his story of the exploits of this superb mounted brigade and its quixotic final march in 1872. Conger Beasley provides a lively introduction that includes the first biographical sketch of the author. The 1969 movie The Undefeated starring John Wayne and Rock Hudson was based upon Shelby’s expedition.
Modern tourism in the Ozark Mountains of Missouri and Arkansas is concentrated around the area’s glistening man-made lakes, its fish-filled streams and rivers, and the entertainment mecca of Branson. But recreational excursions into this part of the country began over one hundred years ago as urban Midwesterners, many of them captivated by Harold Bell Wright’s novel The Shepherd of the Hills, sought the outdoors for spiritual and physical regeneration.
Morrow and Myers-Phinney excavate the beginnings of commercial tourism in the region and follow it through six decades as the influx of visitors who became familiar with the Ozarks and its investment opportunities brought capital, new commerce, and additional residents to the hills. Chapters focus on float fishing, game parks, cave exploration, the influence of the railroad, and the men who were instrumental in the region’s transformation. The authors discuss traditional lifestyles rooted in “living off the land,” with stock raising and lumbering providing basic subsistence, and changes wrought by tourism, which affected all classes of people across the White River landscape. They describe the flowering of “Ozarks folklore”—how stories told around gravel-bar fishing camps and retold by newspaper journalists translated the hills’ oral tradition for mass audiences.
While the main theme of this study is the development of tourism, it is also a social history of the interior highlands of the Ozarks. We see how the residents and their way of life were discovered, exploited, and changed by new opportunities and the demands of tourism and increasing trade. As such, this book is a valuable new addition to the University of Arkansas Press’s Ozarks Collection.
Winner, 2019 Miller Williams Poetry Prize
“We are the happy riders on the stream of Padua’s consciousness . . . a smart, sympathetic mind at work.”
—Billy Collins
Drawing on the spirit of New York City in decades past, A Short History of Monsters presents the sins and obsessions of a poet nimble in beat and slam traditions. In his first full-length collection, Jose Padua wrestles with an American dream interrupted by failure, excess, and other nightmares. Often brash and unruly, these poems range from recollections of lost, drunken days to unadorned manifestations of hope. Throughout, the speaker redefines his relationship to pop culture, praising it, skewering it, and mourning it by turns.
The poems that make up A Short History of Monsters tend toward both dark humor and epiphany, diving deeply into their own despair and rising up again with existential absurdity. This is a poetry that gets down into the grit and grime of the real world, digging out a space to experience being alive as miraculous in and of itself.
Through these varied essays on politics, ethics, music, race, and culture Philip Martin admits “a minor obsession” with what he calls “the American Frolic”—the essential lack of seriousness with which many of us approach the questions inherent in living in a free society. He observes that Americans have been conditioned to react, not to consider; that while we are very good at ripostes and snappy comebacks, at cracking wise and looking smart, we often fail to authentically engage the issues with which we pretend to be most concerned. We inadvertently talk past one another, he says, resorting to cant and partisan boilerplate.
In the essays presented in The Shortstop’s Son, Philip Martin rigorously resists easy labels and rote ideological truths. He pursues more subtle meanings with a commonsense lucidity and a fundamental compassion for humanity. Whether writing about the mythos built upon Bonnie and Clyde’s bullet-ridden Ford or the ignoble death and burial of blues legend Blind Lemon Jefferson, Martin strikes the chord that both moves and informs.
Martin is our critic at large. Deeply engaged in the world of thought and experience, he applies his nimble mind and very human heart to those things which should concern us most. He allows us, through his “obsession” and the clarity of his prose, to experience a new vision, one based in our desire for rich life.
New in Paper!
Excavated in 1974, the Sloan site in northeast Arkansas is the earliest recognized cemetery in the New World, containing the graves of a small group of Native Americans who died over ten thousand years ago. Although no skeletons were found in the acidic soil, the number, size, and quality of its artifacts attest to the presence of a far more complicated and sophisticated culture than had previously been thought to exist during the Dalton period.
Bringing together the work of thirteen eminent scholars, Dan F. Morse describes and assesses the assemblage of points, adzes, scrapers, abraders, and other stone artifacts as an indicator of the territorial stability of late Pleistocene peoples. The tools show that hunter-gatherer-fisher populations lived in small, semipermanent villages, hunted and butchered white-tailed deer, processed and ate vegetables, and made dugout canoes. And they buried their dead in cemeteries, a practice previously associated only with the rise of horticultural societies. Many of the tools are unused, suggesting ritual interments and a well-developed system of trade with groups in rockier areas.
Including an overview of the Dalton period in the southeastern United States and a discussion of the region’s geologic and vegetal prehistory—and newly supported by extensive high-quality image galleries now available at the website of the Arkansas Archeological Survey (see inside cover)—this comprehensive study of the Sloan artifacts provides a multifaceted assessment of a site rich in information about the technology of a single prehistoric society.
Called upon for the first time to render military service outside the States, Negro soldiers (called Smoked Yankees by the Spaniards) were eager to improve their status at home by fighting for the white man in the Spanish-American War. Their story is told through countless letters sent to black U.S. newspapers that lacked resources to field their own reporters. The collection constitutes a remarkably complete and otherwise undisclosed amount of the black man’s role in—and attitude toward—America’s struggle for empire.
In first-hand reports of battles in the Philippine Islands and Cuba, Negro soldiers wrote from the perspective of dispossessed citizens struggling to obtain a larger share of the rights and privileges of Americans.
These letters provide a fuller understanding of the exploits of black troops through their reports of military activities and accounts of foreign peoples and its cultures.
Originally published in a limited edition in 1866, this memoir of Will Tunnard’s experiences and observations of the Civil War in the West, where he served in the famed Third Louisiana Infantry, is one of only a handful of chronicles left by western Confederate soldiers. His first-person account of the battles of Wilson’s Creek, Pea Ridge, Iuka, and Corinth as well as the seige of Vicksburg, is a vivid history of these hard-fought campaigns which determined the outcome of the war in the Trans-Mississippi theater.
Using letters and diaries assembled from former comrades as well as his own daily journal, Tunnard tells the story of his regiment and its extraordinary odyssey from the Gulf of Mexico to the Ozark Plateau and from the Indian Territory to Mobile Bay. He offers an extensive and valuable account of capture and parole at Vicksburg and includes muster rolls which will interest genealogists as well as Civil War scholars and history enthusiasts. With a clear eye for detail and an engaging, objective style, Tunnard conveys the pathos of war and recounts the trials of camp life, social conditions, and the war’s affect on the civilian population.
Noted Civil War scholar William L. Shea supports the original text with background on the regiment and the time period, sketching a helpful chronology of events. In retelling this remarkable story of comradeship, hardship, endurance, courage, pride, and eventual defeat, Tunnard and Shea give modern readers a rare glimpse of the war in the West.
A translator’s notebook, an almanac, an ecological history, Judy Halebsky’s Spring and a Thousand Years (Unabridged) moves between multiple intersections and sign systems connected in a long glossary poem that serves as the book’s guide to what is lost, erased, or disrupted in transition both from experience to written word and from one language, location, and time period to another.
Writers Li Bai, Matsuo Bashō, Sei Shōnagon, and Du Fu make frequent appearances in centuries ranging from the eighth to the twenty-first, and appear in conversation with Grace Paley, Donald Hall, and Halebsky herself, as the poet explores subjects ranging from work and marriage to environmental destruction. Asking what would happen if these poets—not just their work—appeared in California, the poems slip between different geographies, syntaxes, times, and cultural frameworks.
The role of the literary translator is to bring text from one language into another, working to at once shift and retain the context of the original—from one alphabet to another, one point in time to another. These are poems in homage to translation; they rely on concepts that can bridge time and space, and as a result are as likely to find meaning in donuts or Zumba as they are to find it in the ocean. Spring and a Thousand Years (Unabridged) finds reasons for hope not in how the world should be, but in how it has always been.
Springs and Autumns is a compelling novel that chronicles, through the voices of several family members, the intriguing history of an extended Majorcan family. The novel is set in Orlandis (a fictional version of Porcel’s hometown) on the island of Majorca. Even though the novel rises from this specific, exotic island setting, Springs and Autumns ultimately appeals to universal human emotions.
John German has captured the rhythm and poetic nature of Porcel’s prose in his translation of Springs and Autumns. Working from Porcel’s original Catalan and Spanish versions of the text, Getman manages to remain faithful to the feel and tone of Porcel’s narrative while at the same time creating an exceptionally lucid English version.
Although the entire novel takes place as the family gathers at Taltavull Hall for a Christmas Eve dinner, the reader is conveyed to places as far away as South America and Asia, learning along the way about murder, love, rape, incest, travel, discovery, regret, and forgiveness. Porcel accomplishes this through a narrative strategy that pieces together a complex mosaic of the family’s history, with each new narrative layer adding insight to the previous narratives, ultimately creating a complex and engaging novel.
Marking collisions of culture and character, these ten short stories arise at the frontiers where Arabic tradition melds with both the modern European world and a Gothic strata of the supernatural. The resultant mix sparks tensions between the sexes, between identities, and between experimental forms of storytelling and strict narrative.
In Samman’s fiction, matchmakers still come to call but lovers go bungee jumping. A schizophrenic has a discussion with one of his personalities about murder and relationships with women. Avoiding ghosts both real and imagined, a war exile confronts class structure; the art of Paris; and the trials of being a woman, an Arab, and a writer in a country and culture not her own. The spirit of a strangled lover tells the story of his murder and of the web of love, beauty, lust, and loathing that brought about his demise.
First published in Beirut in 1994 and now ably rendered into English, Samman’s The Square Moon mixes the ghoulish with the everyday, the playful and witty with the terrifying, intermingling surprise endings, uncommon turns of plot, and the strange but realistic details of the characters’ lives.
These poems give voice to the life of the first woman to fly faster than the speed of sound. While Jacqueline Cochran was alive, no man or woman in the world could match her records for speed, distance, and altitude flying. Founder and director of the Women’s Airforce Service Pilots (WASP) during World War II, Cochran continued to fly competitively until she was sixty, owned and operated her own line of designer cosmetics for three decades, ran for Congress, and generally placed herself on the path of history. Having begun life as a foundling in the crushing poverty of a lumber company town of the Florida panhandle, she described her life as “a passage from sawdust to stardust.” Yet after her death she has barely been remembered.
Poet Enid Shomer brings back this mercurial, dazzling, powerful woman. These poems speak in her voice and in the voices of her mother, teachers, husband, confidants, and political opponents, shaped by Shomer’s consummate formal control and stunning lyricism.
From the time the Waverly first steamed up the White River to Batesville from the Mississippi River in 1831, the haunting blast of river whistles signaled service, comfort, and delight for residents along this major Arkansas waterway. In a terrain that lacked good roads, steamboats contributed significantly to new economic development and settlement of the region. They carried animal hides, cotton, and rendered bear oil downriver to market and transported settlers, food staples, and manufactured goods upriver. For a hundred years these elegant boats were used for mail delivery, excursion parties, and freight hauling, eventually bringing about their own demise when they hauled in the material to build the railroads.
Over 120 black-and-white photographs, sketches, and maps illustrate the colorful text. Interwoven with the history of steamboats is that of ferries keelboats, flatboats, and Civil War tinclads, all of which plied the White River in the 1800s and early 1900s. A keenly researched regional study, this book is nonetheless representative of conditions and activities on similar river systems in many parts of America during the same period. Steamboats and Ferries on the White River pays lasting tribute to the golden age of steam travel.
A Sunday in God-Years takes its title from the notion that if we consider ourselves inside the long stretch of geologic time, human history happens in the blink of God’s eye as he rolls over during a Sunday nap. The book is centered around the long poem “A Reckoning” made up of fifteen shorter poems/sections (some sections are documents like wills and runaway slave notices). This long poem tries to reckon and recognize the sticky webs that bind the heirs of those who were slave holders (like the Boisseaus) and of those who were held as slaves.
“A Reckoning” builds the context for the rest of the book which, among other things, looks through the metaphors from geology to confront the historic and personal: Boisseau’s paternal ancestors fled religious persecution in France in 1685 and soon after their arrival in Virginia became entangled in slave ownership. When one looks on human history through the lens of geologic time, when one shifts the scale from the now and near to the distant, and takes a sky-perch, like God, some fascinating things begins to happens. Looking down on us from a satellite, from a conjectural place in deeper spaces from which our cameras have never looked, or from a moment long before humans ventured from trees, human history is thrillingly diminished and immediate human compassion becomes essential as air.
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