A SCHOLARLY BOOK REPOSITORY
Runner-up, Carr P. Collins Award for Best Book of Non-Fiction, 2021
Go-Go’s bassist Kathy Valentine’s story is a roller coaster of sex, drugs, and of course, music; it’s also a story of what it takes to find success and find yourself, even when it all comes crashing down.
At twenty-one, Kathy Valentine was at the Whisky in Los Angeles when she met a guitarist from a fledgling band called the Go-Go’s—and the band needed a bassist. The Go-Go’s became the first multi-platinum-selling, all-female band to play instruments themselves, write their own songs, and have a number one album. Their debut, Beauty and the Beat, spent six weeks at the top of the Billboard 200 and featured the hit songs “We Got the Beat” and “Our Lips Are Sealed.” The record's success brought the pressures of a relentless workload and schedule culminating in a wild, hazy, substance-fueled tour that took the band from the club circuit to arenas, where fans, promoters, and crew were more than ready to keep the party going.
For Valentine, the band's success was the fulfillment of a lifelong dream—but it’s only part of her story. All I Ever Wanted traces the path that took her from her childhood in Texas—where she all but raised herself—to the height of rock n’ roll stardom, devastation after the collapse of the band that had come to define her, and the quest to regain her sense of self after its end. Valentine also speaks candidly about the lasting effects of parental betrayal, abortion, rape, and her struggles with drugs and alcohol—and the music that saved her every step of the way. Populated with vivid portraits of Valentine’s interactions during the 1980s with musicians and actors from the Police and Rod Stewart to John Belushi and Rob Lowe, All I Ever Wanted is a deeply personal reflection on a life spent in music.
Tarbell was the only woman in her class of forty students at Allegheny College, and upon graduation she began an internship at The Chautauquan, which was the start of a lifelong immersion in the world of journalism. She further honed her skills during a three-year stint in Paris, but the breakthrough came in 1894 when she was hired as a full-time writer for McClure's Magazine.
It was at McClure's--where, again, she was the only woman on staff--that Tarbell made her name as a determined journalist, one of the fearless brigade of truth-seekers famously chastised by Theodore Roosevelt, who coined the term ‘muckraker' in order to discredit those who attacked senators in print. Tarbell wrote serialized biographies of Napoleon and Abraham Lincoln, as well as a landmark series of articles on Standard Oil and John D. Rockefeller.
In All in the Day's Work, Tarbell turns her keen eye on herself, recalling the events of her fascinating life with the same honesty, verve, and scrupulous accuracy she brought to her journalistic work, offering insight along the way into the people, places, and issues of her time.
By closely observing the attachments that arise in families despite profound disagreements and incommensurabilities, Ferguson argues, we can imagine a political engagement that accommodates radical differences without sacrificing community. After examining how the concept of the family has been deployed and misused in political philosophy, Ferguson turns to the ways in which families actually operate: the macropolitical significance of family coping strategies such as silence and the impact that disability and caregiving have on conceptions of spatiality, sameness, and disparity. He also considers the emotional attachment between humans and their pets as an acknowledgment that compassion and community can exist even under conditions of profound difference.
A fresh take on the history of modern American gambling, All In provides a closer look at the shifting economic, cultural, religious, and political conditions that facilitated gambling’s expansion and prominence in American consumerism and popular culture. In its pages, a diverse range of essays covering commercial and Native American casinos, sports betting, lotteries, bingo, and more piece together a picture of how gambling became so widespread over the course of the twentieth century.
Drawing from a range of academic disciplines, this collection explores five aspects of American gambling history: crime, advertising, politics, religion, and identity.
In doing so, All In illuminates the on-the-ground debates over gambling’s expansion, the failed attempts to thwart legalized betting, and the consequences of its present ubiquity in the United States.
How does regional interdependence influence the prospects for conflict, integration, and democratization? Some researchers look at the international system at large and disregard the enormous regional variations. Others take the concept of sovereignty literally and treat each nation-state as fully independent. Kristian Skrede Gleditsch looks at disparate zones in the international system to see how conflict, integration, and democracy have clustered over time and space. He argues that the most interesting aspects of international politics are regional rather than fully global or exclusively national. Differences in the local context of interaction influence states' international behavior as well as their domestic attributes.
In All International Politics Is Local, Gleditsch clarifies that isolating the domestic processes within countries cannot account for the observed variation in distribution of political democracy over time and space, and that the likelihood of transitions is strongly related to changes in neighboring countries and the prior history of the regional context. Finally, he demonstrates how spatial and statistical techniques can be used to address regional interdependence among actors and its implications.
Kristian Skrede Gleditsch is Assistant Professor of Political Science at the University of California, San Diego.
He employs an array of forms and voices, whether penning a break-up letter to America or a literary rock-n-roll road song dedicated to prairie scientists, or giving pregame pep talks to his son’s losing football team. Here, too, are moving portrayals of his father’s last effort as a small-town lawyer to defend the rights of abused women, and his own efforts as a writing teacher to honor the personal stories of his students.
From his Iowa backyard to the edge of the Arctic Circle, from the forgotten recesses of the body to the far reaches of the solar system, this book demonstrates the ways imagination and informed compassion can, as Price describes it, expand thousandfold the boundaries of what we might “have naïvely considered an individual self.”
In close textual analyses of works ranging across European and American literature, including paradigmatic texts by Balzac, Flaubert, George Eliot, Zola, Henry James, and Thomas Mann, Furst shows how the handling of time, the presentation of place, and certain narrational strategies have served the realists’ claim. She demonstrates how readers today, like those a hundred years ago, are convinced of the authenticity of the created illusion by such means as framing, voice, perspective, and the slippage from metonymy to metaphor. Further, Furst reveals the pains the realists took to conceal these devices, and thus to protect their claim to be employing a simple form. Taking into account both the claims and the covert strategies of these writers, All Is True puts forward an alternative to the conventional polarized reading of the realist text—which emerges here as neither strictly an imitation of an extraneous model nor simply a web of words but a brilliantly complex imbrication of the two.
A major statement on one of the most enduring forms in cultural history, this book promises to alter not only our view of realist fiction but our understanding of how we read it.
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Debunking myths along the way, All Manners of Food is a sweeping look at how social and political development has helped to shape different culinary cultures. Food and almost everything to do with food, fasting and gluttony, cookbooks, women's magazines, chefs and cooks, types of foods, the influential difference between "court" and "country" food are comprehensively explored and tastefully presented in a dish that will linger in the memory long after the plates have been cleared.
Maps go far beyond just showing us where things are located. All Mapped Out is an exploration of how maps impact our lives on social and cultural levels. This book offers a journey through the fascinating history of maps, from ancient cave paintings and stone carvings to the digital interfaces we rely on today. But it’s not just about the maps themselves; it’s about the people behind them. All Mapped Out reveals how maps have affected societies, influenced politics and economies, impacted the environment, and even shaped our sense of personal identity. Mike Duggan uncovers the incredible power of maps to shape the world and the knowledge we consume, offering a unique and eye-opening perspective on the significance of maps in our daily lives.
As fate would have it, his adoptive father, a German-Jewish refugee raised by a loveless and embittered stepmother after his own mother died in childbirth, has inflicted on his stepson a fate uncannily—and terrifyingly—similar to his own: Having first adopted Michael, in part, to help his dying wife, he then imposes on him the same sort of penurious and loveless stepmother whom he himself had had to survive. With these revelations, the "mysteries" that seem to have permeated Michael's childhood are laid bare, triggering a quest for belonging that will infiltrate the author's entire adult life.
All My Relatives provides a new way of reading popular works such as The Woman Warrior, The Joy Luck Club, The Color Purple and John Edgar Wideman's Sent for You Yesterday. TuSmith's study will appeal to general readers as well as students and scholars of American culture, ethnic studies, and American literature.
"An original contribution to the field. TuSmith's willingness to step over invisible boundaries and to draw parallels between the cultural contexts of several ethnic groups at once is refreshing and important." --Amy Ling, University of Wisconsin, Madison
"Ambitious and timely . . . a significant work that Americanists will want to read. TuSmith does an excellent job of clarifying the meaning and significance of the term "ethnicity" in relation to American literature."--Ramón Saldívar, Stanford University
". . . TuSmith establishes the importance of traditional (usually oral) modes of expression to ethnic texts that are both relational and accessible . . . . [S]hould become a standard point of reference in the emerging field of comparative American literature."--Choice
Bonnie TuSmith is Assistant Professor of English, Bowling Green State University.
Winner, John G. Cawelti Award for the Best Textbook/Primer, Popular Culture Association/American Culture Association, 2019
MPCA/ACA Book Award, Midwest Popular Culture Association / Midwest American Culture Association, 2020
Taking a multifaceted approach to attitudes toward race through popular culture and the American superhero, All New, All Different? explores a topic that until now has only received more discrete examination. Considering Marvel, DC, and lesser-known texts and heroes, this illuminating work charts eighty years of evolution in the portrayal of race in comics as well as in film and on television.
Beginning with World War II, the authors trace the vexed depictions in early superhero stories, considering both Asian villains and nonwhite sidekicks. While the emergence of Black Panther, Black Lightning, Luke Cage, Storm, and other heroes in the 1960s and 1970s reflected a cultural revolution, the book reveals how nonwhite superheroes nonetheless remained grounded in outdated assumptions. Multiculturalism encouraged further diversity, with 1980s superteams, the minority-run company Milestone’s new characters in the 1990s, and the arrival of Ms. Marvel, a Pakistani-American heroine, and a new Latinx Spider-Man in the 2000s. Concluding with a discussion of contemporary efforts to make both a profit and a positive impact on society, All New, All Different? enriches our understanding of the complex issues of racial representation in American popular culture.
With this colorful study, Reid Mitchell takes us to Mardi Gras--to a yearly ritual that sweeps the richly multicultural city of New Orleans into a frenzy of parades, pageantry, dance, drunkenness, music, sexual display, and social and political bombast. In All on a Mardi Gras Day Mitchell tells us some of the most intriguing stories of Carnival since 1804. Woven into his narrative are observations of the meaning and messages of Mardi Gras--themes of unity, exclusion, and elitism course through these tales as they do through the Crescent City.
Moving through the decades, Mitchell describes the city's diverse cultures coming together to compete in Carnival performances. We observe powerful social clubs, or krewes, designing their elaborate parade displays and extravagant parties; Creoles and Americans in conflict over whose dances belong in the ballroom; enslaved Africans and African Americans preserving a sense of their heritage in processions and dances; white supremacists battling Reconstruction; working-class blacks creating the flamboyant Krewe of Zulu; the birth and reign of jazz; the gay community holding lavish balls; and of course tourists purchasing an authentic experience according to the dictates of our commercial culture. Interracial friction, nativism, Jim Crow separatism, the hippie movement--Mitchell illuminates the expression of these and other American themes in events ranging from the 1901 formation of the anti-prohibitionist Carrie Nation Club to the controversial 1991 ordinance desegregating Carnival parade krewes.
Through the conflicts, Mitchell asserts, "I see in Mardi Gras much what I hear in a really good jazz band: a model for the just society, the joyous community, the heavenly city...A model for community where individual expression is the basis for social harmony and where continuity is the basis for creativity." All on a Mardi Gras Day journeys into a world where hope persists for a rare balance between diversity and unity.
Interest in German Idealism--not just Kant, but Fichte and Hegel as well--has recently developed within analytic philosophy, which traditionally defined itself in opposition to the Idealist tradition. Yet one obstacle remains especially intractable: the Idealists' longstanding claim that philosophy must be systematic. In this work, the first overview of the German Idealism that is both conceptual and methodological, Paul W. Franks offers a philosophical reconstruction that is true to the movement's own times and resources and, at the same time, deeply relevant to contemporary thought.
At the center of the book are some neglected but critical questions about German Idealism: Why do Fichte, Schelling, and Hegel think that philosophy's main task is the construction of a system? Why do they think that every part of this system must derive from a single, immanent and absolute principle? Why, in short, must it be all or nothing? Through close examination of the major Idealists as well as the overlooked figures who influenced their reading of Kant, Franks explores the common ground and divergences between the philosophical problems that motivated Kant and those that, in turn, motivated the Idealists. The result is a characterization of German Idealism that reveals its sources as well as its pertinence--and its challenge--to contemporary philosophical naturalism.
All Our Trials explores the organizing, ideas, and influence of those who placed criminalized and marginalized women at the heart of their antiviolence mobilizations. This activism confronted a "tough on crime" political agenda and clashed with the mainstream women’s movement’s strategy of resorting to the criminal legal system as a solution to sexual and domestic violence. Drawing on extensive archival research and first-person narratives, Thuma weaves together the stories of mass defense campaigns, prisoner uprisings, broad-based local coalitions, national gatherings, and radical print cultures that cut through prison walls. In the process, she illuminates a crucial chapter in an unfinished struggle––one that continues in today’s movements against mass incarceration and in support of transformative justice.
All Play and No Work directly contradicts the promoted ideals of work found in American society, culture, and within the broader New Deal itself. Gagliardi shows how comedies of the Great Depression engaged questions of labor, labor history, and labor ethics. He considers the breadth of the FTP’s production history, staging plays including Ah, Wilderness!, Help Yourself, and Mississippi Rainbow.
Gagliardi examines backstage comedies, middle-class comedies, comedies of chance, and con-artist comedies that employed diverse casts and crew and contained radical economic and labor ideas. He contextualizes these plays within the ideologically complicated New Deal, showing how programs like the Social Security Act straddled progressive ideals and conservative, capitalist norms. Addressing topics including the politicization of theatrical labor and the real dangers of unchecked economic con artists, the comic plays of the FTP reveal acts of political resistance and inequality that reflected the concerns of their audiences.
Since the 1960s, evangelical Christian denominations have made converts throughout much of Roman Catholic Latin America, causing clashes of faith that sometimes escalate to violence. Yet in one Mexican town, Tzintzuntzan, the appearance of new churches has provoked only harmony. Catholics and evangelicals alike profess that "all religions are good," a sentiment not far removed from "here we are all equal," which was commonly spoken in the community before evangelicals arrived.
In this paradigm-challenging study, Peter Cahn investigates why the coming of evangelical churches to Tzintzuntzan has produced neither the interfaith clashes nor the economic prosperity that evangelical conversion has brought to other communities in Mexico and Latin America. Drawing on extensive ethnographic fieldwork, he demonstrates that the evangelicals' energetic brand of faith has not erupted into violence because converts continue to participate in communal life, while Catholics, in turn, participate in evangelical practices. He also underscores how Tzintzuntzan's integration into global economic networks strongly motivates the preservation of community identity and encourages this mutual borrowing. At the same time, however, Cahn concludes that the suppression of religious difference undermines the revolutionary potential of religion.
In “Charlie,” a new mother tells the story of her confusing attachment to a former mentor, uncovering the deep pain that has largely defined her life. In “The Fathers,” an awkward bachelor party leads to an unexpected moment of overdue connection between the bride’s father and brothers. The title story tracks the drunken monologue of a nihilistic middle-aged man attempting to seduce a young woman into a threesome, while “The Deal” alternates perspectives between a cynical divorced woman and her adult son, the only person with whom she’s been able to sustain a lasting relationship. Relentlessly self-revealing, these characters vacillate between vulnerability and self-protection, exposing the necessity of both. Dark, comic, and altogether unforgettable, All Roads introduces an original voice attuned to the docility of the stingray as well as the ancient spear of its tail.
Wayne Munson examines the talkshow as a cultural form whose curious productivity has become vital to America's image economy. As the very name suggests, the talkshow is both interpersonal exchange and mediated spectacle. Its range of topics defies classification: from the sensational and bizarre, to the conventional and the advisory, to politics and world affairs. Munson grapples with the sense and nonsense of the talkshow, particularly its audience participation and its construction of knowledge.
This hybrid genre includes the news/talk "magazine," celebrity chat, sports talk, psychotalk, public affairs forum, talk/service program, and call-in interview show. All share characteristics of lucidity and contradiction—the hallmarks of postmodernity—and it is this postmodern identity that Munson examines and links to mass and popular culture, the public sphere, and contemporary political economy.
Munson takes a close look at the talkshow’s history, programs, production methods, and the "talk" about it that pervades media culture—the press, broadcasting, and Hollywood. He analyzes individual shows such as "Geraldo," "The Morton Downey Show," "The McLaughlin Group," and radio call-in "squawk" programs, as well as movies such as Talk Radio and The King of Comedy that investigate the talkshow’s peculiar status. Munson also examines such events as the political organizing of talkhosts and their role in the antitax and anti-incumbency groundswells of the 1990s. In so doing, Munson demonstrates how "infotainment" is rooted in a deliberate uncertainty. The ultimate parasitic media form, the talkshow promiscuously indulges in—and even celebrated—its dependencies and contradictions. It "works" by "playing" with boundaries and identities to personalize the political and politicize the personal. Arguing that the talkshow's form and host are productively ill-defined, Munson asks whether the genre is a degradation of public life or part of a new, revitalized public sphere in which audiences are finally and fully "heard" through interactive.
At the turn of the century, Colorado's Cripple Creek District captured the national imagination with the extraordinary wealth of its gold mines and the unquestionable strength of the militant Western Federation of Miners.
Elizabeth Jameson tells the entertaining story of Cripple Creek, the scene in 1894 of one of radical labor's most stunning victories and, in 1903 and 1904, of one of its most crushing defeats. Jameson draws on working-class oral histories, the Victor and Cripple Creek Daily Press published by 34 of the local labor unions, and the 1900 manuscript census. She connects unions with lodges and fraternal associations, ethnic identity, families, households, and partisan politics. Through these ties, she probes the differences in age, skill, gender, marital status, and ethnicity that strained working-class unity and contributed to the fall of labor in Cripple Creek.
Jameson's book will be required reading for western, ethnic, and working-class historians seeking an alternative interpretation of western mining struggles that emphasizes class, gender, and multiple sources of social identity.
What follows is a story in which mysteries are unraveled, odd alliances are forged, and the boundaries between lives blur in destiny-changing ways—all in a place where the physical border between two countries is as palpable as it is porous, and the legacies of history are never far away. There are no easy solutions to the issues the characters face in this story, and their various realities—as undocumented workers, Border Patrol agents, the American supervisor of a Mexican factory employing an impoverished workforce—never play out against a black-and-white moral canvas. Instead, they are complex human beings with sometimes messy lives who struggle to create a place for themselves in a part of the world like no other, even as they are forced to confront the lives they have made.
All That Rises is about secrets, lies, border politics, and discovering where you belong—within a family, as well as in the world beyond. It is a novel for the times we live in, set in a place many people know only from the news.
In the middle of the night, somewhere in Oklahoma—or is it Missouri?—a bus hurtles down an anonymous American highway. Its passengers, among them two children traveling on their own, a retired salesman, an unwed teenage mother, an unemployed chemist, and the driver who ferries and broods over all of them, are in the middle of their journeys. Soon, two of the passengers will be lost, and then the bus itself will lose its way.
The open road and, before that, the open frontier have long been part of the American romance, cherished features of the nation's traditional vision of itself. In her latest novel, A. G. Mojtabai stands this tradition on its head. Instead of the expansive thrust into unknown territory, the camaraderie of the open road, adventure, and the joys of vagabondage, we witness constriction, isolation, and fear. Instead of freedom, we find people fleeing from coast to coast in search of home and the ever-beckoning, ever-retreating promise of a better life. Richly drawn, evocative, and thought-provoking, All That Road Going is a challenging new departure from the road novel canon.
How do we survive our family, stay bound to our community, and keep from losing ourselves? In All That Work and Still No Boys, Kathryn Ma exposes the deepest fears and longings that we mask in family life and observes the long shadows cast by history and displacement.
Here are ten stories that wound and satisfy in equal measure. Ma probes the immigrant experience, most particularly among northern California’s Chinese Americans, illuminating for us the confounding nature of duty, transformation, and loss. A boy exposed to racial hatred finds out the true difference between his mother and his father. Two old rivals briefly lay down their weapons, but loneliness and despair won’t let them forget the past. A young Beijing tour guide with a terrible family secret must take an adopted Chinese girl and her American family to visit an orphanage. And in the prize-winning title story, a mother refuses to let her son save her life, insisting instead on a sacrifice by her daughter.
Intimate in detail and universal in theme, these stories give us the compelling voice of an exciting new author whose intelligence, insight, and wit impart a sense of grace to the bitter resentments and enduring ties that comprise family love. Even through the tensions Ma creates so deftly, the peace and security that come from building and belonging to one’s own community shine forth.
In this transnational, interdisciplinary history, Carmel Finley answers these questions and more as she explores how government subsidies propelled the expansion of fishing from a coastal, in-shore activity into a global industry. While nation states struggling for ocean supremacy have long used fishing as an imperial strategy, the Cold War brought a new emphasis: fishing became a means for nations to make distinct territorial claims. A network of trade policies and tariffs allowed cod from Iceland and tuna canned in Japan into the American market, destabilizing fisheries in New England and Southern California. With the subsequent establishment of tuna canneries in American Samoa and Puerto Rico, Japanese and American tuna boats moved from the Pacific into the Atlantic and Indian Oceans after bluefin. At the same time, government subsidies in nations such as Spain and the Soviet Union fueled fishery expansion on an industrial scale, with the Soviet fleet utterly depleting the stock of rosefish (or Pacific ocean perch) and other groundfish from British Columbia to California. This massive global explosion in fishing power led nations to expand their territorial limits in the 1970s, forever changing the seas.
Looking across politics, economics, and biology, All the Boats on the Ocean casts a wide net to reveal how the subsidy-driven expansion of fisheries in the Pacific during the Cold War led to the growth of fisheries science and the creation of international fisheries management. Nevertheless, the seas are far from calm: in a world where this technologically advanced industry has enabled nations to colonize the oceans, fish literally have no place left to hide, and the future of the seas and their fish stocks is uncertain.
How colleges and universities can respond to legal pressures while remaining true to their educational missions.
Not so long ago, colleges and universities had little interaction with the law. In the 1970s, only a few well-heeled universities even employed in-house legal counsel. But now we live in the age of tenure-denial lawsuits, free speech battles, and campus sexual assault investigations. Even athletics rules violations have become a serious legal matter. The pressures of regulation, litigation, and legislation, Louis Guard and Joyce Jacobsen write, have fostered a new era in higher education, and institutions must know how to respond.
For many higher education observers and participants, including most administrators and faculty, the maze of legal mandates and potential risks can seem bewildering. Guard, a general counsel with years of higher education law experience, and Jacobsen, a former college president, map this unfamiliar terrain. All the Campus Lawyers provides a vital, up-to-date assessment of the impact of legal concerns on higher education and helps readers make sense of the most pressing trends and issues, including civil rights; free speech and expression; student life and wellness; admissions, advancement, and community relations; governance and oversight; the higher education business model; and on-campus crises, from cyberattacks to pandemics.
As well as informing about the latest legal and regulatory developments affecting higher education, Guard and Jacobsen offer practical guidance to those in positions of campus authority. There has never been a more crucial time for college and university boards, presidents, inside and outside counsel, and other higher education leaders to know the law and prepare for legal challenges.
"O'Brien's historical overview of the transition from 19th-century denominational colleges to 20th-century research-driven and largely secular ones is provocative. Cleverly written and well-focused, the book addresses the financial pressures facing higher education and asks vital questions about cutbacks and curricula."—Publishers Weekly
"Lively, engaging, and richly suggestive." —Francis Oakley, Commonweal
"O'Brien employs calm, powerful reason, without sensationalism. His perspective is illuminating. . . . All the Essential Half-Truths About Higher Education is one of the wisest and most useful treatments of American higher education." —John Attarian, Detroit News
Carmel Finley reveals that the fallibility of MSY lies at its very inception—as a tool of government rather than science. The foundational doctrine of MSY emerged at a time when the US government was using science to promote and transfer Western knowledge and technology, and to ensure that American ships and planes would have free passage through the world’s seas and skies. Finley charts the history of US fisheries science using MSY as her focus, and in particular its application to halibut, tuna, and salmon fisheries. Fish populations the world over are threatened, and All the Fish in the Sea helps to sound warnings of the effect of any management policies divested from science itself.
In 2012 Matthew Wimberley took a two-month journey, traveling and living out of his car, during which time he had planned to spread his father’s ashes. By trip’s end, the ashes remained, but Wimberley had begun a conversation with his deceased father that is continued here in his debut collection.
All the Great Territories is a book of elegies for a father as well as a confrontation with the hostile, yet beautiful landscape of southern Appalachia. In the wake of an estranged father’s death, the speaker confronts that loss while celebrating the geography of childhood and the connections formed between the living and the dead. The narrative poems in this collection tell one story through many: a once failed relationship, the conversations we have with those we love after they are gone. In an attempt to make sense of the father-son relationship, Wimberley embraces and explores the pain of personal loss and the beauty of the natural world.
Stitching together sundered realms—from Idaho to the Blue Ridge Mountains and from the ghost of memory to the iron present of self—Wimberley produces a map for reckoning with grief and the world’s darker forces. At once a labor of love and a searing indictment of those who sensationalize and dehumanize the people and geography of Appalachia, All the Great Territories sparks the reader forward, creating a homeland all its own. “Because it’s my memory I can give it to you,” Wimberley’s speaker declares, and it’s a promise well kept in this tender and remarkable debut.
Whether recounting the home birth of her second child, encounters with cougars, the fraught dynamics of mother-daughter relationships, the destructive power of wildfires, or the community bonds challenged by a tragic suicide, Easter’s writing is firmly grounded in place. She takes readers deep into the heart of a still-wild Oregon, perilous yet rich with natural beauty.
Written from one woman’s perspective as a mother, wife, and friend, All the Leavings is ultimately a book about love—for the child who faces a health crisis, for the friend dying of AIDS, for the one entangled by addiction who then disappears. Long after the final page is turned, it will resonate with readers interested in essays, memoir, alternative lifestyles, and the literature of the West.
Patricia Foster’s lyrical yet often painful memoir explores the life of a white middle-class girl who grew up in rural south Alabama in the 1950s and 1960s, a time and place that did not tolerate deviation from traditional gender roles. Her mother raised Foster and her sister as “honorary boys,” girls with the ambition of men but the temperament of women.
An unhappy, intelligent woman who kept a heartbreaking secret from everyone close to her, Foster's mother was driven by a repressed rage that fed her obsession for middle-class respectability. By the time Foster reached age fifteen, her efforts to reconcile the contradictory expectations that she be at once ambitious and restrained had left her nervous and needy inside even while she tried to cultivate the appearance of the model student, sister, and daughter. It was only a psychological and physical breakdown that helped her to realize that she couldn't save her driven, complicated mother and must struggle instead for both understanding and autonomy.
This unexpected juxtaposition of a theological treatise and a magical amulet allows Izmirlieva to reveal lists’ rhetorical potential to create order and to function as both tools of knowledge and of power. Despite the two different visions of order represented by each list, Izmirlieva finds that their uses in Christian practice point to a complementary relationship between the existential need for God’s protection and the metaphysical desire to submit to his infinite majesty—a compelling claim sure to provoke discussion among scholars in many fields.
Because of course she feels what he feels. . . . People their age natter along not copping to it but the awareness is billboarded all over their faces—a wavering, a hesitation, even those who used to crow and jab the air. The tablecloth of certainty, with all its sparkly settings, has been yanked, and not artfully. It's why people drink.
All The News I Need probes the modern American response to inevitable, ancient riddles—of love and sex and mortality.
Frances Ferguson is a lonely, sharp-tongued widow who lives in the wine country. Oliver Gaffney is a painfully shy gay man who guards a secret and lives out equally lonely days in San Francisco. Friends by default, Fran and Ollie nurse the deep anomie of loss and the creeping, animal betrayal of aging. Each loves routine but is anxious that life might be passing by. To crack open this stalemate, Fran insists the two travel together to Paris. The aftermath of their funny, bittersweet journey suggests those small changes, within our reach, that may help us save ourselves—somewhere toward the end.
Logan was among the first critics to review a generation of poets now in creative maturity, and his comments on the early works of Jorie Graham, Gjertrud Schnackenberg, and the late Amy Clampitt show the enthusiasm of fresh discovery. But he is no respecter of old reputation, as his reviews of John Ashbery and Robert Penn Warren demonstrate. In total, his criticism considers virtues with their defects and always speaks its author's mind. Some contemporary poetry has had few better friends, and some few greater enemies, than William Logan.
William Logan is the author of Sad-Faced Men, Difficulty, Sullen Weedy Lakes, and Vain Empires. He is Alumni/ae Professor of English, University of Florida.
Many consider the new gay visibility a sign of social acceptance, while others charge that it is mere window dressing, obscuring the dogged persistence of discrimination. Walters moves beyond these positions and instead argues that these realities coexist: gays are simultaneously depicted as the sign of social decay and the chic flavor of the month. Taking on the common wisdom that visibility means progress, All the Rage maps the terrain on which gays are accepted as witty accessories in movies, gain access to political power, and yet still fall into constrictive stereotypes. Walters warns us with clarity and wit of the pitfalls of equating visibility with full integration into the fabric of American society. From the playful TV fantasies of lesbian weddings on Friends to the very real obstacles confronting gay marriage, from the award-winning comedy Will & Grace to Bible-thumping radio superhost Dr. Laura, All the Rage takes on naive celebrants and jaded naysayers alike. With a sophisticated mix of caution and optimism, it provides an illuminating guide through these exciting, controversial times.
All the Tiny Beauties begins with a kitchen fire that sends the reclusive Webster Jackson to the home of his new neighbor, Colleen, who discovers him on her doorstep wearing a lacy peignoir, his house in flames. Unwilling to take responsibility for the lonely eccentric, Colleen reaches out to Webb’s estranged daughter, Debra. She also helps him find a live-in companion, a young adult reeling from the loss of her childhood friend.
Moving among perspectives and generations, we see the longings and vulnerabilities that drive and impede these characters as their stories intertwine—Webb’s first love clashing with his last; Colleen embarking on a secret affair with Debra; the older Webb and his young housemate, Hannah, forming a bond over tragedy, guilt, and his passion for baking.
Confronting the many ways they’ve failed others as well as themselves, Webb, Colleen, Hannah, and Debra slowly find ways forward and ways out. While exploring the fragile nature of our connections to one another, All the Tiny Beauties asks larger questions about the constraints society imposes that warp and wound, leading us to deny those things that make us wholly ourselves.
The London suburbs have, for more than two hundred and fifty years, fired the creative literary imagination: whether this is Samuel Johnson hiding away in bucolic preindustrial Streatham, Italo Svevo cheering on Charlton Athletic Football Club down at The Valley, or Angela Carter hymning the joyful “wrongness” of living south-of-the-river in Brixton. From Richmond to Rainham, Cockfosters to Croydon, this sweeping literary tour of the thirty-two London Boroughs describes how writers, from the seventeenth century on, have responded to and fictionally reimagined London’s suburbs. It introduces us to the great suburban novels, such as Hanif Kureishi’s Bromley-set The Buddha of Suburbia, Lawrence Durrell’s The Black Book, and Zadie Smith’s NW. It also reveals the lesser-known short stories, diaries, poems, local guides, travelogues, memoirs, and biographies, which together show how these communities have long been closely observed, keenly remembered, and brilliantly imagined.
But which of these teams was the greatest?
All the Way to #1 is the first book to thoroughly document the nation’s top high school football teams from the 20th century. Identifying seventeen legendary programs, football historian Timothy Hudak tells the exciting and entertaining stories of how these teams came to prominence on the national stage. Fans will be particularly interested in Hudak’s conclusion about which of these teams was the best.
Filled with 330 black and white photos, statistics, and the most comprehensive listing of the 20th century’s high school football champions found anywhere, All the Way to #1 is a one-of-a-kind book that will be perfect for fans across the country.
All They Will Call You is the harrowing account of “the worst airplane disaster in California’s history,” which claimed the lives of thirty-two passengers, including twenty-eight Mexican citizens—farmworkers who were being deported by the U.S. government. Outraged that media reports omitted only the names of the Mexican passengers, American folk icon Woody Guthrie penned a poem that went on to become one of the most important protest songs of the twentieth century, “Plane Wreck at Los Gatos (Deportee).” It was an attempt to restore the dignity of the anonymous lives whose unidentified remains were buried in an unmarked mass grave in California’s Central Valley. For nearly seven decades, the song’s message would be carried on by the greatest artists of our time, including Pete Seeger, Dolly Parton, Bruce Springsteen, Bob Dylan, and Joan Baez, yet the question posed in Guthrie’s lyrics, “Who are these friends all scattered like dry leaves?” would remain unanswered—until now.
Combining years of painstaking investigative research and masterful storytelling, award-winning author Tim Z. Hernandez weaves a captivating narrative from testimony, historical records, and eyewitness accounts, reconstructing the incident and the lives behind the legendary song. This singularly original account pushes narrative boundaries, while challenging perceptions of what it means to be an immigrant in America, but more importantly, it renders intimate portraits of the individual souls who, despite social status, race, or nationality, shared a common fate one frigid morning in January 1948.
All Things Common was first published in 1966. 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.
In Dr. Peters' study of the Hutterian Brethren (commonly called Hutterites), a group of devoutly religious farmers who have established many communal colonies in the midlands of the United States and Canada, he first traces the historical development of the group and then describes in detail their way of life by focusing on the Manitoba colonies.
After their church was founded in Central Europe at the time of the Reformation, the Hutterians moved slowly east until they settled in Russia, where they lived for over one hundred years. Then, in the 1870's, they immigrated to America and settled in the Dakota Territory. During World War I they fled to Canada under pressure of wartime hysteria. Since they moved to Canada, the Hutterians have encountered more problems but have successfully spread their colonies across the prairie provinces and back into the United States.
At present, the Hutterians are the oldest and most successful community group in the history of western civilization. They believe that their practice of Christian communism is in true harmony with the spirit and teachings of early Christianity. Other aspects of their behavior such as the refusal to do military service and their disapproval of radio, television, dancing, movies, and cosmetics have made them a source of interest and concern to their neighbors.
The book is a thorough introduction to the Hutterians for the general reader and will be of special interest to historians, theologians, sociologists, and economists.
In addition to being the sixth bishop of the Diocese of New York, Henry Codman Potter (1835-1908) was a prominent voice in the Social Gospel movement of the late nineteenth and early twentieth centuries. This book, the first in-depth study of Potter's life and work, examines his career in the Episcopal church as well as the origins and legacy of his progressive social views.
As industrialization and urbanization spread in the nineteenth century, the Social Gospel movement sought to apply Christian teachings to effect improvements in the lives of the less fortunate. Potter was firmly in this tradition, concerning himself especially with issues of race, the place of women in society, questions of labor and capital, and what he called "political righteousness." Placing Potter against the wider backdrop of nineteenth-century American Protestantism, Bourgeois explores the experiences and influences that led him to espouse these socially conscious beliefs, to work for social reform, and to write such works as Sermons of the City (1881) and The Citizen in His Relation to the Industrial Situation (1902).
In telling Potter's remarkable story, All Things Human stands as a valuable contribution to intellectual and religious history as well as an exploration of the ways in which religion and society interact.
With clarity and precise detail, Dan Masterson creates a narrative of how we live, love, and die. In blank verse and rhymed stanzas, in free verse and taut lyrics, he delivers the story of a woman trap ped in an avalanche, a husband daring himself to death in an ocean swim, or a son arranging the final affairs of his parents. There is always an edge to Masterson’s characters—they are everyday people, but we meet them on the one day when the stakes are highest.
He holds a reverence for the particulars of a place, for gardens and homes, for dresser drawers and work benches, for cabins in the Adirondacks, ponds, tree houses, and ornamental stones. The leavings of loved ones—strong boxes, pajamas, rosaries—are passed on as relics that both heal and trouble. In Masterson’s world, characters learn how to lose, how to change, and even how to survive their most painful memories.
Selected from thirty years of work, and including an eclectic selection of new poems, this book unfurls Masterson’s full canvas of abilities: his penchant for startling descriptions, his keen insight into our nobility and fallibility, and his skill at making us live his poems.
Traveling through China in 1989, not long after the Tiananmen Square massacre, Fanny hopes to make sense of her brother Bruno’s death in a motorcycle accident by finding a woman with whom he had exchanged letters. On her journey Fanny’s fate becomes entwined with a handsome British rogue, an American of Russian-Cuban descent returning to Tashkent, and two Chinese men—one who loves Charles Dickens, the other a budding, entrepreneurial con man—struggling to find their way in a country undergoing tumultuous transformation. Kathleen Lee’s debut novel explores the tension between the allure of the unfamiliar that draws us to distant lands and its unbidden tendency to reveal us to ourselves. With its rollicking sense of humor and slyly lyrical voice, as well as an extraordinary deftness in the rendering of place, All Things Tending towards the Eternal is an unforgettable ride.
Winner of the American Literary Translators Association 2010 National Translation Award
Petra Hůlová became an overnight sensation when All This Belongs to Me was originally published in Czech in 2002, when the author was just twenty three years old. She has since established herself as one of the most exciting young novelists in Europe today. Writings from an Unbound Europeis proud to publish the first translation of her work in English.
All This Belongs to Me chronicles the lives of three generations of women in a Mongolian family. Told from the point of view of a mother, three sisters, and the daughter of one of the sisters, this story of secrets and betrayals takes us from the daily rhythms of nomadic life on the steppe to the harsh realities of urban alcoholism and prostitution in the capital, Ulaanbaatar. All This Belongs to Me is a sweeping family saga that showcases Hůlová's genius.
As Kenneth J. Bindas points out, the FMP leadership was more conservative than that of the sister projects in art, theater, and writing. Its stated aim of "raising" the taste of musicians and citizens alike created a particular problem. Although many unemployed musicians came from the sphere of popular music, such as jazz and Tin Pan Alley, the FMP chose to emphasize "cultured" music, particularly the orchestral works of composers in the European classical tradition. Inevitably, this created tension within the project, as those musicians deemed "popular" received second-class treatment and, in the case of racial and ethnic minorities, were segregated and stereotyped. Despite these troubles, Bindas demonstrates, the FMP succeeded in bringing music to millions of listeners across the country.
All Thoughts Are Equal is both an introduction to the work of French philosopher François Laruelle and an exercise in nonhuman thinking. For Laruelle, standard forms of philosophy continue to dominate our models of what counts as exemplary thought and knowledge. By contrast, what Laruelle calls his “non-standard” approach attempts to bring democracy into thought, because all forms of thinking—including the nonhuman—are equal.
John Ó Maoilearca examines how philosophy might appear when viewed with non-philosophical and nonhuman eyes. He does so by refusing to explain Laruelle through orthodox philosophy, opting instead to follow the structure of a film (Lars von Trier’s documentary The Five Obstructions) as an example of the non-standard method. Von Trier’s film is a meditation on the creative limits set by film, both technologically and aesthetically, and how these limits can push our experience of film—and of ourselves—beyond what is normally deemed “the perfect human.”
All Thoughts Are Equal adopts film’s constraints in its own experiment by showing how Laruelle’s radically new style of philosophy is best presented through our most nonhuman form of thought—that found in cinema.
The role of the humble school bus in transforming education in America
Everyone knows the yellow school bus. It’s been invisible and also omnipresent for a century. Antero Garcia shows how the U.S. school bus, its form unaltered for decades, is the most substantial piece of educational technology to ever shape how schools operate. As it noisily moves young people across the country every day, the bus offers the opportunity for a necessary reexamination of what “counts” as educational technology. Particularly in light of these buses being idled in pandemic times, All through the Town questions what we take for granted and what we overlook in public schooling in America, pushing for liberatory approaches to education that extend beyond notions of school equity.
Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.
The decorations, songs, special ways of dressing, and rituals carry deep significance that is viscerally felt by even young tots. Ritual has the capacity to condense a plethora of meaning into a unified metaphor such as a Christmas tree, a menorah, or the American flag. These symbols allow children and adults to co-opt the meaning of symbols in flexible and age-relevant ways, all while the symbols are still treasured and shared in common.
Nicholas Ward’s debut essay collection, All Who Belong May Enter, centers on self-exploration and cultural critique. These deeply personal essays examine whiteness, masculinity, and a Midwest upbringing through tales of sporting events, parties, posh (and not-so-posh) restaurant jobs, and the many relationships built and lost along the way. With a storyteller’s spirit, Ward recounts and evaluates the privilege of his upbringing with acumen and vulnerability. Ward’s profound affection for his friends, family, lovers, pets, and particularly for his chosen home, Chicago, shines through. This collection offers readers hope for healing that comes through greater understanding and inquiry into one’s self, relationships, and culture. Through these essays, Ward acknowledges his position within whiteness and masculinity, and he continuously holds himself and the society around him accountable.
All Who Belong May Enter was selected by Jaquira Díaz as the winner of the 2020 Autumn House Nonfiction Prize.
Nicholas Ward’s debut essay collection, All Who Belong May Enter, centers on self-exploration and cultural critique. These deeply personal essays examine whiteness, masculinity, and a Midwest upbringing through tales of sporting events, parties, posh (and not-so-posh) restaurant jobs, and the many relationships built and lost along the way. With a storyteller’s spirit, Ward recounts and evaluates the privilege of his upbringing with acumen and vulnerability. Ward’s profound affection for his friends, family, lovers, pets, and particularly for his chosen home, Chicago, shines through. This collection offers readers hope for healing that comes through greater understanding and inquiry into one’s self, relationships, and culture. Through these essays, Ward acknowledges his position within whiteness and masculinity, and he continuously holds himself and the society around him accountable.
All Who Belong May Enter was selected by Jaquira Díaz as the winner of the 2020 Autumn House Nonfiction Prize.
Sarah Gillespie Huftalen led an unconventional life for a rural midwestern woman of her time. Born in 1865 near Manchester, Iowa, she was a farm girl who became a highly regarded country school and college teacher; she married a man older than either of her parents, received a college degree later in life, and was committed to both family and career. A gifted writer, she crafted essays, teacher-training guides, and poetry while continuing to write lengthy, introspective entries in her diary, which spans the years from 1873 to 1952. In addition, she gathered extensive information about the quietly tragic life of her mother, Emily, and worked to preserve Emily's own detailed diary.
In more than 3,500 pages, Sarah writes about her multiple roles as daughter, sister, wife, teacher, family historian, and public figure. Her diary reflects the process by which she was socialized into these roles and her growing consciousness of the ways in which these roles intersected. Not only does her diary embody the diverse strategies used by one woman to chart her life's course and to preserve her life's story for future generations, it also offers ample evidence of the diary as a primary form of private autobiography for individuals whose lives do not lend themselves to traditional definitions of autobiography.
Taken together, Emily's and Sarah's extraordinary diaries span nearly a century and thus form a unique mother/daughter chronicle of daily work and thoughts, interactions with neighbors and friends and colleagues, and the destructive family dynamics that dominated the Gillespies. Sarah's consciousness of the abusive relationship between her mother and father haunts her diary, and this dramatic relationship is duplicated in Sarah's relationship with her brother, Henry, Suzanne Bunkers' skillful editing and analysis of Sarah's diary reveal the legacy of a caring, loving mother reflected in her daughter's work as family member, teacher, and citizen.
The rich entries in Sarah Gillespie Huftalen's diary offer us brilliant insights into the importance of female kinship networks in American life, the valued status of many women as family chroniclers, and the fine art of selecting, piecing, stitching, and quilting that characterizes the many shapes of women's autobiographies. Read Sarah's dairy to discover why "all will yet be well."
From his celebrated appearance, hatchet in hand, in Parson Mason Locke Weems’s Life of Washington to Booth Tarkington’s Penrod, the all-American boy was an iconic figure in American literature for well over a century. Sometimes he was a “good boy,” whose dutiful behavior was intended as a model for real boys to emulate. Other times, he was a “bad boy,” whose mischievous escapades could be excused either as youthful exuberance that foreshadowed adult industriousness or as deserved attacks on undemocratic pomp and pretension. But whether good or bad, the all-American boy was a product of the historical moment in which he made his appearance in print, and to trace his evolution over time is to take a fresh view of America’s cultural history, which is precisely what Larzer Ziff accomplishes in All-American Boy.
Ziff looks at eight classic examples of the all-American boy—young Washington, Rollo, Tom Bailey, Tom Sawyer, Ragged Dick, Peck’s “bad boy,” Little Lord Fauntleroy, and Penrod—as well as two notable antitheses—Huckleberry Finn and Holden Caulfield. Setting each boy in a rich cultural context, Ziff reveals how the all-American boy represented a response to his times, ranging from the newly independent nation’s need for models of democratic citizenship, to the tales of rags-to-riches beloved during a century of accelerating economic competition, to the recognition of adolescence as a distinct phase of life, which created a stage on which the white, middle-class “solid citizen” boy and the alienated youth both played their parts.
With a specific focus on exploring how American culture, institutions, and social structures influence the circumstances, frequency, and severity of mass shootings in the United States, All-American Massacre advances emerging theoretical perspectives and forges fresh approaches, new research questions, and innovative data and conclusions.
Bringing together pioneering scholars, this groundbreaking compilation of research and analysis identifies the social roots of this insidious threat and prompts new reflections on how we can stop the seemingly endless cycle of horror and death.All-American Massacre helps clarify the unique nature and salience of mass shootings in American life.
Contributors: Melanie Brazzell, Tristan Bridges, Ryan Broll, F. Chris Curran, Sarah E. Daly, Salvatore D’Angelo, James Densley, Tom Diaz, Scott Duxbury, Benjamin W. Fisher, Betsy Friauf, Emma E. Fridel, Celene Fuller, Daniel Gascón, Patrick J. Gauding, Brooke Miller Gialopsos, Simon Gottschalk, Donald P. Haider-Markel, Stephanie Howells, Cheryl Lero Jonson, Mark R. Joslyn, Jessie Klein, Aaron Kupchik, Alison J. Marganski, Melissa M. Moon, Kristen J. Neville, Jaimee Nix, Daniel Okamura, Patrick F. Parnaby, Jillian Peterson, Michael Phillips, Paul Reeping, Jason R. Silva, William A. Stadler, Lindsay Steenberg, Tara Leigh Tober, Jillian J. Turanovic, Abigail Vegter, Stanislav Vysotsky, Lacey N. Wallace and the editors
for everything from movies like Smokey and the Bandit to comedy acts like Larry the
Cable Guy. Even a recent president, George W. Bush, shunned his patrician pedigree in favor
of cowboy “authenticity” to appeal to voters. Whether identified with hard work and patriotism
or with narrow-minded bigotry, the Redneck and its variants have become firmly
established in American narrative consciousness.
This provocative book traces the emergence of the faux-Redneck within the context of
literary and cultural studies. Examining the icon’s foundations in James Fenimore Cooper’s
Natty Bumppo—“an ideal white man, free of the boundaries of civilization”—and the degraded
rural poor of Erskine Caldwell’s Tobacco Road, Matthew Ferrence shows how Redneck
stereotypes were further extended in Deliverance, both the novel and the film, and in
a popular cycle of movies starring Burt Reynolds in the 1970s and ’80s, among other manifestations.
As a contemporary cultural figure, the author argues, the Redneck represents
no one in particular but offers a model of behavior and ideals for many. Most important,
it has become a tool—reductive, confining, and (sometimes, almost) liberating—by which
elite forces gather and maintain social and economic power. Those defying its boundaries,
as the Dixie Chicks did when they criticized President Bush and the Iraq invasion, have
done so at their own peril. Ferrence contends that a refocus of attention to the complex
realities depicted in the writings of such authors as Silas House, Fred Chappell, Janisse Ray,
and Trudier Harris can help dislodge persistent stereotypes and encourage more nuanced
understandings of regional identity.
In a cultural moment when so-called Reality Television has turned again toward popular
images of rural Americans (as in, for example, Duck Dynasty and Moonshiners), All-
American Redneck reveals the way in which such images have long been manipulated for
particular social goals, almost always as a means to solidify the position of the powerful at
the expense of the regional.
Alle Thyng Hath Tyme recreates medieval people’s experience of time as continuous, discontinuous, linear, and cyclical—from creation through judgment and into eternity. Medieval people measured time by natural phenomena such as sunrise and sunset, the motion of the stars, or the progress of the seasons, even as the late-medieval invention of the mechanical clock made time-reckoning more precise. Negotiating these mixed and competing systems, Gillian Adler and Paul Strohm show how medieval people gained a nuanced and expansive sense of time that rewards attention today.
Allegheny City, known today as Pittsburgh’s North Side, was the third-largest city in Pennsylvania when it was controversially annexed by the City of Pittsburgh in 1907. Founded in 1787 as a reserve land tract for Revolutionary War veterans in compensation for their service, it quickly evolved into a thriving urban center with its own character, industry, and accomplished residents. Among those to inhabit the area, which came to be known affectionately as “The Ward,” were Andrew Carnegie, Mary Cassatt, Gertrude Stein, Stephen Foster, and Martha Graham. Once a station along the underground railroad, home to the first wire suspension bridge, and host to the first World Series, the North Side is now the site of Heinz Field, PNC Park, the Andy Warhol Museum, the National Aviary, and world headquarters for corporations such as Alcoa and the H. J. Heinz Company.
Dan Rooney, longtime North Side resident, joins local historian Carol Peterson in creating this highly engaging history of the cultural, industrial, and architectural achievements of Allegheny City from its humble beginnings until the present day. The authors cover the history of the city from its origins as a simple colonial outpost and agricultural center to its rapid emergence alongside Pittsburgh as one of the most important industrial cities in the world and an engine of the American economy. They explore the life of its people in this journey as they experienced war and peace, economic boom and bust, great poverty and wealth—the challenges and opportunities that fused them into a strong and durable community, ready for whatever the future holds. Supplemented by historic and contemporary photos, the authors take the reader on a fascinating and often surprising street-level tour of this colorful, vibrant, and proud place.
One of the more intriguing developments within medieval Japanese literature is the incorporation into the teaching of waka poetry of the practices of initiation ceremonies and secret transmissions found in esoteric Buddhism. The main figure in this development was the obscure thirteenth-century poet Fujiwara Tameaki, grandson of the famous poet Fujiwara Teika and a priest in a tantric Buddhist sect. Tameaki's commentaries and teachings transformed secular texts such as the Tales of Ise and poetry anthologies such as the Kokin waka shu into complex allegories of Buddhist enlightenment. These commentaries were transmitted to his students during elaborate initiation ceremonies. In later periods, Tameaki's specific ideas fell out of vogue, but the habit of interpreting poetry allegorically continued.
This book examines the contents of these commentaries as well as the qualities of the texts they addressed that lent themselves to an allegorical interpretation; the political, economic, and religious developments of the Kamakura period that encouraged the development of this method of interpretation; and the possible motives of the participants in this school of interpretation. Through analyses of six esoteric commentaries, Susan Blakeley Klein presents examples of this interpretive method and discusses its influence on subsequent texts, both elite and popular.
In the early 1140s, the Bavarian princess Bertha von Sulzbach arrived in Constantinople to marry the Byzantine emperor Manuel Komnenos. Wanting to learn more about her new homeland, the future empress Eirene commissioned the grammarian Ioannes Tzetzes to compose a version of the Iliad as an introduction to Greek literature and culture. He drafted a lengthy dodecasyllable poem in twenty-four books, reflecting the divisions of the Iliad, that combined summaries of the events of the siege of Troy with allegorical interpretations. To make the Iliad relevant to his Christian audience, Tzetzes reinterpreted the pagan gods from various allegorical perspectives. As historical allegory (or euhemerism), the gods are simply ancient kings erroneously deified by the pagan poet; as astrological allegory, they become planets whose position and movement affect human life; as moral allegory Athena represents wisdom, Aphrodite desire.
As a didactic explanation of pagan ancient Greek culture to Orthodox Christians, the work is deeply rooted in the mid-twelfth-century circumstances of the cosmopolitan Comnenian court. As a critical reworking of the Iliad, it must also be seen as part of the millennia-long and increasingly global tradition of Homeric adaptation.
Examines the centrality of Cinema Novo to filmmaking in Brazil.
“A camera in the hand and ideas in the head” was the primary axiom of the young originators of Brazil’s Cinema Novo. This movement of the 1960s and early 1970s overcame technical constraints and produced films on minimal budgets. In Allegories of Underdevelopment, Ismail Xavier examines a number of these films, arguing that they served to represent a nation undergoing a political and social transformation into modernity.
Its best-known voice, filmmaker Glauber Rocha claimed that Cinema Novo was driven by an “aesthetics of hunger.” This scarcity of means demanded new cinematic approaches that eventually gave rise to a legitimate and unique Third World cinema. Xavier stands in the vanguard of scholars presenting and interpreting these revolutionary films—from the masterworks of Rocha to the groundbreaking experiments of Julio Bressane, Rogério Sganzerla, Andrea Tonacci and Arthur Omar—to an English-speaking audience. Focusing on each filmmaker’s use of narrative allegories for the “conservative modernization” Brazil and other nations underwent in the 1960s and 1970s, Xavier asks questions relating to the connection between film and history. He examines the way Cinema Novo transformed Brazil’s cultural memory and charts the controversial roles that Marginal Cinema and Tropicalism played in this process. Among the films he discusses are Black God, White Devil, Land in Anguish, Red Light Bandit, Macunaíma, Antônio das Mortes, The Angel Is Born, and Killed the Family and Went to the Movies.A compelling chronicle of the history of modern Brazilian cinema, Allegories of Underdevelopment brings to light the work of many filmmakers who are virtually unknown in the English-speaking world.
After a long period of neglect and even disdain, allegory and myth in the broadest sense are coming again into their own as central tools to the understanding of literary art. The essays in this volume, ranging in time from the Middle Ages to the present and in subject from poetry to philosophy, explore the multiple interpretations of allegory, as well as the important distinctions among allegory, myth, and symbol.
Besides assisting in the understanding of particular literary works and authors, this book makes a worthy contribution to comprehension of the major role allegory plays in literature and indeed in life.
Among the nineteen essays are “‘Awaking Dream’: The Symbolic Alternative to Allegory,” by Murray Krieger; “The Modern Revival of Myth,” by James Engell; “The Two Allegories,” by J. Hillis Miller; “The ‘Rhythm of Metaphor’: Yeats, Pound, Eliot and the Unity of Image in Postsymbolist Poetry,” by Ronald Bush; and “Sartor Resartus and the Inverse Sublime: The Art of Humorous Deconstruction,” by Peter Allan Dale.
The book also considers the place of Ginsberg’s poetry in the cultural and aesthetic contexts of his career, covering the rise of an “American Buddhism”; the antiwar, drug decriminalization, and gay civil rights movements; and the shift from modern to postmodern strategies in contemporary U.S. poetry.
Allen Tate - American Writers 39 was first published in 1964. 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.
Allen Tate and His Work was first published in 1972. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The thirty-five essays and memoirs about Allen Tate which are collected in this volume along with the introduction by Radcliffe Squires provide a perceptive, many-windowed view of Tate's work and his life. Poet, critic, novelist -- Tate is all of these, and the selections, reflecting these various aspects of his career, are arranged in sections entitled "The Man," "The Essayist," "The Novelist," and "The Poet." As Professor Squires points out, the last three divisions take cognizance of the astounding diversity of Tate's achievement. "But in a last analysis," he continues, "the divisions are an Aristotelian nicety, an arbitrary convenience. His work is really all of a piece. It has all derived from the same energy, the same insights. It has all had a single aim."
What is that aim? Squires compares it to a simple physics experiment in which students are taught the principles of pressure, and he goes on to explain: "The synergy of Allen Tate's poetry, fiction, and essays has had the aim of applying pressure—think of the embossed, bitterly stressed lines, his textured metaphors—until it brings up before our eyes a blanched parody of the human figure, which is our evil, the world's evil, so that we begin to long for God. That has seemed to him a worthwhile task to perform for modern man threatened by such fatal narcissism, such autotelic pride that he is in danger of disappearing into a glassy fantasy of his own concoction. We shall need his help for a long time to come."
The selections were first published in a variety of periodicals and books over the years. The volume includes a substantial bibliography.
Only a century ago, allergies as we know them didn’t exist. Ailments such as hay fever, asthma, and food intolerance were considered rare and non-fatal diseases that affected only the upper classes of Western society. Yet, as Jackson reveals here, what began in the early 1900s as a scorned subfield of immunology research in Europe and America exploded into great medical, cultural, and political significance by the end of that century. Allergy traces how the allergy became the archetypal “disease of civilization,” a fringe malady of the wealthy that became a disorder that bridged all socioeconomic boundaries and fueled anxieties over modernization. Jackson also examines the social impact of the allergy, as it required new therapeutic treatments and diagnostic procedures and brought in vast economic rewards.
Whether cats, crabgrass, or cheese is the source of your daily misery, Jackson’s engaging and in-depth historical narrative is an invaluable addition to the history of medicine as well as to the history of culture. In Allergy, sneezing readers can discover themselves at the center of deep cultural currents.
Of all his creations, the radiant poems in Alliance and Condemnation offer the best imaginable introduction to his extraordinary life and work.
Contributors to this volume examine the migration process under two explanatory frameworks: alliance and landscape. These frameworks are used to explore competing hypotheses, positing either a rapid colonization associated with an alliance organized for warfare at a regional scale, or a more protracted migration as this landscape became comparatively more attractive for migrating farmers in the late thirteenth century.
As the first major publication on the archaeology of Perry Mesa, this volume contributes to theoretical perspectives on migration and ethnogenesis, the study of warfare in the prehistoric Southwest, the study of intensive agricultural practices in a marginal environment, and the cultural history of a little studied and largely unknown portion of the ancient Southwest. It not only documents the migration but also the ensuing birth of a new ethnic identity that arose from the coalescence of diverse groups atop Perry Mesa.
Taking as a starting point the Italian crisis over immigration in the early 1990s, Merrill examines grassroots interethnic spatial politics among female migrants and Turin feminists in Northern Italy. Using rich ethnographic material, she traces the emergence of Alma Mater—an anti-racist organization formed to address problems encountered by migrant women. Through this analysis, Merrill reveals the dynamics of an alliance consisting of women from many countries of origin and religious and class backgrounds.
Highlighting an interdisciplinary approach to migration and the instability of group identities in contemporary Italy, An Alliance of Women presents migrants grappling with spatialized boundaries amid growing nativist and anti-immigrant sentiment in Western Europe.
Heather Merrill is assistant professor of geography and anthropology at Dickinson College.
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