Suffused with lyrical grace and the language of loss, Sean Nevin's Oblivio Gate explores the mental and emotional struggles of Solomon, a veteran battling the onslaught of Alzheimer's disease. Set against Solomon's memories of the Korean War, Nevin's poems draw us into an intimate view of a man's confusion as everything he knows slowly unravels around him, leaving him abandoned in the suddenly unfamiliar landscape of his own mind. Readers experience first- hand Solomon's dismay as he watches himself inexorably slip away from reality, fighting to hold on to the shreds of his identity. Intertwined with his perspective are the voices of loved ones and caregivers who can only watch helplessly as Solomon is ravaged by the illness. Also central to the collection are the figures of Aurora and Tithonus, the famously doomed couple of mythology whose own happiness was destroyed by the inevitability of age and the betrayal of the body. But if this evocative portrait of Alzheimer's disease is tragic, it is also at moments inspiring.

Oblivio Gate reveals not only what is lost, but also what is found, what is pure, and even what is funny in our fleeting lives. Ultimately, Sean Nevin crafts an unforgettable collection of contemporary poetry that yields heartbreaking insight into memory, the mind, and an affliction that has left millions lost and looking for themselves.

In 1947, the House Un-American Activities Committee rudely interrupted the successful career and life of Edward Dmytryk, citing him with contempt of Congress. As a result, Dmytryk was fired by RKO and spent three years in England before returning to the United States to serve a six-month jail sentence and undergo a second round of hearings, during which he recanted and provided evidence against several of his former colleagues.

In this personal and perceptive book, Dmytryk sharply chronicles the history of a particularly turbulent era in American political life while examining his own life before and after the events universally called the witch hunts. He details his brief membership in the Communist Party of America, explaining his initial commitment to what he perceived as communist ideals of civil liberties, economic justice, and antifacism, followed by his eventual disillusionment with the party as itbetrayed those ideals. He goes on to provide a fair assessment of what then happened to him and the effect it had on the rest of his life.

Dmytryk describes the activities, prejudices, and personal behaviors of all the parties enmeshed in the congressional hearings on communism in Hollywood. His reactions to other members of the Hollywood Ten and his recollection of conversations with them lend his book an immediacy that is not only informative but also absorbing. Most importantly, he does not uphold an ideology but rather presents the events as he perceived them, understood them, and responded to them. Dmytryk’s account is characterized by an openness born of a mature awareness of personal trial as history.

Documenting a rich Scandinavian American culture and ethnic perspective

This notable collection of seventeen essays and six editorials by renowned Swedish American historian H. Arnold Barton was compiled from writings published between 1974 and 2005. The result of three decades of extensive research in the United States and Sweden, The Old Country and the New: Essays on Swedes and America, covers Swedish emigration to North America as well as the history and culture of Swedes in their new country.

In this rich mosaic of American ethnicity and cultural history, Barton analyzes the multifaceted Swedish emigration/immigration story. Essays include a survey of the historiography of emigration from the Scandinavian countries and the Scandinavian immigration to North America, Swedish emigration before 1846, and the Eric-Janssonist religious sect and its colony at Bishop Hill, Illinois.

Because Swedish immigrants were highly literate people, they wrote numerous letters describing their experiences to relatives and friends at home. What these letters related—or omitted—is the subject of another essay. Barton discusses Swedish immigrants who returned permanently to their homeland, affecting both the old country and the new. He also traces relations between the United States and Sweden, post—World War II Swedish immigration, and genealogy as history.

Offering a broad Scandinavian American ethnic perspective, The Old Country and the New appeals to both scholars and lay readers. Sixteen illustrations and a complete bibliography of Barton’s publications on Swedish American history and culture enhance the volume.

An Old Creed for the New South:Proslavery Ideology and Historiography, 1865–1918 details the slavery debate from the Civil War through World War I. Award-winning historian John David Smith argues that African American slavery remained a salient metaphor for how Americans interpreted contemporary race relations decades after the Civil War.

Smith draws extensively on postwar articles, books, diaries, manuscripts, newspapers, and speeches to counter the belief that debates over slavery ended with emancipation. After the Civil War, Americans in both the North and the South continued to debate slavery’s merits as a labor, legal, and educational system and as a mode of racial control. The study details how white Southerners continued to tout slavery as beneficial for both races long after Confederate defeat. During Reconstruction and after Redemption, Southerners continued to refine proslavery ideas while subjecting blacks to new legal, extralegal, and social controls.

An Old Creed for the New South links pre– and post–Civil War racial thought, showing historical continuity, and treats the Black Codes and the Jim Crow laws in new ways, connecting these important racial and legal themes to intellectual and social history. Although many blacks and some whites denounced slavery as the source of the contemporary “Negro problem,” most whites, including late nineteenth-century historians, championed a “new” proslavery argument. The study also traces how historian Ulrich B. Phillips and Progressive Era scholars looked at slavery as a golden age of American race relations and shows how a broad range of African Americans, including Booker T. Washington and W. E. B. Du Bois, responded to the proslavery argument. Such ideas, Smith posits, provided a powerful racial creed for the New South.

This examination of black slavery in the American public mind—which includes the arguments of former slaves, slaveholders, Freedmen's Bureau agents, novelists, and essayists—demonstrates that proslavery ideology dominated racial thought among white southerners, and most white northerners, in the five decades following the Civil War.

At a critical, transitional moment in the history of Broadway—and, by extension, of American theatre itself—former Broadway stage manager Steven Adlerenlists insider perspectives from sixty-six practitioners and artists to chronicle the recent past and glimpse the near future of the Great White Way. From marquee names to behind-the-scenes power brokers, Adler has assembled a distinctly knowledgeable cast of theatre’s elite, including Stephen Sondheim, Arthur Laurents, Des McAnuff, Frank Rich, Robin Wagner, Rocco Landesman, Robert Longbottom, Todd Haimes, Bernard Gersten, and Alan Eisenberg.

On Broadway: Art and Commerce on the Great White Way spotlights the differing vantage points of performers, artists, writers, managers, producers, critics, lawyers, theatre owners, union leaders, city planners, and other influential players. Each details his or her firsthand account of the creative and economic forces that have wrought extraordinary changes in the way Broadway theatre is conceived, produced, marketed, and executed. Once the paramount site of American theatre, Broadway today is becoming a tourist-driven, family-friendly, middle-class entertainment oasis in Midtown, an enterprise inextricably bound to the larger mosaic of national and international professional theatre.

Accounting for this transformation and presaging Broadway’s identity for the twenty-first century, Adler and his interviewees assess the impact of the advent of corporate producers, the ascendance of not-for-profit theatres on Broadway, and the growing interdependence between regional and Broadway productions. Also critiqued are the important roles of the radical urban redevelopment staged in Times Square and the changing demographics and appetites of contemporary theatre audiences in New York and around the globe.

Actors and administrators, performers and producers, theatre students and theatregoers will all benefit from the perceptive insights in this authoritative account of theatre making for the new millennium.

Walter T. Schmid offers the first original interpretation of the Laches since Hermann Bonitz in the nineteenth century in the only full-length commentary on the Laches available in English.

Schmid divides the book into five main discussions: the historical background of the dialogue; the relation of form and content in a Platonic dialogue and specific structural and aesthetic features of the Laches; the first half of the dialogue, which introduces the characters and considers the theme of the education of young men; the inquiry with Laches, which examines the traditional Greek conception of military courage; and the inquiry with Nicias in which two nontraditional conceptions of courage are mooted, one closely associated with the sophistic movement in Athens, the other with Socrates himself. Furnishing a detailed paragraph-by-paragraph reading that traces Socrates’ ongoing quest for virtue and wisdom—a wisdom founded in the action of a whole human life—Schmid conclusively shows how and why the Laches fills an important niche in Plato’s moral theory.

Lady Murasaki wrote in The Tale of Genji that thirty-seven is “a dangerous year” for women. Evoking the styles of Murasaki and other women writers of the Heian-period Japanese court, Lee Ann Roripaugh presents a collection of confessional poems charting the course of that perilous year. Roripaugh, in both an homage to and a dialogue with women writers of the past, explores the trials of women facing the treacherous waters of time while losing none of the grace and decadence of femininity. Often calling upon the passing of the seasons and revelations of nature, these lyrically elegant poems chronicle the dangers and delights of a range of issues facing contemporary women—from bisexuality and biracial culture and identity, to restless nights and lingering memories of the past. The pleasures of the senses collide with parallels of time and the natural world; tangible solitude lies down beside wistful memories of relationships gone by. What is ultimately revealed is both heartbreaking and illuminating. At once provocative, humorous, and bittersweet, On the Cusp of a Dangerous Year is a pillow book for the twenty-first century, providing a candid and whimsical look into the often tumultuous universe of the modern woman.

Through compelling personal accounts and family correspondence, One Step Ahead documents Alfred Feldman’s harrowing flight into exile as he and his family fled the pogroms that flooded across Nazi-occupied Europe. It is a memoir of horror and hope recounted by a man who survived the organized terror of Hitler’s "Final Solution" as it destroyed entire generations of European Jewish life within ten catastrophic years in the mid-twentieth century. Feldman’s memoir conveys the searing pain that has never left him, while demonstrating the triumphant humanity of a survivor.

Feldman vividly describes the impact of the escalating anti-Semitic hatred and violence in Germany during the 1930s, the impact of the notorious Nuremberg Laws in 1935, and the terrifying Kristallnacht pogrom in 1938. By age sixteen, Feldman was living with his parents and three younger sisters in Antwerp, Belgium, during the 1939 German invasions of Poland, marking the start of World War II. In the face of increasing persecution, Feldman’s extended family scattered over the globe in a desperate attempt to remain one step ahead of their Nazi pursuers.

Recalling his life on the run, Feldman describes what few survivors have chosen to write about: the Vichy raids of August 26, 1942; the French labor brigades; the Comité Dubouchage; and life in super-vised residence in France under the Italians. While in the south of France, Feldman endured food shortages and Nazi anti-Semitic measures, beginning with work camps and culminating in the deportation and ultimate death of his mother and sisters at Auschwitz.

To evade the Germans, Feldman and his father fled into the Italian Alps in September of 1943, hiding between the Allies and the Germans. Aided by local villagers, the Feldmans survived precariously for over a year and a half, along with other Jewish refugees, until that region was liberated. Only then, and only gradually, did Feldman manage to piece together the fate of his surviving family and learn at last of the death of his mother and sisters.

Now, as an adult, Alfred Feldman has retraced his escape and exile, taking his wife and children to his hometown in Germany, the mountains in Italy, and Montagnac, where a plaque commemorates his mother and sisters.

Musically sound and fully annotated, this new reference work provides ready access to over 700 excerpts from 100 operas, by voice categories, and thus provides information on a wide variety of matters of interest to directors, teach­ers, and singers. A table of voice cate­gories, coded excerpts (including length and reference to accessible scores), char­acter descriptions (including estimations of degrees of difficulty of the music), summaries of the action of each excerpt, and indexes to titles, composers, and well-known arias and ensembles make this book an indispensable tool.

John C. Nicolay, who had known Lincoln in Springfield, Illinois, served as chief White House secretary from 1861 to 1865. Trained as a journalist, Nicolay had hoped to write a campaign biography of Lincoln in 1860, a desire that was thwarted when an obscure young writer named William Dean Howells got the job. Years later, however, Nicolay fulfilled his ambition; with John Hay, he spent the years from 1872 to 1890 writing a monumental ten-volume biography of Lincoln.

In preparation for this task, Nicolay interviewed men who had known Lincoln both during his years in Springfield and later when he became the president of the United States. "When it came time to write their massive biography, however," Burlingame notes, "he and Hay made sparing use of the interviews" because they had become "skeptical about human memory." Nicolay and Hay also feared that Robert Todd Lincoln might censor material that reflected "poorly on Lincoln or his wife."

Briefer and more narrowly focused than the Springfield interviews, the Washington interviews deal with the formation of Lincoln’s cabinet, his relations with Congress, his behavior during the war, his humor, and his grief. In a reminiscence by Robert Todd Lincoln, for example, we learn of Lincoln’s despair at General Lee's escape after the Battle of Gettysburg: "I went into my father’s office ... and found him in [much] distress, his head leaning upon the desk in front of him, and when he raised his head there were evidences of tears upon his face. Upon my asking the cause of his distress he told me that he had just received the information that Gen. Lee had succeeded in escaping across the Potomac river. . ."

To supplement these interviews, Burlingame has included Nicolay’s unpublished essays on Lincoln during the 1860 campaign and on Lincoln’s journey from Springfield to Washington in 1861, essay’s based on firsthand testimony.

Our Land Is Made of Courage and Glory: Nationalist Performance of Nicaragua and Guatemala adds to a growing and timely body of work on nationalist drama. Examining important twentieth-century plays that few people have written about in English, E. J. Westlake analyzes the phenomenon of nation as performance by focusing on the definition of a people, national metaphors, and the uses of national history.

Westlake discerns the common characteristics that constitute nationalist plays, a genre that seeks to legitimate the nature of a nation by defining its boundaries, race, language, citizens, and history. Particularly relevant in an era influenced by imperialism, migration, and globalization, the volume probes the concepts of nation and nationalism in the context of postcolonial literary and performance theory.

Our Land Is Made of Courage and Glory covers the political and theatrical history of Nicaragua and Guatemala. Westlake examines how the blending of races factors into nationalism with a look at the play El tren amarillo by Manuel Galich and uses Nobel laureate Miguel Ángel Asturias’s Soluna to show how nationalists appropriate Mayan culture to create a sense of the Guatemalan people and culture. She discusses the mapping of history as a linear progression in Alan Bolt’s Banana republic and as a cycle of patricide in Por los caminos van los campesinos by Pablo Cuadra. Westlake also suggests that Rolando Steiner’s La noche de Wiwilí, a play taken from an eyewitness account, acts as a site of official national memory, and she examines as well the canonizing of the folk ballet El Güegüence to further explore the notion of sites of memory versus lived memory.

Raising essential questions about the future of nationalism and nationalist performance, Our Land Is Made of Courage and Glory will be of interest to scholars and students in drama, Latin American theatre studies, political science, and history.

In the only book to date to explore the period between the 1859 publication of Darwin’s Origin of Species and the discovery in 1900 of Gregor Mendel’s experiments in genetics, John S. Haller, Jr., shows the relationship between scientific "conviction" and public policy. He focuses on the numerous liberally educated American scientists who were caught up in the triumph of evolutionary ideas and who sought to apply those ideas to comparative morality, health, and the physiognomy of nonwhite races.

During this period, the natural and social scientists of the day not only accepted without question the genetic and cultural superiority of the Caucasian; they also asserted that the Caucasian race held a monopoly on evolutionary progress, arguing that "inferior races" were no more than evolutionary survivors doomed by their genetic legacy to remain outcasts from evolution.

Hereditarians and evolutionists believed that "less fit" human races were perishing from the rigors of civilization’s struggle and competition. Indeed, racial inferiority lay at the very foundation of the evolutionary framework and, remaining there, rose to the pinnacle of "truth" with the myth of scientific certainty.

Exceptionally rare and valued by book collectors, Otto A. Rothert’s riveting saga of the outlaws and scoundrels of Cave-in-Rock chronicles the adventures of an audacious cast of river pirates and highwaymen who operated in and around the famous Ohio River cavern from 1795 through 1820 (adventures featured in Disney’s Davy Crockett and the film How the West Was Won). Once sporting the enticing sign "Liquor Vault and House for Entertainment," this beautiful cavern location decoyed the unsuspecting by offering a venue for food, drink, and rest.

Compellingly lively, The Outlaws of Cave-in-Rock is nonetheless the work of a scholar, a historian who documents his findings and leaves a detailed bibliographical trail. Presenting many eyewitness accounts, Rothert supplies the lore and legend of the colorful villains of Cave-in-Rock. Always maintaining the difference between stories he tells with historical authority and those that are pure speculation, Rothert provides both a fascinating narrative and a valuable regional history.