All homes are not shelters. But then again, some are. Welcome to the home of Marie-Helene Bertino.
In one of his public disavowals of autobiography, Nathaniel Hawthorne informed his readers that external traits "hide the man, instead of displaying him," directing them instead to "look through the whole range of his fictitious characters, good and evil, in order to detect any of his essential traits." In this multidimensional biography of America's first great storyteller, Edwin Haviland Miller answers Hawthorne's challenge and reveals the inner landscapes of this modest, magnetic man who hid himself in his fiction. Thomas Woodson hails Miller's account as "the best biography of this most elusive of American authors."
Seasons of Plenty provides colorful descriptions, folk stories, appealing photgraphs and illustrations, excerpts from journals and ledgers, recipes for good food like savory dumpling soup, mashed potatoes with browned bread crumbs, Sauerbraten, and feather light apple fritters.
The sound of nineteenth-century women, once thought lost to us, is alive because ordinary women like Emily Hawley Gillespie gave voice to their thoughts in diaries. This condensed version of the 2,500-page journals of Emily Gillespie, faithfully written from 1858 to 1888, is a detailed account of rural Iowa life. More than this, it contains the reflections of a woman who dreamed of being a painter and writer and instead became a wife and a mother, a woman whose radical convictions were recorded in her diary, while publicly she conformed to the prescribed life of a Victorian pioneer woman. Through Emily's journals, readers are offered immediate and unmodified contact with settlers in Iowa one hundred years ago. A wealth of facts are included—what produce she harvested and preserved from her garden, how her husband tended his fields and what he raised, the challenges and rewards of family life.
Judy Lensink's skillful analysis shows the larger patterns in Emily Gillespie's life and provides keys that unlock the diary's secrets. Emily's life is revealed as a youth full of promise fading into middle and declining years of lost dreams and eventual tragedy, which caused her to write, "I have written many things in my journal, but the worst is a secret to be burried when I shall cease to be."
As scholars of epistolarity have recently argued, letters provide more than just a biographical narrative; they also should be understood as aesthetic performances themselves. The correspondence provides a sense of Stoddard as someone who understood letter writing as a distinct and important literary genre, making this collection particularly well suited for new conceptualizations of the epistolary genre.
There has never been an edition of the selected letters of Walt Whitman, a remarkable fact considering how accustomed we are to becoming acquainted with major writers through their letters. Now Edwin Haviland Miller, editor of the six-volume collected writings of Whitman, has used his intimate knowledge of the "good gray poet's" correspondence to produce this revealing selection of 250 letters, introduced and annotated concisely and evocatively. Whitman in these letters is simple, direct, colloquial, adding a counterpoint to his artistic voice and persona as a poet.
With a focus on the canonical institutions of Shakespeare and Chekhov, John Tulloch brings together for the first time new concepts of “the theatrical event” with live audience analysis. Using mainstream theatre productions from across the globe that were highly successful according to both critics and audiences, this book of case studies—ethnographies of production and reception—offers a combined cultural and media studies approach to analyzing theatre history, production, and audience.
Tulloch positions these concepts and methodologies within a broader current theatrical debate between postmodernity and risk modernity. He also describes the continuing history of Shakespeare and Chekhov as a series of stories “currently and locally told” in the context of a blurring of academic genres that frames the two writers. Drawn from research conducted over nearly a decade in Australia, Britain, and the U.S., Shakespeare and Chekhov in Production and Reception will be of interest to students and scholars of theatre studies, media studies, and audience research.
The professional Yiddish theatre started in 1876 in Eastern Europe; with the assassination of Tsar Alexander II in 1881, masses of Eastern European Jews began moving westward, and New York—Manhattan’s Bowery and Second Avenue—soon became the world’s center of Yiddish theatre. At first the Yiddish repertoire revolved around comedies, operettas, and melodramas, but by the early 1890s America's Yiddish actors were wild about Shakespeare. In Shakespeare on the American Yiddish Stage, Joel Berkowitz knowledgeably and intelligently constructs the history of this unique theatrical culture.
The Jewish King Lear of 1892 was a sensation. The year 1893 saw the beginning of a bevy of Yiddish versions of Hamlet; that year also saw the first Yiddish production of Othello. Romeo and Juliet inspired a wide variety of treatments. The Merchant of Venice was the first Shakespeare play published in Yiddish, and Jacob Adler received rave reviews as Shylock on Broadway in both 1903 and 1905. Berkowitz focuses on these five plays in his five chapters. His introduction provides an orientation to the Yiddish theatre district in New York as well as the larger picture of Shakespearean production and the American theatre scene, and his conclusion summarizes the significance of Shakespeare’s plays in Yiddish culture.There is a controlled, unpretentious constancy to Katherine Soniat's passionate, wise poetry that reminds one of the language of Elizabeth Bishop. Yet her voice is singular; there is an elegance of line, a centered quality that makes the poems more courtly than visceral. One tends to trust what is given in these beautifully rendered images and this gentle music.
The poems are particularly crafted, partly meditative, yet the poet handles larger themes easily and with grace, without the shrillness that sometimes seems common in our time. Her gift for metaphoric language is evident. She has an even-tempered, deeply intelligent mode which carries from poem to poem.
Sherlock Holmes remains more popular than ever some 130 years after the detective first appeared in print. These days, the iconic character’s staying power is due in large part to the success of the recent BBC series Sherlock, which brings the famous sleuth into the twenty-first century.
One of the most-watched television series in BBC history, Sherlock is set in contemporary London, where thirtysomething Sherlock and John (no longer fussy old Holmes and Watson), alongside New Scotland Yard, solve crimes with the help of smartphones, texting, online forums, and the internet. In their modernization of Sir Arthur Conan Doyle’s nineteenth-century world, Sherlock creators Stephen Moffatt and Mark Gatiss make London as much a character of their show as the actors themselves. The highly stylized series has inspired an impassioned fan community in Britain, the U.S., and beyond. Fans create and share their writings, which reimagine the characters in even more dramatic ways than the series can.
Interweaving fan fiction studies, world-building, and genre studies, Ann McClellan examines the hit series and the fan fiction it inspires. Using Sherlock to trace the changing face of fan fiction studies, McClellan’s book explores how far fans are willing to go to change the Sherlockian canon while still reinforcing its power and status as the source text. What makes Sherlock fanfic Sherlockian? How does it stay within the canon even while engaging in the wildest reimaginings? Sherlock’s World explores the boundaries between canon, genre, character, and reality through the lenses of fan fiction and world-building. This book promises to be a valuable resource for fan studies scholars, those who write fan fiction, and Sherlock fans alike.
A successful professional painter and art instructor for years, Benedict was dissatisfied that she could paint petal-perfect flowers and expensive portraits of wealthy clients, but could not capture the light on the garden at dusk or the tender hands and faces of her own children. Seven years ago she walked into a poetry workshop and found "the window I needed for my imagination." She never painted another painting, and has never stopped writing. She got her BA in English and her MFA in writing at Goddard College, taught workshops, won scholarships, and recieved grants and awards for her fiction. her stories have appeared in INTRO and fiction international, and the title story in this award-winning collection was published as an Atlantic Monthly First.
Theatre, in some respects, resembles a market. Stories, rituals, ideas, perceptive modes, conversations, rules, techniques, behavior patterns, actions, language, and objects constantly circulate back and forth between theatre and the other cultural institutions that make up everyday life in the twentieth century. These exchanges, which challenge the established concept of theatre in a way that demands to be understood, form the core of Erika Fischer-Lichte's dynamic book.
Each eclectic essay investigates the boundaries that separate theatre from other cultural domains. Every encounter between theatre and other art forms and institutions renegotiates and redefines these boundaries as part of an ongoing process. Drawing on a wealth of fascinating examples, both historical and contemporary, Fischer-Lichte reveals new perspectives in theatre research from quite a number of different approaches. Energetically and excitingly, she theorizes history, theorizes and historicizes performance analysis, and historicizes theory.
Roland Barthes's critical writings promoted postwar movements ranging from the New Novel to the Parisian version of structural analysis. As a theorist, he was inspired in large part by semiology, the general science of signs set forth in the work of Ferdinand de Saussure. This volume presents a challenging variety of essays that elaborate and comment on specific elements in the evolution of Barthes's study of signs, from the revolutionary semiology of his 1957 Mythologies to the semioclasm and semiotrophy of such post-1960s' books as S/Z, The Pleasure of the Text, and A Lover's Discourse.
The nine essays of Signs in Culture have been organized to express the striking interplay of language and writing as the ethics of form Barthes first described in his 1953 Writing Degree Zero. Each essay serves as a pivotal critical exercise beginning with or departing from Barthes's writing. Each essayist thus engages an expanded semiology which inscribes the life of signs within the institutions and practices that literary critics, philosophers, and historians alike have seen as constituting the elements of a cultural study and critique.
This collection of essays and poems about the influence of jazz on writing and culture in this country, an expanded edition of the 1986 publication, is a rewarding volume for all those entranced by jazz. Carruth brings his considerable poetic and literary sensibilities to bear on a topic very near to his heart: "Those who are devoted primarily to jazz, to poetry, to all the arts, are also those who contribute more intelligently than others to our practical and moral, political and social, advancement."
For a number of years, Leslie Ullman has lived in the Southwest, on cultivated land, in the company of horses and with access to uncultivated desert. The seasons and conditions of this starkly appealing land have found their way into the poet and her work. In her poems there always seems to be someone who is making herself over from scratch. Ullman creates origins for herself in nature, in solitude, in animals, and of course through those aspects of human relationships that teach important lessons.
Since winning the prestigious Yale Younger Poets Award in 1979, Ullman has manifested her love of language as both writer and teacher. As she remembers from her youthful summers in a Wisconsin lake lodge: “Sometimes the words I read were the tap of rain on the roof or the fire snapping in its great stone bed, but mostly they bloomed as the sound of the lake, a mantra against the weathered dock.” She writes that her book may be trying to validate the “history of women”—the title of one of the poems—just as “men's history has always validated hugely and by implication the way we use language and the way history has been taught.”Hers is not a defensive or an angry intention, however, but an exciting one. Slow Work through Sand attempts simply to make visible “the dance a woman's life is, not apart from other dances, but as a valid dance among dances.”
For many baseball fans, a major league game is a flickering image on a television screen or a story in a newspaper. Real baseball is played in their hometown, in a ballpark that seats 5,000 fans, not 50,000. The players wear uniforms like the ones seen on television, but their names are not household words—unless it happens to be summer and you are living in Bluefield, West Virginia, or Cedar Rapids, Iowa, or Batavia, New York.
In 1993, ex-New Yorker Hank Davis put a successful career in psychology and music journalism on hold and went off on a loving odyssey through twenty-eight host towns in search of minor league baseball. Writing with beguiling charm and a firm knowledge of the game, he traveled the back roads of small-town Canada and America and found more than he bargained for: a wondrous cast of characters on the field, in the stands, and on the way to the ballpark. Davis recorded them with his splendid, incisive prose and his remarkable photographs. Along the way he encountered not only the baseball stars of the future, like Derek Jeter, Terrell Wade, and Tim Crabtree, but also a host of fascinating unknowns and longshots. They, too, have stories to tell that will not appear on the stat sheets.
With infectious energy, Davis also looked beyond the players. There are coaches, men in their forties and beyond, making arduous bus trips with players half their age. There are assistant general managers happy to scrub toilets and paint dugouts just to be close to the game. Kids sell Cracker Jacks in Bluefield, and grown-ups operate the mechanical bull at Durham Athletic Park.
Davis finds the small-town setting a universe unto itself. Within it, minor league baseball is lost in a time warp. Unabashedly unsophisticated, it has all the quirky charm of a traveling carnival—full of hawkers and gawkers and the unaffected simplicity of a concert in the park on a hot July night. Davis' full account of his baseball journey is rich with detail inside and outside the ballpark.
From the rare and docile massasauga, which relies on camouflage to remain unnoticed, to the more familiar bullsnake, which defends itself by hissing loudly and vibrating its tail from an S-shaped striking position, to the eastern racer, often seen crawling at more than three miles an hour during daytime, snakes are beautiful animals with habits both fascinating and beneficial to humans. Their relatives the lizards, most of which are more easily seen and identified, exhibit similarly fascinating behavior. This colorful addition to our series of laminated guides informs both amateur and professional herpetologists about twenty-seven species of snakes and six species of lizards in the Upper Midwest states of Minnesota, Wisconsin, Illinois, Indiana, Michigan, Ohio, South Dakota, North Dakota, Kansas, Nebraska, Iowa, and Missouri.
Terry VanDeWalle provides a complete description of each species, both adult and young, as well as distinguishing characteristics for thirty-two subspecies of snakes and two subspecies of lizards: length, color, head and neck patterns, scales, and so on. Also included is information about habitat preferences: forests, wet meadows, and sand prairies, for example. Most helpful for identifying snakes and lizards in the field are his comparisons of similar species and his comprehensive key.
Superb photographs by Suzanne Collins of adult and, when needed for identification, young snakes and lizards make this guide the perfect companion for hikers in all kinds of environments whenever a snake ripples across your path or a lizard darts into the underbrush.
Gail Hosking Gilberg's father was a hero, a valiant soldier decorated posthumously with the Medal of Honor, a man who served his country throughout his entire adult life. But Charles Hosking was a mystery to his daughter. He was killed in Vietnam a week after her seventeenth birthday. She buried the war, the protests, the medal, and her military upbringing along with her father, so much so that she felt cut off from herself. It took more than twenty years for her to recognize the stirrings of a father and a daughter not yet at peace.
Gilberg began a journey—two journeys really—to find out who her father was and in the process to find herself. She explored her buried rage, shame, and silence, and examined how war had shaped her life. In studying the photo albums that her father had left behind, Gilberg found that the photographs demanded that she give voice to her feelings, then release her silent words, words that had no meaning in war for her father yet had all the meaning in the world for her. The result was an epiphany. The photographs became the roads she took in and out of war, and her words brought her father home. Snake's Daughter reveals the crossroads where a soldier father's life and a daughter's life connect.
Snake's Daughter is an arresting and anguished narrative that gives voice to an experience Gail Hosking Gilberg shares with thousands of Americans, including military “brats” whose parents served their country and often gave their lives in the process.
In Solidarity and Survival, three generations of Iowa workers tell of their unrelenting efforts to create a labor movement in the coal mines and on the rails, in packinghouses and farm equipment plants, on construction sites and in hospital wards. Drawing on nearly one thousand interviews collected over more than a decade by oral historians working for the Iowa Federation of Labor, AFL-CIO, Shelton Stromquist presents the resonant voices of the men and women who defined a new, prominent place for themselves in the lives of their communities and in the politics of their state.
At first glance these poems (which read like one long odyssey) seem sweet and peaceful—like taking a walk in the woods. But then, things turn darker: a storm blows in—and with it some Aliens, Ghost and Ghoul, the Hanging Man. Luckily, Carlyle has a few good friends such as Ruth, the Hag, the Boy, who are staunch and true and faithful. A whistling-in-the-dark suspense alternately stimulates and enervates the witness.
“Carlyle is spore, and mild. / He is swoon &sherbet.” Endearing and kind, if not actually cruel, he is also cold and strange. He shapeshifts, transforming into Magician and Jester, Surgeon and Scientist, Cloud; he studies fire and mirrors and bores holes in his own skull, looking for heaven. Throughout his many adventures, which range from the ludicrous to the life-threatening, he flies into the light and carries the reader with him on his perplexing and fanciful journey.
Musicals, it is often said, burst into song and dance when mere words can no longer convey the emotion. This book argues that musicals burst into song and dance when one body can no longer convey the emotion. Rogers shows how the musical’s episodes of burlesque and minstrelsy model the kinds of radical relationships that the genre works to create across the different bodies of its performers, spectators, and creators every time the musical bursts into song. These radical relationships—borne of the musical’s obsessions with “bad” performances of gender and race—are the root of the genre’s progressive play with identity, and thus the source of its subcultural power. However, this leads to an ethical dilemma: Are the musical’s progressive politics thus rooted in its embrace of regressive entertainments like burlesque and minstrelsy?
The Song Is You shows how musicals return again and again to this question, and grapple with a guilt that its joyous pleasures are based on exploiting the laboring bodies of its performers. Rogers argues that the discourse of “integration”—which claims that songs should advance the plot—has functioned to deny the radical work that the musical undertakes every time it transitions into song and dance. Looking at musicals from The Black Crook to Hamilton, Rogers confronts the gendered and racial dynamics that have always under-girded the genre, and asks how we move forward.
Rukmini Pande’s examination of race in fan studies is sure to make an immediate contribution to the growing field. Until now, virtually no sustained examination of race and racism in transnational fan cultures has taken place, a lack that is especially concerning given that current fan spaces have never been more vocal about debating issues of privilege and discrimination.
Pande’s study challenges dominant ideas of who fans are and how these complex transnational and cultural spaces function, expanding the scope of the field significantly. Along with interviewing thirty-nine fans from nine different countries about their fan practices, she also positions media fandom as a postcolonial cyberspace, enabling scholars to take a more inclusive view of fan identity. With analysis that spans from historical to contemporary, Pande builds a case for the ways in which non-white fans have always been present in such spaces, though consistently ignored.
Contributors:
Kim Addonizio
Dorothy Barresi
Charles Bukowski
Maxine Chernoff
Lucille Clifton
Billy Collins
Philip Dacey
Stephen Dunn
Deborah Harding
Edward Hirsch
Tony Hoagland
Allison Joseph
Jesse Lee Kercheval
Lisa Lewis
Bill Mohr
Ed Ochester
Lawrence Raab
Maureen Seaton
James Tate
Rafael Zepeda
plus many more
Witty, sexy, gritty, outrageous, emotional, hilarious, honest, courageous. What do these words describe? A growing movement in American literary circles: Stand Up Poetry.
Over twenty years ago, Charles Harper Webb discovered a vibrant and invigorating poetry scene in southern California. Featuring some of America's best contemporary poets, this scene, according to Webb, “showed insight, imagination, craft, philosophical depth, but most of all, it was funny, and it was fun.” Stand Up Poetry: The Poetry of Los Angeles and Beyond (1990) was the result of Webb's enthusiasm for this poetic genre.
A decade later, the popularity of performance poetry, poetry slams, and poetry readings is on the rise, and Webb has expanded his anthology to include a greater sampling of poets from across the country. From Charles Bukowski to Billy Collins and Allison Joseph, the poets included in this collection are popular and emerging, classical and experimental, young and old; yet all exhibit the characteristics so important to Stand Up Poetry—humor, performability, accessibility, individuality. Most important, these poems are enjoyable when read silently or aloud, on the page or on the stage.
Stand Up Poetry: An Expanded Anthology is at its core a celebration of poetry offering readers a wonderful lesson in the power of words to entertain and inspire.
Among nineteenth-century women’s rights reformers, Elizabeth Cady Stanton (1815–1902) stands out for the maternal and secular advocacy that shaped her activism and public reception. A wife and mother of seven, she was also a prolific writer, transatlantic women’s rights leader, popular lecturer, congressional candidate, canny historian, and freethought champion. Her lifelong interest in women’s sexual and reproductive rights and late efforts to reform institutional religion are as relevant to our time as they were to her own.
Stanton’s professional life lasted a half-century, ranging from antebellum women’s rights organization and oratory, to a post–Civil War career as a lyceum lecturer, to a late-century role as an incisive religious and cultural critic. Acutely aware of the medical, religious, legal, and educational barriers to women’s independence, she advocated for married women’s right to vote, obtain a divorce, gain custody of their children, and own property. As she grew more radical over the years, she also demanded judicial reform, the separation of church and state, free love, progressive coeducational opportunities, and women’s right to limit their fertility.
In this richly contextualized collection of primary sources, Noelle A. Baker brings together accounts of Stanton’s life and ideas from both well-known and recently recovered figures. From the teacher chiding an assertive young woman to erstwhile allies worrying about her growing radicalism, their voices paint a vivid portrait of a woman of vaunting ambition, powerhouse intellect, and her share of human failings.
During Hollywood’s “classic era,” from the 1920s to 1950s, roughly twenty major fan magazines were offered each month at American newsstands and abroad. These publications famously fed fan obsessions with celebrities such as Mae West and Elvis Presley. Film studies scholars often regard these magazines with suspicion; perhaps due to their reputation for purveying scandal and gossip, their frequent mingling of gushing tone, and blatant falsehood.
Looking at these magazines with fresh regarding eyes and treating them as primary sources, the contributors of this collection provide unique insights into contemporary assumptions about the relationship between fan and star, performer and viewer. In doing so, they reveal the magazines to be a huge and largely untapped resource on a wealth of subjects, including gender roles, appearance and behavior, and national identity.
Contributors: Emily Chow-Kambitsch, Alissa Clarke, Jonathan Driskell, Lucy Fischer, Ann-Marie Fleming, Oana-Maria Mazilu, Adrienne L. McLean, Sarah Polley, Geneviève Sellier, Michael Williams
First published in the spring of 1932, Phil Strong's whimsical and wise State Fair was an immediate success. Hollywood released a film that fall starring Will Rogers as Abel Frake and a champion hog from an Iowa farm as the famous Blue Boy, “the finest Hampshire stud boar in the world.” In 1945 Rodgers and Hammerstein's musical motion picture launched such memorable songs as “It Might as Well Be Spring.” In 1962 a movie musical with Pat Boone and Ann-Margret was set at the Texas State Fair. And in 1995 a highly entertaining adaptation of the 1945 musical premiered at the Iowa State Fair before moving on to Broadway. This paperback edition of State Fair, with a new foreword by Robert McCown, reprints the original novel in all it exuberance and freshness. On the surface State Fair simply recounts the adventures of the close-knit Frake family at the Iowa State Fair in the late 1920s, but Strong's universal morality tale has much to reveal to anyone willing to read between the lines. The book shocked some readers in 1932, but most were captivated by the Frakes' good-natured integrity and applauded their spirit. Readers today will find the same joy, liveliness, and insight in this new edition ofState Fair.
In 1990 an international group of biologists, meeting to discuss rumors of declines in the number of amphibians, discovered that amphibian disappearances once thought to be a local problem were not—the problem was global. And, even more disturbing, amphibians were disappearing not just from areas settled by humans but from regions of the world once believed to be pristine. Under the mantle of the Declining Amphibian Populations Task Force, this timely book addresses three fundamental questions for the midwestern United States: are amphibians declining; if so, why; and, if so, what can be done to halt these losses?
In the Midwest—defined here as Missouri, Iowa, Illinois, Indiana, Ohio, Minnesota, Wisconsin, and Michigan—there can be no doubt that the number of salamanders and frogs has declined with Euro-American settlement and the conversion to an agriculturally dominated landscape. Habitat loss and landscape fragmentation have been major factors in this decline, as have aquacultural uses of natural wetlands. Bullfrog introductions have eliminated populations of native amphibians, and collecting for the biological supply trade has reduced the number of individuals within many populations. The goal of the forty-two essays in this well-documented, well-illustrated book is to put between two covers all we know now about the status of midwestern amphibians. By doing this, the editor has created a readily accessible historical record for future studies.
Organized into sections covering landscape patterns and biogeography, species status, regional and state status, diseases and toxins, conservation, and monitoring and applications, this landmark volume will serve as the foundation for amphibian conservation in the Midwest.
Countless tissue samples are collected each day from patients in doctors' offices, clinics, and hospitals. Thousands of other samples are provided every day for biomedical research. In addition, numerous men and women in prison and in the military provide samples for purposes they hope will never be realized: conviction for crimes or identification of their bodies at death. In each case the blood, cheek cells, sperm and ova, or other type of tissue collected may be banked in biomedical labs for multiple purposes. The essays in this timely, thought-provoking book investigate the ethical, legal, and policy implications of these practices.
Whatever the topic, Madson’s love of nature shines through, be it coon hunting or an explanation of the incredible bird machine. His obvious affection is tempered with the recognition that not everything “natural” is a pretty sight. All of which leaves readers with a better understanding of life under the sky.
One of the first celebrity authors, Harriet Beecher Stowe (1811–1896) became famous almost overnight when Uncle Tom’s Cabin—which sold more than 300,000 copies in its first year of publication—appeared in 1852. Known by virtually all famous writers in the United States and many in England and regarded by many women writers as a role model because of her influence in the literary marketplace, Stowe herself was the subject of many books, articles, essays, and poems during her lifetime.
This volume brings together for the first time a range of primary materials about Stowe’s private and public life written by family members, friends, and fellow writers who knew or were influenced by her before and after Uncle Tom’s Cabin catapulted her to fame. Included are periodical articles by Fanny Fern and Charles Dudley Warner; biographical essays by Sarah Josepha Hale and Rose Terry Cooke; letters by Oliver Wendell Holmes, Elizabeth Barrett Browning, and Harriet Jacobs; recollections by Frederick Douglass, Annie Adams Fields, Isabella Beecher Hooker, and Charles Beecher; and poems by Paul Laurence Dunbar and John Greenleaf Whittier. An introduction at the beginning of each essay connects it to its historical and cultural context, explanatory notes provide information about people and places, and the book includes a detailed introduction and a chronology of Stowe’s life.
The thirty-eight recollections gathered in Stowe in Her Own Time form a biographical narrative designed to provide several perspectives on the famous author, sometimes in conflict and sometimes in agreement but always perceptive. The figure who emerges from this insightful, analytical collection is far more complex than the image she helped construct in her lifetime.Recognized between 1880 and 1910 by its trademark label "Iowa's Pride," John Morrell and Company is best known for contributing one of the most important local unions to the progressive United Packinghouse Workers of America. During the 1930s and 1940s, its members pursued a militant brand of unionism. By the early 1950s, the local's militancy became a source of contention among the membership. By explaining the effect of Morrell-Ottumwa's union leaders on local and state Democratic politics, especially in the development of the Congress of Industrial Organizations' Iowa State Industrial Union Council and the AFL-CIO's Iowa Federation of Labor, Wilson Warren makes an important contribution to the literature on labor's involvement in the Democratic party's ascendancy across much of the industrial North following World War II.
This history of Ottumwa's meatpacking workers provides insights into the development of several forms of labor relations, including the evangelical Christian paternalism, welfare capitalism, and unionism that were distinctive to one blue-collar community but that also reflected workers' experiences in many other rural midwestern industrial communities. By carefully analyzing all relevant labor and industrial sources and by revealing the deeply held aspirations and concerns expressed by both workers and managers, Warren constructs a window through which Iowa's industrial and labor history over the past 120 years can be viewed.
Covering a variety of subjects—from the plague and the first danse macabre to the development of perspective and recipes for pigments—the poems in Cole Swensen's new collection are set in fifteenth-century France and explore the end of the medieval world and its gradual transition into the Renaissance. The collection is loosely based on the calendar illuminations from the Très Riches Heures, the well-known book of hours, and uses them to explore the ways that the arts—visual and verbal—interact with history, at times prefiguring it, at times shaping it, and at times offering wry commentary or commiseration.
In his convincing and highly accomplished fifth book, Ralph Burns draws on his deep practice and experience. His tones, forms, and subjects are various and striking, and the work of a poet mature and courageous enough to range through the full spectrum of his emotions.
Sometimes Burns is haunted by the strength and fallibility of the Christian tradition, and in many of his poems he explores the conflicts between individuals and the larger world—the mystery and responsibility of choice, consequence and inconsequence, “the terror of being taken.”
Intercultural couples struggle, often quite successfully, with the kind of questions anyone who wants to live responsibly in a multicultural world must raise. They live, as we must all learn to do, in a place where multiple cultures find expression. This engaging anthology of literary nonfiction celebrates the creative potential of choosing diversity and explores in many voices the real-life social, cultural, and spiritual consequences of this choice. These are the honest voices of women who have made commitments across national and cultural lines, who have moved toward the revitalizing and educating potential of such partnerships.
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