A SCHOLARLY BOOK REPOSITORY1226 start with M start with M
From 1902, when it latched onto such mass circulation magazines as Collier's and McClure's, until it merged into the Progressive movement in 1912, muckraking relentlessly pricked the nation's social conscience by exposing the abuses of industry and politics. Ranging in tone from the scholarly to the sensational, muckraking articles attacked food adulteration, unscrupulous insurance practices, fraudulent claims for patent medicines, and links between government and vice. When muckrakers raised their voices against child labor, graft, monopoly, unsafe mill conditions, and the white slave trade of poor immigrant girls, they found a receptive audience. "I aimed at the public's heart," wrote Upton Sinclair about The Jungle, "and by accident I hit it in the stomach."
Gathering the most significant pieces published during the heyday of the muckraking movement, The Muckrakers brings vividly to life this unique era of exposure and self-examination. For each article, Arthur and Lila Weinberg provide concise commentary on the background of its subject and the specific and long-range repercussions of its publication. The volume features the work of both journalists and fiction writers, including Ida Tarbell, Lincoln Steffens, Upton Sinclair, Ray Stannard Baker, Samuel Hopkins Adams, Thomas W. Lawson, Charles Edward Russell, and Mark Sullivan.
Eloquent and uncompromising, the muckrakers shocked America from a state of lethargy into Progressive reform. This generous volume vividly captures the urgency of their quest.
A spirited reevaluation of the public moralists who shaped public policy in nineteenth-century America, Mugwumps: Public Moralists of the Gilded Age provides a refreshing look at a group of Americans whose importance to the history of our country has commonly been dismissed.
A public interest group that labeled the generation following the American Civil War as the "Gilded Age," Mugwumps were college-educated individuals who lived the lessons of their moral philosophy—Christian values, republican virtue, and classical liberalism. Tracing Mugwump values back before the term was commonly used, Tucker defines these liberals as benevolent and altruistic, active campaigners against slavery and imperialism, and for sound money, lower tariffs, and civil service reform. The earliest Mugwumps took on the self-assigned task of advocating public principles over private interests.
Evaluations of these public moralists during the 1950s and 1960s, however, did not paint the Mugwumps in so positive a light. Awash in the popular New Deal public policies that advocated positive government intervention and regulation in the economy, these studies dismissed Mugwump liberalism as outdated. More specifically, the reformers were criticized as being self-interested failures.
Tucker obliges readers to look beyond such dismissals to the history and accomplishments of Mugwumps as a whole. Unlike previous historians, Tucker examines the antebellum roots of the Mugwumps and follows their ever-increasing participation in American government throughout the nineteenth century. Tucker portrays Mugwumps not as selfish agents of the middle class but as fascinating practitioners of eighteenth-century public virtue and nineteenth-century social science.
This book forcefully challenges previous studies on the Mugwumps and restores these public moralists to the mainstream of nineteenth-century American history. Their concerns for morality and free-market economics are again fashionable in contemporary politics and deserving of fresh attention from both the general reader and the scholar.
Muhammad Ali (born Cassius Clay) has always engendered an emotional reaction from the public. From his appearance as an Olympic champion to his iconic status as a national hero, his carefully constructed image and controversial persona has always been intensely scrutinized. In Muhammad Ali, Michael Ezra considers the boxer who calls himself “The Greatest” from a new perspective. He writes about Ali’s pre-championship bouts, the management of his career and his current legacy, exploring the promotional aspects of Ali and how they were wrapped up in political, economic, and cultural “ownership.”
Ezra’s incisive study examines the relationships between Ali’s cultural appeal and its commercial manifestations. Citing examples of the boxer’s relationship to the Vietnam War and the Nation of Islam—which serve as barometers of his “public moral authority”—Muhammad Ali analyzes the difficulties of creating and maintaining these cultural images, as well as the impact these themes have on Ali’s meaning to the public.
The early twenty-first century has experienced an unrivaled dissemination of information and misinformation about Islam, its prophet Muhammad, and its followers, largely facilitated by the fact that the tragedy of 9/11 roughly coincided with the advent of the digital age. In the first collection of its kind, Ruqayya Khan has compiled essays that treat Muhammad and the core elements of Islam as focal points in an exploration of how the digital era—including social media and other expressions—have both had an effect on and been affected by Islam.
Scholars from a variety of fields deal with topics such as the 2005 cartoon controversy in Denmark and the infamous 2012 movie trailer “Innocence of Muslims” that some believe sparked the attacks on the US consulate in Benghazi, as well as how the digitization of ancient texts have allowed the origins of Islam to be studied in new ways. Other essays examine how Muhammad’s wives have been represented in various online sources, including a web comic; the contrasting depictions of Muhammad as both a warrior and peacemaker; and how the widespread distribution of “the look” of Islamic terrorists has led to attacks on Sikhs, whose only point of resemblance to them may be a full beard. These findings illuminate the role of the Internet in forms of representation, advocacy, and engagement concerning Islam and Muslims in our world today.
Mulan, the warrior maiden who performed heroic deeds in battle while dressed as a male soldier, has had many incarnations from her first appearance as a heroine in an ancient Chinese folk ballad. Mulan’s story was retold for centuries, extolling the filial virtue of the young woman who placed her father's honor and well-being above her own. With the publication of Maxine Hong Kingston’s The Woman Warrior in the late 1970s, Mulan first became familiar to American audiences who were fascinated with the extraordinary Asian American character. Mulan’s story was recast yet again in the popular 1998 animated Disney film and its sequel.
In Mulan’s Legend and Legacy in China and the United States, Lan Dong traces the development of this popular icon and asks, "Who is the real Mulan?" and "What does authenticity mean for the critic looking at this story?" Dong charts this character’s literary voyage across historical and geographical borders, discussing the narratives and images of Mulan over a long time span—from premodern China to the contemporary United States to Mulan’s counter-migration back to her homeland.
As Dong shows, Mulan has been reinvented repeatedly in both China and the United States so that her character represents different agendas in each retelling—especially after she reached the western hemisphere. The dutiful and loyal daughter, the fierce, pregnant warrior, and the feisty teenaged heroine—each is Mulan representing an idea about female virtue at a particular time and place.
The author describes the adoption of the mule as the major agricultural resource in the American South and its later displacement by the mechanical tractor. After describing the surprising slowness of southern farmers to realize the superiority of the mule over the horse for agricultural labor, Ellenberg strives to capture the symbiosis that emerged between animal and man to illuminate why and how the mule became a standard feature in Southern folk culture.
High school turf wars are often a teenage rite of passage, but there are extremes—as when a race riot at a Los Angeles campus in the spring of 2005 resulted in a police lockdown. In her fascinating book,Multicultural Girlhood, Mary Thomas interviewed 26 Latina, Armenian, Filipina, African-American, and Anglo girls at this high school to gauge their responses to the campus violence. They all denounced the outbreak, calling for multicultural understanding and peaceful coexistence.
However, as much as the girls want everyone to just “get along,” they also exhibit strong racist beliefs and validate segregated social spaces on campus and beyond. How can teenagers and “girl power” work together to empower instead of alienate multicultural groups? In her perceptive book, Thomas foregrounds the spaces of teen girlhood and the role that space plays in girls' practices that perpetuate social difference, and she explains the ways we navigate the intellectual terrain between scholarship and school yard.
Covering people and events from 1854 to the present day, this definitive history of Multnomah County provides compelling details about public works triumphs and political scandals.
The essays in Murder and Its Consequences span several periods in the history of capital punishment in America and the professional career of Leigh Bienen, a leading researcher on the death penalty. “A Good Murder” describes the subtle relationship between high-profile murders and the death penalty, while “The Proportionality Review of Capital Cases” places the well-known study of proportionality in New Jersey within a nationwide context.
“Anomalies” suggests that the arcane protocols written for lethal injection have little to do with insuring humane executions, but rather are concerned with protecting the sensibilities of witnesses and the liability of corrections officials. Other essays address the groundbreaking developments surrounding the death penalty in Illinois, and take a retrospective look at the evolution of her own and the country’s thinking about this complex, divisive topic.
In the seventeenth century, Governor John Winthrop and the Massachusetts General Court understood murder to be a sin and a threat to the colony's well-being, but the Puritans also drastically reduced the crimes for which death was the prescribed penalty and expanded a capital defendant's rights. Following the Revolution, Americans denounced the death penalty as "British and brutish" and the state's Supreme Judicial Court embraced its role as protector of the rights extended to all men by the Massachusetts Constitution. In the 1830s popular opposition nearly stopped the machinery of death and a vote in the Massachusetts House fell just short of abolishing capital punishment.
A post–Civil War effort extending civil rights to all men also stimulated significant changes in criminal procedure. A "monster petition" begging the governor to spare the life of a murderer convicted on slight circumstantial evidence and the grim prospect of executing nine Chinese men found guilty of murder fueled a passionate debate about the death penalty in the decade before World War I.
The trials and executions of Sacco and Vanzetti focused unwanted international and national attention on Massachusetts. This was a turning point. Sara Ehrmann took charge of the newly formed Massachusetts Council Against the Death Penalty, relentlessly lobbied the legislature, and convinced a string of governors not to sign death warrants. In the 1970s the focus shifted to the courts, and eventually, in 1980, the Supreme Judicial Court abolished the death penalty on the grounds that it violated the Massachusetts Constitution.
When murder is the crime, the clash in the courts is likely to be between two constitutionally enshrined rights—freedom of speech and the right to a fair trial.
Peter E. Kane shows what happened in seven famous court cases when First Amendment rights (concerning freedom of speech) conflicted with Sixth Amendment rights (concerning fair trial). He reports the circumstances of each crime, the court proceedings, and the conduct of the press in the trials of Sam Sheppard, Charles Manson and his followers, John Paul Stevenson, Claus von Bülow, and Arthur Shawcross and the cases involving the Kellie family and the Wayne Clapp murders. Kane’s narrative and analytical approach illuminates legal principles and shows the roles of actual human beings underlying the abstractions of court opinions.
In this revised and expanded edition, Kane considers two new topics stemming from recent court cases: cameras in the courtroom and a code of ethics for crime reporting. Kane explores the issue of cameras through the famous Claus von Bülow retrial, which featured live television broadcasts; regarding a journalistic code, Kane examines the massive pretrial reporting of the serial murders of Arthur Shawcross. Kane notes that sensational crime stories serve the interests of many people: the public wants to read them; journalists want to write them because they can make a reporter’s fortune and reputation; and editors and publishers want to sell papers. The sensational crime story serves everyone’s purpose except that of the accused.
In addition to exploring journalistic ethics and the proper procedures for trial judges in guaranteeing a fair trial, these cases also provide an introduction to the operation of the courts in criminal justice. "The trial court is the arena in which the conflicts between a free press and a fair trial are played out," Kane writes. "This play is described here as are the subsequent evaluations of that play by the appellate courts. Thus the legal process is considered from its beginning with the original crime to the final resolution of the case in the United States Supreme Court."
New Orleans in the 1920s and 1930s was a deadly place. In 1925, the city’s homicide rate was six times that of New York City and twelve times that of Boston. Jeffrey S. Adler has explored every homicide recorded in New Orleans between 1925 and 1940—over two thousand in all—scouring police and autopsy reports, old interviews, and crumbling newspapers. More than simply quantifying these cases, Adler places them in larger contexts—legal, political, cultural, and demographic—and emerges with a tale of racism, urban violence, and vicious policing that has startling relevance for today.
Murder in New Orleans shows that whites were convicted of homicide at far higher rates than blacks leading up to the mid-1920s. But by the end of the following decade, this pattern had reversed completely, despite an overall drop in municipal crime rates. The injustice of this sharp rise in arrests was compounded by increasingly brutal treatment of black subjects by the New Orleans police department. Adler explores other counterintuitive trends in violence, particularly how murder soared during the flush times of the Roaring Twenties, how it plummeted during the Great Depression, and how the vicious response to African American crime occurred even as such violence plunged in frequency—revealing that the city’s cycle of racial policing and punishment was connected less to actual patterns of wrongdoing than to the national enshrinement of Jim Crow. Rather than some hyperviolent outlier, this Louisiana city was a harbinger of the endemic racism at the center of today’s criminal justice state. Murder in New Orleans lays bare how decades-old crimes, and the racially motivated cruelty of the official response, have baleful resonance in the age of Black Lives Matter.
Confronting murder in the newspaper, on screen, and in sensational trials, we often feel the killer is fundamentally incomprehensible and morally alien. But this was not always the popular response to murder. In Murder Most Foul, Karen Halttunen explores the changing view of murder from early New England sermons read at the public execution of murderers, through the nineteenth century, when secular and sensational accounts replaced the sacred treatment of the crime, to today's true crime literature and tabloid reports.
The early narratives were shaped by a strong belief in original sin and spiritual redemption, by the idea that all murders were natural manifestations of the innate depravity of humankind. In a dramatic departure from that view, the Gothic imagination--with its central conventions of the fundamental horror and mystery of the crime--seized upon the murderer as a moral monster, separated from the normal majority by an impassable gulf. Halttunen shows how this perception helped shape the modern response to criminal transgression, mandating criminal incarceration, and informing a social-scientific model of criminal deviance.
The Gothic expression of horror and inhumanity is the predominant response to radical evil today; it has provided a set of conventions surrounding tales of murder that appear to be natural and instinctive, when in fact they are rooted in the nineteenth century. Halttunen's penetrating insight into her extraordinary treasure trove of creepy popular crime literature reveals how our stories have failed to make sense of the killer and how that failure has constrained our understanding and treatment of criminality today.
In Murder on Shades Mountain Melanie S. Morrison tells the gripping and tragic story of the attack and its aftermath—events that shook Birmingham to its core. Having first heard the story from her father—who dated Nell's youngest sister when he was a teenager—Morrison scoured the historical archives and documented the black-led campaigns that sought to overturn Peterson's unjust conviction, spearheaded by the NAACP and the Communist Party. The travesty of justice suffered by Peterson reveals how the judicial system could function as a lynch mob in the Jim Crow South. Murder on Shades Mountain also sheds new light on the struggle for justice in Depression-era Birmingham. This riveting narrative is a testament to the courageous predecessors of present-day movements that demand an end to racial profiling, police brutality, and the criminalization of black men.
Was Margaret the calculating murderess and adulteress portrayed by the press? Or was she a battered wife pushed to the edge? Or was she, as she claimed to the end, innocent? Murder on the Mountain considers all sides of this fascinating and mysterious true crime story. In turn, it examines why this murder trial became front-page news, as it resonated with public discussions about capital punishment, mental health, anti-immigrant sentiment, domestic violence, and women’s independence. This is a gripping and thought-provoking study of a murder that shocked the nation.
Earlier scholars offered rich cultural analysis of violence in low-income Black communities, and yet this literature has mostly conceptualized violence through frameworks of personal responsibility or individual accountability. And even if acknowledging the pressure of structural inequality, most earlier researchers describe violence as the ultimate result of some moral failing, a propensity for crime, and the notion of helplessness. Instead, in Murder Town USA, Payne, Hitchens, and Chamber, along with their collaborative team of street ethnographers, instead offer a radical re-conceptualization of violence in low-income Black communities by describing the penchant for violence and involvement in crime overall to be a logical, "resilient" response to the perverse context of structural inequality.
In the southern Georgia of 1950, Murphy Station is a community marked only by two country stores, two Baptist churches, and a graveyard. Farming is the way of life, and segregation is in full force. Welcome to Deep Dixie.
David Donovan is a young white boy growing up in Murphy Station where even the best farmers are cash poor, and those who work for them, usually blacks, are poorer still. In adult conversation, the main topics are weather, crops, and politics. Within the last category, it’s agreed that the main threats facing America are two: communism and integration. So far as young Dave knows, this isn’t unusual, but already there are changes afoot. In this richly detailed memoir, laced with both humor and tragedy, we see how those changes affect Dave in subtle but ultimately profound ways.
Coming of age in a world with the axiom “no boy a chicken, no man a coward,” Dave has the sorts of boyhood adventures common to the rural South: exploits with firearms, encounters with angry animals, challenges from friends, and a growing interest in girls. As he has these adventures, he also works in the field alongside black farmhands, some of whom teach him vital lessons about the realities of their lives—lessons that begin to challenge the prejudices and preconceptions of his time and place.
By the late 1950s the civil rights movement has become a major force in the South; yet, as David enters high school in 1960 the customs of segregation still hold sway, persisting even when he leaves for college. In his first year away from home, he witnesses the national trauma of the Kennedy assassination, which blunts the promises of Camelot. In Vietnam a few years later, he sees those promises collapse entirely. Returning in 1970 to a Murphy Station much changed from what it was twenty years earlier, David Donovan finds himself transformed as well.
As more historic sites and museums seek to surmount social, cultural, and economic barriers between themselves and their communities in their exhibitions and programming, the Museums Connect program provides important lessons on how to overcome entrenched hierarchies of power in public history.
"Conn is an enthusiastic advocate for his subject, an appealing thinker, an imaginative researcher, a scholar at ease with theory and with empirical evidence." —Ann Fabian, Reviews in American History
"Steven Conn's masterly study of late-nineteenth century American museums transports the reader to a strange and wonderful intellectual universe. . . . At the end of the day, Conn reminds us, objects still have the power to fascinate, attract, evoke, and, in the right context, explain." —Christopher Clarke-Hazlett, Journal of American History
All of these developments included interpretive activities that shaped public understanding of the past. Yet it was not until the emergence of the education-oriented National Park Service history program in the 1920s and 1930s that public history found an institutional home that grounded professional practice simultaneously in the values of the emerging discipline and in government service. Even thereafter, tensions between administrators in Washington and practitioners on the ground at National Parks, monuments, and museums continued to define and redefine the scope and substance of the field. The process of definition persists to this day, according to Meringolo, as public historians establish a growing presence in major universities throughout the United States and abroad.
Candace Bailey’s exploration of the intertwining worlds of music and gender shows how young southern women pushed the boundaries of respectability to leave their unique mark on a patriarchal society. Before 1861, a strictly defined code of behavior allowed a southern woman to identify herself as a “lady” through her accomplishments in music, drawing, and writing, among other factors. Music permeated the lives of southern women, and they learned appropriate participation through instruction at home and at female training institutions. A belle’s primary venue was the parlor, where she could demonstrate her usefulness in the domestic circle by providing comfort and serving to enhance social gatherings through her musical performances, often by playing the piano or singing. The southern lady performed in public only on the rarest of occasions, though she might attend public performances by women. An especially talented lady who composed music for a broader audience would do so anonymously so that her reputation would remain unsullied.
The tumultuous Civil War years provided an opportunity for southern women to envision and attempt new ways to make themselves useful to the broader, public society. While continuing their domestic responsibilities and taking on new ones, young women also tested the boundaries of propriety in a variety of ways. In a broad break with the past, musical ladies began giving public performances to raise money for the war effort, some women published patriotic Confederate music under their own names, supporting their cause and claiming public ownership for their creations. Bailey explores these women’s lives and analyzes their music. Through their move from private to public performance and publication, southern ladies not only expanded concepts of social acceptability but also gained a valued sense of purpose.
Music and the Southern Belle places these remarkable women in their social context, providing compelling insight into southern culture and the intricate ties between a lady’s identity and the world of music. Augmented by incisive analysis of musical compositions and vibrant profiles of composers, this volume is the first of its kind, making it an essential read for devotees of Civil War and southern history, gender studies, and music.
Music and Theater in Minnesota History was first published in 1958. 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.
This solid collection of essays, written by outstanding American music educators, reflects the current issues in music education and the ongoing attempt to overcome obstacles to excellence in teaching music. It stands as the most important and far-ranging professional overview of the discipline since the publication of the landmark Basic Concepts in Music Education in 1958, and early reviews indicate that it will generate both critical discussion and acclaim.
Several themes recur:(1) that music and, therefore, music education exist in a variety of social and cultural contexts, even when examined in controlled situations; (2) that music teaching has not yet freed itself from its traditional over-reliance on technical training, in spite of attention to aesthetic education; and (3) that there is a remarkable undercurrent of agreement among this diverse group of authors concerning the profession’s basic obligation to expand and refine the musical sensitivity of all age group of Americans. This book reflects some advanced thinking about these themes, which establishes new foundations for next generation theorizing and research.
Although the use of music for extramusical purposes has been a part of American culture for some time, the phenomenon remained largely unknown to the general public until revelations became widespread of startling military practices during the second Iraq War. In Music in American Crime Prevention and Punishment, Lily E. Hirsch explores the related terrain at the intersection of music and law, demonstrating the ways in which music has become a tool of law enforcement and justice through: police and community leaders’ use of classical music in crime deterrence and punishment; the use of rap lyrics as prosecutorial evidence; allegations of music as incitement to violence; and the role of music in U.S. prisons and in detention centers in Guantanamo, Iraq, and Afghanistan.
In the course of her study, Hirsch asks several questions: How does the law treat music? When and why does music participate in the law? How does music influence the legal process? How does the legal process influence music? And how do these appropriations affect the Romantic ideals underlying our view of music?
Eclectic and essential, Music in Black American Life, 1600–1945 offers specialists and students alike a gateway to the history and impact of Black music in the United States.
Contributors: R. Reid Badger, Rae Linda Brown, Samuel A. Floyd Jr., Sandra Jean Graham, Jeffrey Magee, Robert M. Marovich, Harriet Ottenheimer, Eileen Southern, Katrina Dyonne Thompson, Stephen Wade, and Charles Wolfe
Part sourcebook and part survey of historic music scholarship, Music in Black American Life, 1945–2020 collects groundbreaking work that redefines our view of Black music and its place in American music history.
Contributors: Nelson George, Wayne Everett Goins, Claudrena N. Harold, Eileen M. Hayes, Loren Kajikawa, Robin D. G. Kelley, Tammy L. Kernodle, Cheryl L. Keyes, Gwendolyn Pough, Bernice Johnson Reagon, Mark Tucker, and Sherrie Tucker
Music historian James Wierzbicki sheds light on how the Fifties' pervasive moods affected its sounds. Moving across genres established--pop, country, opera--and transfigured--experimental, rock, jazz--Wierzbicki delves into the social dynamics that caused forms to emerge or recede, thrive or fade away. Red scares and white flight, sexual politics and racial tensions, technological progress and demographic upheaval--the influence of each rooted the music of this volatile period to its specific place and time. Yet Wierzbicki also reveals the host of underlying connections linking that most apprehensive of times to our own uneasy present.
Music Is My Life is the first comprehensive analysis of Louis Armstrong's autobiographical writings (including his books, essays, and letters) and their relation to his musical and visual performances. Combining approaches from autobiography theory, literary criticism, intermedia studies, cultural history, and musicology, Daniel Stein reconstructs Armstrong's performances of his life story across various media and for different audiences, complicating the monolithic and hagiographic views of the musician.
The book will appeal to academic readers with an interest in African American studies, jazz studies, musicology, and popular culture, as well as general readers interested in Armstrong's life and music, jazz, and twentieth-century entertainment. While not a biography, it provides a key to understanding Armstrong's oeuvre as well as his complicated place in American history and twentieth-century media culture.
Monumental and indispensable, The Music of the Stanley Brothers provides fans and scholars alike with a guide for immersion in the long career and breathtaking repertoire of two legendary American musicians.
Composers featured: Michael Abels, H. Leslie Adams, Lettie Beckon Alston, Thomas J. Anderson, Dwight Andrews, Regina Harris Baiocchi, David Baker, William C. Banfield, Ysaye Maria Barnwell, Billy Childs, Noel DaCosta, Anthony Davis, George Duke, Leslie Dunner, Donal Fox, Adolphus Hailstork, Jester Hairston, Herbie Hancock, Jonathan Holland, Anthony Kelley, Wendell Logan, Bobby McFerrin, Dorothy Rudd Moore, Jeffrey Mumford, Gary Powell Nash, Stephen Newby, Coleridge-Taylor Perkinson, Michael Powell, Patrice Rushen, George Russell, Kevin Scott, Evelyn Simpson-Curenton, Hale Smith, Billy Taylor, Frederick C. Tillis, George Walker, James Kimo Williams, Julius Williams, Tony Williams, Olly Wilson, and Michael Woods
From the urban street level of music clubs and arts institutions to the world-making routes of global migration and exchange, this book redraws the map of experimental art to reveal the imperial dynamics and citizenship struggles that continue to shape music in the United States.
Beginning with the material conditions of power that structured the cityscape of New York in the early Cold War years, Brigid Cohen looks at a wide range of artistic practices (concert music, electronic music, jazz, performance art) and actors (Edgard Varèse, Charles Mingus, Yoko Ono, and Fluxus founder George Maciunas) as they experimented with new modes of creativity. Cohen links them with other migrant creators vital to the city’s postwar culture boom, creators whose stories have seldom been told (Halim El-Dabh, Michiko Toyama, Vladimir Ussachevsky). She also gives sustained and serious treatment to the work of Yoko Ono, something long overdue in music scholarship. Musical Migration and Imperial New York is indispensable reading, offering a new understanding of global avant-gardes and American experimental music as well as the contrasting feelings of belonging and exclusion on which they were built.
Wynn tracks the history of festivals in Newport, Nashville, and Austin, taking readers on-site to consider different festival agendas and styles of organization. It’s all here: from the musician looking to build her career to the mayor who wants to exploit a local cultural scene, from a resident’s frustration over corporate branding of his city to the music executive hoping to sell records. Music/City offers a sharp perspective on cities and cultural institutions in action and analyzes how governments mobilize massive organizational resources to become promotional machines. Wynn’s analysis culminates with an impassioned argument for temporary events, claiming that when done right, temporary occasions like festivals can serve as responsive, flexible, and adaptable products attuned to local places and communities.
Musicians of Asian descent enjoy unprecedented prominence in concert halls, conservatories, and classical music performance competitions. In the first book on the subject, Mari Yoshihara looks into the reasons for this phenomenon, starting with her own experience of learning to play piano in Japan at the age of three. Yoshihara shows how a confluence of culture, politics and commerce after the war made classical music a staple in middle-class households, established Yamaha as the world's largest producer of pianos and gave the Suzuki method of music training an international clientele. Soon, talented musicians from Japan, China and South Korea were flocking to the United States to study and establish careers, and Asian American families were enrolling toddlers in music classes.
Against this historical backdrop, Yoshihara interviews Asian and Asian American musicians, such as Cho-Liang Lin, Margaret Leng Tan, Kent Nagano, who have taken various routes into classical music careers. They offer their views about the connections of race and culture and discuss whether the music is really as universal as many claim it to be. Their personal histories and Yoshihara's observations present a snapshot of today's dynamic and revived classical music scene.
Muskegon is a derivation of a Native American word meaning "river with marshes." Jeff Alexander examines the creation, uses of, devastation, and restoration of Michigan's historic and beautiful Muskegon River.
Four of the five Great Lakes touch Michigan's shores; the state's shoreline spans more than 4,500 miles, not to mention more than 11,000 inland lakes and a multitude of rivers. The Muskegon River, the state's second longest river, runs 227 miles and has the most diverse features of any of Michigan’s many rivers. The Muskegon rises from the center of the state, widens, and moves westward, passing through the Pere Marquette and AuSable State Forests. The river ultimately flows toward Lake Michigan, where it opens into Muskegon Lake, a 12 square-mile, broad harbor located between the Muskegon River and Lake Michigan.
Formed several thousand years ago, when the glaciers that created the Great Lakes receded, and later inhabited by Ottawa and Potawatomi Indians, the Muskegon River was used by French fur trappers in the 1600s. Rich in white pine, the area was developed during the turn-of-the-century lumber boom, and at one time Muskegon Lake boasted more than 47 sawmills. The Muskegon was ravaged following settlement by Europeans, when rivers and streams were used to transport logs to the newly developing cities. Dams on rivers and larger streams provided power for sawmills and grain milling, and later provided energy for generating electricity as technology advanced.
There is now an ambitious effort to restore and protect this mighty river's natural features in the face of encroaching urbanization and land development that threatens to turn this majestic waterway into a mirror image of the Grand River, Michigan's longest river and one of its most polluted.
Born to a wealthy family in West Africa around 1770, Omar Ibn Said was abducted and sold into slavery in the United States, where he came to the attention of a prominent North Carolina family after filling “the walls of his room with piteous petitions to be released, all written in the Arabic language,” as one local newspaper reported. Ibn Said soon became a local celebrity, and in 1831 he was asked to write his life story, producing the only known surviving American slave narrative written in Arabic.
In A Muslim American Slave, scholar and translator Ala Alryyes offers both a definitive translation and an authoritative edition of this singularly important work, lending new insights into the early history of Islam in America and exploring the multiple, shifting interpretations of Ibn Said’s narrative by the nineteenth-century missionaries, ethnographers, and intellectuals who championed it.
This edition presents the English translation on pages facing facsimile pages of Ibn Said’s Arabic narrative, augmented by Alryyes’s comprehensive introduction, contextual essays and historical commentary by leading literary critics and scholars of Islam and the African diaspora, photographs, maps, and other writings by Omar Ibn Said. The result is an invaluable addition to our understanding of writings by enslaved Americans and a timely reminder that “Islam” and “America” are not mutually exclusive terms.
This edition presents the English translation on pages facing facsimile pages of Ibn Said’s Arabic narrative, augmented by Alryyes’s comprehensive introduction and by photographs, maps, and other writings by Omar Ibn Said. The volume also includes contextual essays and historical commentary by literary critics and scholars of Islam and the African diaspora: Michael A. Gomez, Allan D. Austin, Robert J. Allison, Sylviane A. Diouf, Ghada Osman, and Camille F. Forbes. The result is an invaluable addition to our understanding of writings by enslaved Americans and a timely reminder that “Islam” and “America” are not mutually exclusive terms.
Best Books for General Audiences, selected by the American Association of School Librarians
A Foreign Affairs Best Book of the Year
In the century since the Muslim Brotherhood first emerged in Egypt, its idea of “the West” has remained a key driver of its behavior. From its founding, the Brotherhood stood opposed to the British Empire and Western cultural influence. Its leaders hoped to create more pristine, authentically Islamic societies. As British power gave way to American, the Brotherhood oscillated between anxiety about the West and the need to engage with it, while American and British officials struggled to understand the group, unsure whether to shun or embrace it.
The Muslim Brotherhood and the West offers the first comprehensive history of the relationship between the world’s largest Islamist movement and the powers that have dominated the Middle East for the past hundred years. Drawing on extensive archival research in London and Washington and the Brotherhood’s writings in Arabic and English, Martyn Frampton reveals the history of this charged relationship down to the eve of the Arab Spring. What emerges is an authoritative account of a story that is crucial to understanding one of the world’s most turbulent regions.
“Rigorous yet absorbing…Fills a crucial gap in the literature and will be essential reading not just for scholars, but for anyone seeking to understand the ever-problematic relationship between religion and politics in today’s Middle East.”
—Financial Times
“Breaks new ground by examining the links between the Egyptian Brotherhood’s relations with Britain and…the United States.”
—Times Literary Supplement
The twenty-first century has been a volatile period for American Muslims. Anti-Muslim hate crimes peaked after September 11, 2001, then increased again dramatically in parallel with the candidacy and presidency of Donald Trump. Yet American Muslims now have unprecedented avenues of influence in US politics. Muslims and US Politics Today explores the various representations of Muslims in American political and civic life, the myriad ways American Muslims are affected by politics, and how American Muslims are engaging political life as individuals and communities.
This integrative volume reaches back to presidential elections after 9/11 (Edward E. Curtis IV), further back to Iranian immigrants after the Iranian Revolution (Mohsen Mostafavi Mobasher), and back even to fundamentals of religious freedom in the United States (Kambiz GhaneaBassiri; Mucahit Bilici). Aspects of anti-Muslim politics and marginalization, as well as mobilization and activism, are covered in essays by Salah D. Hassan, Evelyn Alsultany, Juliane Hammer, Alisa Perkins, and Sally Howell. In a final section on rethinking Muslim politics, Donna Auston and Sylvia Chan-Malik dialogue on Black American Islam and Junaid Rana looks broadly to a global Muslim left. In this critically-timed volume, editor Mohammad Hassan Khalil has drawn together leading scholars to provide a deep look at the rich political history and future of American Muslims.
Muslims in a Post-9/11 America examines how public fears about Muslims in the United States compare with the reality of American Muslims’ attitudes on a range of relevant issues. While most research on Muslim Americans focuses on Arab Muslims, a quarter of the Muslim American population, Rachel Gillum includes perspectives of Muslims from various ethnic and national communities—from African Americans to those of Pakistani, Iranian, or Eastern European descent. Using interviews and one of the largest nationwide surveys of Muslim Americans to date, Gillum examines more than three generations of Muslim American immigrants to assess how segments of the Muslim American community are integrating into the U.S. social fabric, and how they respond to post-9/11 policy changes. Gillum’s findings challenge perceptions of Muslims as a homogeneous, isolated, un-American, and potentially violent segment of the U.S. population.
Despite these realities, negative political rhetoric around Muslim Americans persists. The findings suggest that the policies designed to keep America safe from terrorist attacks may have eroded one of law enforcement’s greatest assets in the fight against violent extremism—a relationship of trust and goodwill between the Muslim American community and the U.S. government. Gillum argues for policies and law enforcement tactics that will bring nuanced understandings of this diverse category of Americans and build trust, rather than alienate Muslim communities.
In Muslims in Motion, Nazli Kibria provides a comparative look at Bangladeshi Muslims in different global contexts--including Britain, the U.S., the Middle East, and Malaysia. Kibria examines international migrant flows from Bangladesh, and considers how such migrations continue to shape Islamization in these areas. Having conducted more than 200 in-depth interviews, she explores how, in societies as different as these, migrant Muslims, in their everyday lives, strive to achieve economic gains, sustain community and family life, and realize a sense of dignity and honor.
Muslims in Motion offers fresh insights into the prominence of Islam in these communities, especially an Islam defined by fundamentalist movements and ideologies. Kibria also focuses on the complex significance of nationality--with rich analyses of the diaspora, the role of gender and class, and the multiple identities of the migrants, she shows how nationality can be both a critical source of support and also of difficulty for many in their efforts to attain lives of dignity. By bringing to life a vast range of experiences, this book challenges prevailing stereotypes of Muslims.
But that's just scratching the surface, says Jeffrey Kripal. In Mutants and Mystics, Kripal offers a brilliantly insightful account of how comic book heroes have helped their creators and fans alike explore and express a wealth of paranormal experiences ignored by mainstream science. Delving deeply into the work of major figures in the field—from Jack Kirby’s cosmic superhero sagas and Philip K. Dick’s futuristic head-trips to Alan Moore’s sex magic and Whitley Strieber’s communion with visitors—Kripal shows how creators turned to science fiction to convey the reality of the inexplicable and the paranormal they experienced in their lives. Expanded consciousness found its language in the metaphors of sci-fi—incredible powers, unprecedented mutations, time-loops and vast intergalactic intelligences—and the deeper influences of mythology and religion that these in turn drew from; the wildly creative work that followed caught the imaginations of millions. Moving deftly from Cold War science and Fredric Wertham's anticomics crusade to gnostic revelation and alien abduction, Kripal spins out a hidden history of American culture, rich with mythical themes and shot through with an awareness that there are other realities far beyond our everyday understanding.
A bravura performance, beautifully illustrated in full color throughout and brimming over with incredible personal stories, Mutants and Mystics is that rarest of things: a book that is guaranteed to broaden—and maybe even blow—your mind.
In The Mutual Housing Experiment, Kristin Szylvian examines 32 mutual housing associations that are still in existence today, and offers strong evidence to show that federal public housing policy was not the failure that critics allege. She explains that mutual home ownership has not only proven its economic value, but has also given rise to communities characterized by a strong sense of identity and civic engagement.
The book shows that this important period in urban and housing policy provides critical lessons for contemporary housing analysts who continue to emphasize traditional home ownership for all wage-earners despite the home mortgage crisis of 2008.
Images play a fundamental role in relations among peoples. American and Japanese scholars have been among the foremost students of images in international and intercultural relations. Building on the historiographical achievements in the two countries, these essays aim further to explore aspects of Japanese-American mutual perceptions.
The contributors to this volume provide pieces of a puzzle, authentic but partial elements of a total picture. They examine the sources, ranges, uses (and misuses), and constituencies of images. They propose various ways of studying this extremely elusive subject and show how an examination of American-Japanese perception can contribute to a better understanding of Japanese history and American history. We see instances of misperceptions and misunderstandings, but also a streak of open-mindedness and flexibility in both Japan and the United States.
Divided into symmetrical halves—South reading North and North reading South—the book presents essays by leading novelists, poets, and other writers that focus on the work of another literary figure from across the divide. Borges, for example, finds in Hawthorne the perfect precursor to his own interest in allegories; Katherine Anne Porter examines José Joaquín Fernández de Lizardi as a rascal whose picaresque views of life in The Itching Parrot served to launch the Latin American novel; Cortázar’s study of the plots and style of Poe shows an affinity that left an indelible mark on the Argentine’s short fiction; Susan Sontag views Machado de Assis as the ultimate mirror, a proto–postmodernist.
With other essays by Thomas Pynchon, William H. Gass, John Updike, Gabriel García Márquez, Alejo Carpentier, John Barth, Robert Coover, Pedro Henríquez Ureña, Grace Paley, Juan Carlos Onetti, and Mark Strand, among others, Mutual Impressions offers a remarkable view of the connections that comprise a literary tradition of the Americas. It is a book that will surprise and enliven its readers as it informs and awakens in them a sense of wonder.
Contributors. John Barth, José Bianco, Robert Bly, Jorge Luis Borges, Alejo Carpentier, Hiber Conteris, Robert Coover, Julio Cortázar, Ezequiel Martínez Estrada, Waldo Frank, Carlos Fuentes, William H. Gass, Nicolás Guillén, William Kennedy, Mario Vargas Llosa, Gabriel García Márquez, José Martí, Pablo Neruda, Victoria Ocampo, Juan Carlos Onetti, Grace Paley, Octavio Paz, Katherine Anne Porter, Thomas Pynchon, Kenneth Rexroth, Antonio Benítez Rojo, Barbara Probst Solomon, Susan Sontag, Ilan Stavans, Mark Strand, John Updike, Pedro Henríque Ureña, Derek Walcott, Paul West
Although investigations of Hispanic popular culture were approached for decades as part of folklore studies, in recent years scholarly explorations—of lucha libre, telenovelas, comic strips, comedy, baseball, the novela rosa and the detective novel, sci-fi, even advertising—have multiplied. What has been lacking is an overarching canvas that offers context for these studies, focusing on the crucial, framing questions: What is Hispanic pop culture? How does it change over time and from region to region? What is the relationship between highbrow and popular culture in the Hispanic world? Does it make sense to approach the whole Hispanic world as homogenized when understanding Hispanic popular culture? What are the differences between nations, classes, ethnic groups, religious communities, and so on? And what distinguishes Hispanic popular culture in the United States?
In ¡Muy Pop!, Ilan Stavans and Frederick Luis Aldama carry on a sustained, free-flowing, book-length conversation about these questions and more, concentrating on a wide range of pop manifestations and analyzing them at length. In addition to making Hispanic popular culture visible to the first-time reader, ¡Muy Pop! sheds new light on the making and consuming of Hispanic pop culture for academics, specialists, and mainstream critics.
As Becky M. Nicolaides shows in My Blue Heaven, this ethic of self-reliance and homeownership formed the core of South Gate's identity. With post-World War II economic prosperity, the community's emphasis shifted from building homes to protecting them as residents tried to maintain their standard of living against outside threats—including the growing civil rights movement—through grassroots conservative politics based on an ideal of white homeowner rights. As the citizens of South Gate struggled to defend their segregated American Dream of suburban community, they fanned the flames of racial inequality that erupted in the 1965 Watts riots.
-Daniel Berrigan, S.J.
"The struggles, joys, and political awakening of a firecracker of a narrator. . . . Linton has succeeded in creating a life both rich and enviable. With her crackle, irreverence, and intelligence, it's clear that the author would never be willing to settle. . . . Wholly enjoyable."
-Kirkus Reviews
"Linton is a passionate guide to a world many outsiders, and even insiders, find difficult to navigate. . . . In this volume, she recounts her personal odyssey, from flower child . . . to disability-rights/human rights activist."
-Publishers Weekly
"Witty, original, and political without being politically correct, introducing us to a cast of funny, brave, remarkable characters (including the professional dancer with one leg) who have changed the way that 'walkies' understand disability. By the time Linton tells you about the first time she was dancing in her wheelchair, you will feel like dancing, too."
---Carol Tavris, author of Anger: The Misunderstood Emotion
"This astonishing book has perfect pitch. It is filled with wit and passion. Linton shows us how she learned to 'absorb disability,' and to pilot a new and interesting body. With verve and wonder, she discovers her body's pleasures, hungers, surprises, hurts, strengths, limits, and uses."
-Rosemarie Garland-Thomson, author of Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature
"An extraordinarily readable account of life in the fast lane... a brilliant autobiography and a great read."
-Sander L. Gilman, author of Fat Boys: A Slim Book
While hitchhiking from Boston to Washington, D.C., in 1971 to protest the war in Vietnam, Simi Linton was involved in a car accident that paralyzed her legs and took the lives of her young husband and her best friend. Her memoir begins with her struggle to regain physical and emotional strength and to resume her life in the world. Then Linton takes us on the road she traveled (with stops in Berkeley, Paris, Havana) and back to her home in Manhattan, as she learns what it means to be a disabled person in America.
Linton eventually completed a Ph.D., remarried, and began teaching at Hunter College. Along the way she became deeply committed to the disability rights movement and to the people she joined forces with. The stories in My Body Politic are populated with richly drawn portraits of Linton's disabled comrades, people of conviction and lusty exuberance who dance, play-and organize--with passion and commitment.
My Body Politic begins in the midst of the turmoil over Vietnam and concludes with a meditation on the U.S. involvement in the current war in Iraq and the war's wounded veterans. While a memoir of the author's gradual political awakening, My Body Politic is filled with adventure, celebration, and rock and roll-Salvador Dali, James Brown, and Jimi Hendrix all make cameo appearances. Linton weaves a tale that shows disability to be an ordinary part of the twists and turns of life and, simultaneously, a unique vantage point on the world.
McGovern's candidacy signified a passing of the torch within Christian social justice. He initially allied with the ecumenical movement and the mainline Protestant churches during a time when these institutions worked easily with liberal statesmen. But the senator also galvanized a dynamic movement of evangelicals rooted in the New Left, who would dominate subsequent progressive religious activism as the mainline entered a period of decline. My Brother's Keeper argues for the influential, and often unwitting, role McGovern played in fomenting a "Religious Left" in 1970s America, a movement that continues to this day. It joins a growing body of scholarship that complicates the dominant narrative of that era's conservative Christianity.
In looking at themes such as the relationship between activism and desire or how sexuality can be intimately tied to one’s class identity, Hollibaugh fiercely and fearlessly analyzes her own political development as a response to her unique personal history. She explores the concept of labeling and the associated issues of categories such as butch or femme, transgender, bisexual, top or bottom, drag queen, b-girl, or drag king. The volume includes conversations with other writers, such as Deirdre English, Gayle Rubin, Jewelle Gomez, and Cherríe Moraga. From the groundbreaking article “What We’re Rollin’ Around in Bed With” to the radical “Sex Work Notes: Some Tensions of a Former Whore and a Practicing Feminist,” Hollibaugh charges ahead to describe her reality, never flinching from the truth. Dorothy Allison’s moving foreword pays tribute to a life lived in struggle by a working-class lesbian who, like herself, refuses to suppress her dangerous desires.
Having informed many of the debates that have become central to gay and lesbian activism, Hollibaugh’s work challenges her readers to speak, write, and record their desires—especially, perhaps, the most dangerous of them—“in order for us all to survive.”
She was the daughter of a circuit judge and state senator. He was the youngest son of Virginia’s Civil War governor and was a state legislator himself at the age of nineteen. Their courtship and marriage stands as a portrait of a bygone way of life unique to the American South during the first half of the twentieth century. My Dearest Angel is their story, told through their faithful correspondence over the course of their fifty years together.
Piecing together the voluminous letters, their granddaughter, noted author Katie Letcher Lyle, has succeeded in giving us an intimate panorama of the full and oftentimes wrenching lives led by Greenlee and Katie Letcher. Domestic life, family secrets, and visiting luminaries are part of their story. But the abiding appeal of My Dearest Angel is the maturation of a lifelong relationship built on the crest of a changing world.
“A wonderfully vivid account of the momentous era they lived through, underscoring the chaotic, often improvisatory circumstances that attended the birth of the fledgling nation and the hardships of daily life.”
—Michiko Kakutani, New York Times
In 1762, John Adams penned a flirtatious note to “Miss Adorable,” the 17-year-old Abigail Smith. In 1801, Abigail wrote to wish her husband John a safe journey as he headed home to Quincy after serving as president of the nation he helped create. The letters that span these nearly forty years form the most significant correspondence—and reveal one of the most intriguing and inspiring partnerships—in American history.
As a pivotal player in the American Revolution and the early republic, John had a front-row seat at critical moments in the creation of the United States, from the drafting of the Declaration of Independence to negotiating peace with Great Britain to serving as the first vice president and second president under the U.S. Constitution. Separated more often than they were together during this founding era, John and Abigail shared their lives through letters that each addressed to “My Dearest Friend,” debating ideas and commenting on current events while attending to the concerns of raising their children (including a future president).
Full of keen observations and articulate commentary on world events, these letters are also remarkably intimate. This new collection—including some letters never before published—invites readers to experience the founding of a nation and the partnership of two strong individuals, in their own words. This is history at its most authentic and most engaging.
Helen Finney Cox (her husband affectionately referred to her as “Lilla”) was a mother of six and the daughter of Oberlin College president Charles Finney. These intimate and insightful wartime letters show both the fondness Cox had for his spouse and his respect for her as an intellectual equal. To Helen, the stoic, introverted statesman revealed—as he did to no one else—his inner thoughts and concerns, presenting observant, lucid, and informative reports and analyses of the war, his changing life, and his ambitions. This collection illustrates the life of a Gilded Age Renaissance man as he made the transition from untested soldier to respected general and statesman.
Cornelia Wadsworth Adair’s ancestors had pioneered in western New York, where they opened and developed large, palatial estates; and the life they lived was elegant and aristocratic. Adair too was discreetly cultured; yet she took great personal pleasure in the rough and primitive land of her famed JA Ranch in north Texas. Because of physical discomfort and noisy passengers, she detested traveling by railroad coach; yet she could ride all day on horseback and lie down to sleep on a makeshift cot by a waterhole or on an Indian’s flea-infested buffalo rug. She was a lady of interesting contradictions.
This little Diary is her lively account of a two-month trip which she and her husband made into the western part of the United States in 1874. The ostensible purpose of the trip was to hunt buffalo; however, these large beasts actually play a very small part in the journal. Rather, the book is an interesting and often amusing account, by an observant woman, of the long journey from her husband’s estate in Ireland to New York, to Chicago and on into upper Michigan, across Lake Superior to Minnesota, down the Mississippi for several days, out to the buffalo-hunting grounds in Nebraska, then to Denver and the wonders of the Rocky Mountains, and finally back to New York and the Europe-bound ship.
Adair writes with an easy fluency; and her eye for picturesque detail, her taste for amusing incongruities, her romanticist’s delight in Nature, and her instinct for a “good tale” combine to make her Diary pleasant and entertaining reading, while her powers of keen observation provide valuable insight into life as it was then in the West. First printed for private circulation in 1918, the original book is now a rare collector’s item of Western Americana. Mrs. Adair said that she was allowing its publication for two reasons. First, she was afraid that her grandchildren and young friends would remember her only as “an old lady who sat in an armchair, and whose stick had to be looked for”; she wanted them to know that she had once been “a very lively person . . . [who] did all sorts of exciting things.” Second, she felt it worthwhile to record her experiences because “the world is changing so quickly, ways of travelling especially so . . . and I think it may be interesting to compare what was done in 1874 with what will be done by the time the children are able to travel. No doubt they will do their journeys by air, and do many, many things that I have not been able to do; but they can never see the prairies of America in their wild uncivilised state, or hunt buffalo over them, nor can they pow-wow with the Red Indians in a camp on the Platte River. So every time has its own special joys, and the great thing is to miss as little as possible, and to share as much.”
Almost a century and a half went into the making of My Eighty Years in Texas. It began as a diary, kept by fifteen-year-old William Physick Zuber after he joined Sam Houston’s Texas army in 1836, hoping he could emulate the heroism of American Revolutionary patriots. Although his hopes were never realized, Zuber recorded the privations, victories, and defeats of armies on the move during the Texas Revolution, the Indian campaigns, and, as he styled it, the Confederate War.
In 1910, at the age of ninety, Zuber began the enormous task of transcribing his diaries and his memories for publication. After his death in 1913, the handwritten manuscript, 1, was placed in the Texas State Archives, where it was used as a reference source by students and scholars of Texas history. Over a half century after Zuber’s death, Janis Boyle Mayfield finally brought his publication plans to fruition.
Zuber details his early zest for learning and his laborious methods of self-education. He tells of the trials of organizing and teaching schools in the sparsely populated plains. He recalls the day-by-day happenings of a private soldier in the Texas army of 1836, the Texas Militia, and the Confederate army—including the mishaps of army life and the encounters with enemies from San Jacinto to Cape Girardeau. After the Civil War, his interest turns to the politics of Reconstruction, the veterans’ pension, and the founding of the Texas Veterans Association.
This is the story of and by an outspoken Texian, complete with his attitudes, principles, and moralizings, and the nineteenth-century style and flavor of his writing.
Included as an appendix is “An Escape from the Alamo,” the account of Moses Rose for which Zuber, who was a prolific writer, was best known. A historiography of the Rose story, a bibliography of Zuber’s published and unpublished writings, annotation, and an introduction are provided by Llerena Friend.
How Barbara Jordan used sacred and secular scriptures in her social activism
US Congresswoman Barbara Jordan is well-known as an interpreter and defender of the Constitution, particularly through her landmark speech during Richard Nixon’s 1974 impeachment hearings. However, before she developed faith in the Constitution, Jordan had faith in Christianity. In “My Faith in the Constitution is Whole”: Barbara Jordan and the Politics of Scripture, Robin L. Owens shows how Jordan turned her religious faith and her faith in the Constitution into a powerful civil religious expression of her social activism.
Owens begins by examining the lives and work of the nineteenth-century Black female orator-activists Maria W. Stewart and Anna Julia Cooper. Stewart and Cooper fought for emancipation and women’s rights by “scripturalizing,” or using religious scriptures to engage in political debate. Owens then demonstrates how Jordan built upon this tradition by treating the Constitution as an American “scripture” to advocate for racial justice and gender equality. Case studies of key speeches throughout Jordan’s career show how she quoted the Constitution and other founding documents as sacred texts, used them as sociolinguistic resources, and employed a discursive rhetorical strategy of indirection known as “signifying on scriptures.”
Jordan’s particular use of the Constitution—deeply connected with her background and religious, racial, and gender identity—represents the agency and power reflected in her speeches. Jordan’s strategies also illustrate a broader phenomenon of scripturalization outside of institutional religion and its rhetorical and interpretive possibilities.
“Karen McClintock reconstructs the details of her father’s double life with novelistic flair, keen psychological insight, and graceful compassion.” —Alison Bechdel
Thirty years after her father’s death, Karen McClintock sets out to find the gay father she never really knew. As we follow the unraveling family secret, we find ourselves drawn into her story as they stumble into infidelity, grieve heartbreaking losses, and remain loyal in love.
Set in Columbus, Ohio, My Father’s Closet tells the story of how just before the war, McClintock’s parents fell in love and married, while overseas in Germany the man whom she believes became her father’s lover was concealing his Jewish and gay identities in order to escape to America. A set of her father’s journals, letters her parents sent to each other during the Second World War, and a mysterious painting all lead her toward the truth about her gay father. McClintock weaves a complex secret into the fabric of lives we truly care about. And in the process, she leads us out of her father’s closet.
This gripping memoir captures the longing children feel for a distant or hidden parent and taps into the complexity of human connection and abandonment. The characters are resilient and vibrant. The hidden lovers, the nosey neighbors, and surprise lovers all show up. In the end, this extraordinary family finds ways to connect and freedom to love. Anyone who grew up with a family secret will appreciate the dynamics afoot in this fast-paced and compelling story.
My Father’s Name is a family story full of twists and turns—and one of haunting familiarity to many Americans, who may question whether the promises of emancipation have ever truly been fulfilled. It is also a resolute look at the duties that come with reclaiming and honoring Americans who survived slavery and a thoughtful meditation on its painful and enduring history.
The memoir reveals a great deal about the influence of Hull-House on the social and political history of the early twentieth century. An introduction by long-time Addams scholar Anne Firor Scott provides a broader account of women's work in voluntary associations.
Haunted by his parents’ horrific suffering and traumatic losses under Nazi rule, Lev Raphael grew up loathing everything German. Those feelings shaped his Jewish identity, his life, and his career. While researching his mother’s war years after her death, he discovers a distant relative living in the very city where she had worked in a slave labor camp, found freedom, and met his father. Soon after, Raphael is launched on book tours in Germany and, in the process, redefines himself as someone unafraid to face the past and let it go.
Bookmarks, “Top Ten Nonfiction Titles of 2009”
In My Girlhood Among Outlaws, Lily recalls her experiences with Billy the Kid and other desperadoes, and sets the record straight on popular misrepresentations of events. Of particular interest to historians is her preservation of the diary of famous cattleman and family friend John Chisum.
In My Kind of Transit, Darrin Nordahl argues that like life itself, transportation isn't only about the destination, but the journey. Public transit reduces traffic and pollution, yet few of us are willing to get out of our cars and onto subways and buses. But Nordahl demonstrates that when using public transit is an enjoyable experience, tourists and commuters alike willingly hand in their keys.
The trick is creating a system that isn't simply a poor imitation of the automobile, but offers its own pleasures and comforts. While a railway or bus will never achieve the quiet solitude of a personal car, it can provide, much like a well-designed public park, an inviting, communal space.
My Kind of Transit is an animated tour of successful transportation systems, offering smart, commonsense analysis of what makes transit fun. Nordahl draws on examples like the iconic street cars of New Orleans and the picturesque cable cars in San Francisco, illustrating that the best transit systems are uniquely tailored to their individual cities. He also describes universal principles of good transit design.
Nordahl's humanistic treatment will help planners, designers, transportation professionals, and policymakers create transit systems the public actually wants to ride. And it will introduce all readers to delightful ways of getting from point A to point B.
Other stories describe her meeting in Mallorca with the Utah man who would become her husband, her journey to a faraway country, the birth of her children, and her discovery of her artistic impulses and abilities. All are woven with the threads of color and culture of her two homes. Filled with wit and insight, My Kitchen Table reveals foremost the voice of a woman determined to be true to herself and to her art.
Accompanying the narrative are some fifty color reproductions of the paintings and sculptures for which Pilar Pobil has become known. This is a volume that art lovers everywhere will treasure.
"Like her paintings, Pilar’s stories overflow their pages. They fold us into their embrace, so we feel and see her dancing in and out of our minds, a curious and mischievous child, a young woman in love coming to a foreign land with a foreign culture and tongue, the heartbreak of her losses, and the continual renewals that have ripened her art. Pilar’s book, like her house, is a magic kingdom and she is the fairy princess who presides. She paints her shoes for social engagements. The seats of her chairs beam faces. Her electrical wiring metamorphoses into fantastic snakes. The garden that leads to her studio is Salt Lake City’s Giverny. Paintings are everywhere and talk to each other with glittering non sequiturs. At the center of it all is her kitchen table, the place from which she serves the voices and visions of her life. The subtleties of her telling, like the bold clarity of her judgments, are those of an artist whose inspirations are a feast she graciously invites us to share."
— from the Foreword by Robert D. Newman, Dean of the College of Humanities, University of Utah
A finalist for the Utah Book Award in Nonfiction.
Born in Washington, D.C. in 1937, Bryan grew up in Las Vegas. His interest in politics started early, winning school-class elections and expressing a personal goal of one day becoming Governor of Nevada. He was elected student body president at the University of Nevada.
His career in public service began as a deputy district attorney in Clark County. In 1966, he became the first county public defender in state history. Bryan served in the Nevada Legislature in both the Assembly and Senate before winning the statewide office of Attorney General in 1978. He was elected Nevada Governor in 1982, winning re-election in 1986. Bryan was elected to the U.S. Senate in 1988, reelected in 1994, and served on the committees on Commerce, Banking, Taxation, and Intelligence, and chaired the Ethics Committee. He retired from the Senate in 2001 and returned to Nevada.
Bryan’s list of accomplishments is extensive. He was largely responsible for the early call-to-arms in the fight against the Department of Energy’s attempt to create a nuclear waste repository at Yucca Mountain. As governor, he reorganized state economic development programs, improved environmental protections for Lake Tahoe and other threatened areas, and made unprecedented appointments of women. In the Senate, Bryan authored the Southern Nevada Public Lands Management Act and the National Conservation Area for the High Rock Desert country. He had a front-row seat to the historic buildup to the Iraq War and the impeachment of President Bill Clinton. In retirement, Bryan continues to serve the state through his participation on a wide range of committees.
Throughout his political career, Bryan, with wife Bonnie at his side, traversed Nevada from its tiniest hamlets to the metro areas of Reno and Las Vegas with unrivaled zeal in his efforts to represent the state’s citizens. He is famous for knowing thousands of his constituents not only by their first names, but also recalling details of their lives. The simple fact is, while in service to Nevada, Bryan was in his element in the place he loves best.
Kephart’s obsession with paper began in the wake of her father’s death, when she began to handcraft books and make and marble paper in his memory. But it was when she read My Life with Paper, an autobiography by the late renowned paper hunter and historian Dard Hunter, that she felt she had found a kindred spirit, someone to whom she might address a series of one-sided letters about life and how we live it. Remembering and crafting, wanting and loving, doubting and forgetting—the spine and weave of My Life in Paper came into view.
Paper, for Kephart, provides proof of our yearning, proof of our failure, proof of the people who loved us and the people we have lost. It offers, too, a counterweight to the fickle state of memory.
My Life in Paper, illustrated by the author herself, is an intimate and poignant meditation on life’s most pressing questions.
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An entertaining record of a life and a time
Ed Lowry joined the vaudeville circuit in 1910 at the age of fourteen. He never achieved stardom equal to the likes of Fred Allen, Jack Benny, George Burns, Buster Keaton, or Eddie Cantor, and he never considered himself an “artiste.” Instead, he saw himself as a hoofer and comic simply trying to make a living on the vaude scene. My Life in Vaudeville recounts Lowry’s long career in entertainment from the viewpoint of a foot soldier with a big dream.
Lowry’s story begins in the heyday of vaudeville in the early twentieth century and follows its gradual decline. Unlike many of his associates, he recognized that movies and other forms of entertainment were the future, and thus branched out into other venues. He took gigs in radio in Philadelphia, Newark, New York, and Los Angeles; explored revues, cabarets, burlesque, and film; and organized USO road shows. With wit and perception, he reveals his stage roots as an entertainer playing to his audience, and editor Paul M. Levitt’s introduction beautifully sets the stage for Lowry’s gags-to-riches tale, providing much-needed historical perspective.
My Life in Vaudeville is an unpretentious record of a time when thousands of young people went into show business to escape the boredom of daily life, and Lowry’s story is a view of vaudeville not often encountered. Lowry does much more than recall the daily life of a working actor, musician, and comedian. His story brings vaudeville to life and places it within the larger narratives of popular culture and popular entertainment of the twentieth century.
Paul W. Ogden has dedicated his life to educating young deaf and hard of hearing people and raising awareness of what it means to be deaf in a hearing world. He has taught and mentored a generation of teachers, and his classic volume, The Silent Garden, has served as a guide for parents and educators for over thirty years. Now he tells his personal story of challenges faced and lessons learned, revealing that the critical, guiding factors for him have always been language and successful communication.
Born in a time when many deaf children had no access to language, Paul learned spoken and written language skills at a young age through the painstaking efforts of his mother. His tight-knit family, which included one deaf and two hearing older brothers, facilitated open and constant communication using a variety of methods. His father was a pastor who was involved in the civil rights movement. He struggled with depression, an illness that would take the life of one of Paul’s brothers. As a student at a residential deaf school where the use of American Sign Language (ASL) was suppressed, Paul continued to build on the speech and lipreading skills he had learned at home. He returned home for high school and graduated as co-valedictorian—unaware of the standing ovation he received as he walked to the podium.
Following a rewarding experience as an undergraduate at Antioch College, Paul went on to earn a PhD from the University of Illinois, a rare accomplishment for a deaf person at that time. During his graduate studies, he finally had the opportunity to learn ASL. As an award-winning professor of Deaf Studies at California State University, Fresno, he successfully petitioned for the university to recognize ASL as a language, and he established the Silent Garden program, which has grown into a flourishing provider of training and resources to support the Deaf community. In My Life of Language, Paul offers eloquent reflections on both the joyful and difficult periods of his life as he navigated relationships, faced discrimination, questioned his faith, and found great happiness in his marriage.
In 1917, Gilbert Gould achieved his dream to be an engineer, and began running engines for the Denver & Rio Grande and later for the Utah Railway. He was a natural storyteller, and his recollections are entertaining and historically rewarding.
As its title implies, this book reflects in varying ways the experiences and attitudes of one who came of age in the first half of that now mythical decade, the 1960s. In an unusual combination of history, criticism, and autobiography, one of our best literary and cultural critics explores life and death in the late twentieth century and some of the older worlds that made American culture what it is today.
Sixties survivors, as Christopher Clausen points out, do not necessarily hold more beliefs or tastes in common than any other group. Nevertheless they may be more likely than most people born earlier or later to consider the relations between public and private life—the political and the personal—a problem, sometimes even an unresolvable problem. While this is not primarily a book about the 1960s, most of it occupies the noisy crossroads where public worlds intersect the private, mysterious lives of individuals and families, where ordinary people pursue their own destinies and desires while submitting consciously or unconsciously to the pressures of the public sphere—a set of demands or aspirations common to people in a particular time and place.
In modern America, where most of these essays are set, any individual is likely to live in several worlds at any given moment, as well as to pass through several more over a lifetime. Because of rapid transitions in public life and culture while they were still at an impressionable age, members of the “Kennedy generation” became almost morbidly conscious of the persistence of the past in the present. The often unpredictable effect on individual lives of historical forces is the main subject of Clausen's fascinating account.
My Lord, What a Morning is a gentle and engrossing memoir, abounding with the tender and inspiring stories of Marian Anderson's life in her own modest words. From her humble but proud beginnings in south Philadelphia to international vocal renown, the legendary contralto writes of triumph and adversity, of being grounded in faith and surrounded by family, and of the music that shaped her career.
Anderson published My Lord, What a Morning in 1956 on the heels of her groundbreaking role as the first African American to perform at the Metropolitan Opera. In it are bittersweet reminiscences of a working-class childhood, from her first job scrubbing the neighbors' steps to the sorrow and upheaval of her father's untimely death. Here are the stories of a young girl with prodigious talent and her warm remembrances of the teachers, managers, friends, accompanists, and fans who worked to foster it. In addition, she provides a veritable travelogue of her concerts across the globe and rare glimpses at the personal life of a woman more concerned with family than celebrity.
With eleven photographs and a touching new foreword by Anderson's nephew, famed conductor and poet James DePreist, this edition of My Lord, What a Morning revives the classic portrait of a musical legend who was resilient in the bullying face of bigotry and gracious in the unfaltering glow of fame.
His memoir, My Many Selves, is both an incisive self-examination and a creative approach to retelling his life. Writing his autobiography became a quest to harmonize the diverse, discordant parts of his identity and resolve the conflicts in what he thought and believed. To see himself clearly and whole, he broke his self down, personified the fragments, uncovered their roots in his life, and engaged his multiple identities and experiences in dialogue. Basic to his story and to its lifelong concerns with ethics and rhetoric was his youth in rural Utah. He valued that background, while acknowledging its ambiguous influence on him, and continued to identify himself as Mormon, though he renounced most Latter-day Saint doctrines.
Wayne Booth died in October 2005, soon after completing work on his autobiography.
Andrade first came to Washington as ambassador in 1944, representing a young revolutionary government determined to check the power of the Bolivian tin barons who had dominated the country for decades. After his government was overthrown, he spent six years in exile, and returned to Washington when the Movimiento Nacionalista Revolucionario resumed power in 1952. His deep understanding of Washington's massive political and bureaucratic establishment, combined with his renowned charm, resourcefulness, and perseverance, gave him the ability to negotiate massive economic and military aid for the development of the country. It also allows him to present a candid, knowledgeable inside view of U.S.-Bolivian relations through these years which will at times make U.S. readers proud and at times ashamed.
Bryan K. Eldredge seeks to more precisely understand the relationship between ASL use and Deaf identity using the tools of linguistic anthropology. In this work, he presents research resulting from fieldwork with the Deaf community of Utah Valley. Through informal interactions and formal interviews, he explores the role of discourse in the projection and construction of Deaf identities and, conversely, considers how ideas about language affect the discourse that shapes identities. He finds that specific linguistic ideologies exist that valorize some forms of language over others and that certain forms of ASL serve to establish a culturally Deaf identity. My Mother Made Me Deaf demonstrates that the DEAF-WORLD consists of a multitude of experiences and ways of being even as it is bound together by certain essential elements that are common to Deaf people.
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