Over the course of a decade, John P. Bowles and Piper conversed about her art and its meaning, reception, and relation to her scholarship on Kant’s philosophy. Drawing on those conversations, Bowles locates Piper’s work at the nexus of Conceptual and feminist art of the late 1960s and 1970s. Piper was the only African American woman associated with the Conceptual artists of the 1960s and one of only a few African Americans to participate in exhibitions of the nascent feminist art movement in the early 1970s. Bowles contends that Piper’s work is ultimately about our responsibility for the world in which we live.
A Nightmare on Elm Street. Halloween. Night of the Living Dead. These films have been indelibly stamped on moviegoers’ psyches and are now considered seminal works of horror. Guiding readers along the twisted paths between audience, auteur, and cultural history, author Kendall R. Phillips reveals the macabre visions of these films’ directors in Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film.
Phillips begins by analyzing the works of George Romero, focusing on how the body is used cinematically to reflect the duality between society and chaos, concluding that the unconstrained bodies of the Living Dead films act as a critical intervention into social norms. Phillips then explores the shadowy worlds of director Wes Craven. In his study of the films The Serpent and the Rainbow, Deadly Friend, Swamp Thing, Red Eye, and Shocker, Phillips reveals Craven’s vision of technology as inherently dangerous in its ability to cross the gossamer thresholds of the gothic. Finally, the volume traverses the desolate frontiers of iconic director John Carpenter. Through an exploration of such works as Halloween, The Fog, and In the Mouth of Madness, Phillips delves into the director’s representations of boundaries—and the haunting consequences for those who cross them.
The first volume ever to address these three artists together, Dark Directions is a spine-tingling and thought-provoking study of the horror genre. In analyzing the individual works of Romero, Craven, and Carpenter, Phillips illuminates some of the darkest minds in horror cinema.
The cultural Cold War in Latin America was waged as a war of values--artistic freedom versus communitarianism, Western values versus national cultures, the autonomy of art versus a commitment to liberation struggles--and at a time when the prestige of literature had never been higher. The projects of the historic avant-garde were revitalized by an anti-capitalist ethos and envisaged as the opposite of the republican state. The Decline and Fall of the Lettered City charts the conflicting universals of this period, the clash between avant-garde and political vanguard. This was also a twilight of literature at the threshold of the great cultural revolution of the seventies and eighties, a revolution to which the Cold War indirectly contributed. In the eighties, civil war and military rule, together with the rapid development of mass culture and communication empires, changed the political and cultural map.
A long-awaited work by an eminent Latin Americanist widely read throughout the world, this book will prove indispensable to anyone hoping to understand Latin American literature and society. Jean Franco guides the reader across minefields of cultural debate and histories of highly polarized struggle. Focusing on literary texts by García Marquez, Vargas Llosa, Roa Bastos, and Juan Carlos Onetti, conducting us through this contested history with the authority of an eyewitness, Franco gives us an engaging overview as involving as it is moving.
After graduating, he signed with the Kansas City Chiefs and head coach Hank Stram. There he learned what it meant to be "owned." He rediscovered the game as it was played by grown men with families who were still treated like children and who dreaded nothing more than the end of their football careers. And without their fully realizing the consequences, every hard tackle inflicted its injury, some gradually growing into chronic conditions, some suddenly cutting a player's career short and ushering him off the field to be soon forgotten.
In this thoughtful narrative, Oriard describes the dreams of glory, the game day anxieties, the brutal training camps and harsh practices, his starry-eyed experience at Notre Dame, and the cold-blooded business of professional football. Told from the inside, the book leaves aside the hype and the pathos of the game to present a direct and honest account of the personal rewards but also the costs players paid to make others rich and entertained.
Originally published in 1982, The End of Autumn recounts the experiences of an ordinary player in a bygone era--before ESPN, before the Bowl Championship Series, before free agency and million-dollar salaries for NFL players. In a new afterword, Oriard reflects on the process of writing the book and how the game has changed in the thirty years since his "retirement" from football at the age of twenty-six.
"In this book, I relate the pleasures, as well as the virtues and difficulties of a perhaps simpler than average North American life." So begins ecological thinker and writer Stephanie Mills's Epicurean Simplicity, a thoughtful paean to living, like Thoreau, a deliberate life.
Mills's account of the simple life reaches deep into classical sources of pleasure -- good food, good health, good friends, and particularly the endless delights of the natural world. Her musings about the life she desires -- and the life she has created -- ultimately led her to the third century Greek philosopher Epicurus, whose philosophy was premised on the trustworthiness of the senses, a philosophy that Mills wholeheartedly embraces. While later centuries have come to associate Epicurus's name with hedonism, Mills discovered that he extolled simplicity and prudence as the surest means to pleasure, and his thinking offers an important philosophical touchstone for the book.
As the author explains, one of the primary motivations for her pursuit of simplicity is her concern about the impacts of a consumerist lifestyle on the natural world. Mills touches on broad range of topics relating to that issue -- social justice, biological extinctions, the global economy, and also more personal aspects such as friendship, the process of country living, the joys of physical exertion, the challenges of a writer's life, and the natural history and seasonal delights of a life lived close to nature. An overarching theme is the destructiveness of consumerism, and how even a simple life affects a wide range of organisms and adds strain to the earth's systems. The author uses her own experience as an entry point to the discussion with a self-effacing humor and lyrical prose that bring big topics to a personal level.
Epicurean Simplicity is beautifully crafted, fluid, inspiring, and enlightening, examining topics of critical importance that affect us all. It celebrates the pleasures, beauty, and fulfillment of a simple life, a goal being sought by Americans from all walks of life, from harried single parents to corporate CEOs. For fans of natural history or personal narrative, for those concerned about social justice and the environment, and for those who have come to know and love Stephanie Mills through her speaking and writing, Epicurean Simplicity is a rare treasure.
In this passionate and challenging book, a distinguished historian of Zionism argues that the world of Jewry is coming apart, that the old reality of Jewish nationhood lies shattered, that Israel is increasingly isolated, fated to go its separate way disengaged from Jewish communities in the Diaspora—most especially the Jewish community in the United States.
David Vital traces the roots of this disarray to the revolution—still unfinished—that began with the emancipation of the Jews in France after the Revolution, continued with the movement of Jews out of Europe and the decimation of European Jewry in the Holocaust, and culminated in the establishment of the state of Israel. For the first time in centuries the Jews have emerged as actors in history, with a nation-state of their own, but the political interests of Jews in Israel and of Jews in the Diaspora appear to be irreparably divided. The Jews are no longer a cohesive people, Vital claims; contemporary Jewry is profoundly fractured and dysfunctional, a fact that is nowhere more apparent than in the growing gap between the two largest Jewish communities in the world, the ones in Israel and in the United States.
This incisive book describes the waning of the Jewish nation, in an effort to lay the groundwork for a cool, clear, and more hardheaded view of the future of the Jews. Anyone with a serious interest in contemporary politics, and in the history and problematics of the Jews and Judaism, will find much to consider in this gripping book.
Praise for Lawrence Joseph:
"Poetry of great dignity, grace, and unrelenting persuasiveness… Joseph gives us new hope for the resourcefulness of humanity, and of poetry."
---John Ashbery
"Like Henry Adams, Joseph seems to be writing ahead of actual events, and that makes him one of the scariest writers I know."
---David Kirby, The New York Times Book Review
"The most important lawyer-poet of our era."
---David Skeel, Legal Affairs
A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.
Essays on poetry by the most important poet-lawyer of our era
The Game Changed: Essays and Other Prose presents works by prominent poet and lawyer Lawrence Joseph that focus on poetry and poetics, and on what it is to be a poet. Joseph takes the reader through the aesthetics of modernism and postmodernism, a lineage that includes Wallace Stevens, William Carlos Williams, and Gertrude Stein, switching critical tracks to major European poets like Eugenio Montale and Hans Magnus Enzensberger, and back to American masters like James Schuyler and Adrienne Rich.
Always discerning, especially on issues of identity, form, and the pressures of history and politics, Joseph places his own poetry within its critical contexts, presenting narratives of his life in Detroit, where he grew up, and in Manhattan, where he has lived for 30 years. These pieces also portray Joseph’s Lebanese, Syrian, and Catholic heritages, and his life as a lawyer, distinguished law professor, and legal scholar.
"History repeats itself, but it never repeats itself exactly," observes Douglas Porpora in this powerful indictment of U.S. intervention in Central America. Comparing the general public’s reaction to the Holocaust in Nazi Germany with American public opinion of U.S. participation in the genocidal policies of Nicaraguan counter-revolutionary forces, and the governments of Guatemala and El Salvador among others, Porpora demonstrates that moral indifference to the suffering of others was the common response. With reference to Hannah Arendt’s thesis of the banality of evil, he develops the concept of a "Holocaust-like event" and examines how even a democratic society can be capable of something on the order of a Holocaust.
Unlike other accounts of the Holocaust and genocide, this book focuses on the citizenry served or ruled by genocidal governments rather than on the governments themselves. Porpora argues that moral indifference and lack of interest in critical reflection are key factors that enable Holocaust-like events to happen And he characterizes American society as being typically indifferent to the fate of other people, uninformed, and anti-intellectual.
Porpora cites numerous horrifying examples of U.S.-backed Latin American government actions against their own peasants, Indians, and dissident factions. He offers finally a theory of public moral indifference and argues that although such indifference is socially created by government, the media, churches, and other institutions, we, the public, must ultimately take responsibility for it. How Holocausts Happen is at once a scholarly examination of the nature of genocide and a stinging indictment of American society.
Most studies of deindustrialization in the United States emphasize the economic impact of industrial decline; few consider the social, human costs. "I Was Content and Not Content": The Story of Linda Lord and the Closing of Penobscot Poultry is a firsthand account of a plant closure, heavily illustrated through photographs and told through edited oral history interviews. It tells the story of Linda Lord, a veteran of Penobscot Poultry Company in Belfast, Maine, and her experience when the plant—Maine’s last poultry-processing plant— closed its doors in 1988, costing over four hundred people their jobs and bringing an end to a once productive and nationally competitive agribusiness.
Linda Lord’s story could be that of any number of Americans—blue- and white-collar—effected by the rampant and widespread downsizing over the past several decades. She began working at Penobscot straight out of high school and remained with the company for over twenty years. Lord worked in all aspects of poultry processing, primarily in the "blood tunnel," where she finished off the birds that had been missed by the automatic neck-cutting device—a job held by few women. Single and self-supporting, Lord was thirty-nine years old when the plant closed. In part because she was the primary caretaker for her elderly parents, Lord did not want to leave Maine for a better job but did want to stay in the area that had been her home since birth.
The book is comprised of distinct sections representing different perspectives on Lord’s story and the plant’s demise. Cedric N. Chatterley’s gritty black-and-white photographs, reproduced here as duotones, document the final days at the poultry plant and chronicle Lord’s job search, as well as her daily life and community events. Lord’s oral history interviews, interspersed with the photographs, reveal her experiences working in poultry processing and her perspectives on the plant’s closing. Carolyn Chute’s essay reflects on her own struggles as a worker in Maine, and, more generally, on the way workers are perceived in America. Alicia J. Rouverol’s historical essay explores the rise and fall of Maine’s poultry industry and the reasons for its demise. Stephen A. Cole’s epilogue brings the story full circle when he tells of his most recent visit with Linda Lord. Michael Frisch (Portraits in Steel, A Shared Authority) contributes a foreword.
Lord’s story and the story of Penobscot’s closing brings into question the relationship of business to community, reminding us that businesses and communities are in fact integrally linked—or, perhaps more accurately, should be. Her narrative makes plain that plant closings have particular ramifications for women workers, but her experience also points to the way in which all individuals cope with change, hardship, and uncertain times to create possibilities where few exist. Perhaps most important, her story reveals some of the challenges and complexities that most human beings share.
This volume questions the motives of Supreme Court justices in a landmark case: The Supreme Court's intervention in the presidential election of 2000, and its subsequent decision in favor of George W. Bush, elicited immediate, heated, and widespread debate. Critics argued that the justices used weak legal arguments to overturn the Florida Supreme Court's ruling, ending a ballot recount and awarding the presidency to Bush. More fundamentally, they questioned the motives of conservative judges who arrived at a decision in favor of the candidate who reflected their political leanings.
Judging the Supreme Court examines this controversial case and the extensive attention it has received. To fully understand the case, Clarke Rountree argues, we must understand "judicial motives." These are comprised of more than each judge's personal opinions. Judges' motives, which Rountree calls "rhetorical performances," are as influential and publicly discussed as their decisions themselves. Before they are dissected in the media, judges' motives are carefully crafted by the decision- makers themselves, their critics, and their defenders. Justices consider not only the motives of the government, of military officials, of criminals, of public speakers, and of others, they also consider, construct, construe, spin, and deconstruct the motives of dissenters (whom they want to show are "misguided"), earlier courts, lower courts, and, especially, themselves.
Every judicial opinion is essentially a portrait of motives that says, "Here's what we did and here's why we did it." Well-constructed judicial motives reinforce the idea that we live under "the rule of law," while motives articulated less successfully raise questions about the legitimacy not just of individual judicial decisions but also of our political system and its foundation on an impartial judiciary. In Bush v. Gore, Rountree concludes, the judges of the majority opinion were not motivated by judicial concerns about law and justice, but rather by their own political and personal motives.
First published in English in 1990 as Latin American Politics: A Theoretical Framework, a translation of Torcuato S. Di Tella's original Sociología de los procesos políticos, this new edition also focuses on the prerequisites for democracy in any society and on the role of the popular classes in social change. Di Tella draws on the work of Montesquieu, Burke, Tocqueville, Marx, Weber, and Durkheim in formulating his explanatory theories. These theories are then tested against crucial events in Latin American history—from the rebellions of the eighteenth century to the caudillos of the nineteenth century and the militarism of the twentieth century.
This edition is more attuned to an English-speaking audience, with a new chapter addressing the historical process in Argentina from the 1930s to 2000. Latin American Politics is written in a style easily accessible to the general reader or student, while its emphasis on the growth of democracy in Latin America makes it particularly timely.
After a career of more than 40 years, Murray-Rust, former Dean of Libraries at Georgia Tech and a self-proclaimed library disrupter, sees our profession’s central challenge as simply this: how to turn the library outward in order to make a difference in the lives of individuals and the community. In this book she encourages readers to look an uncertain library future square in the eye. She shares stories from her transformational years at Georgia Tech Libraries which present both inspiration and practical advice on how to stand up for values while changing the ways we act upon them. Organized around seven action steps for change, this book offers takeaways and activities you can adapt to your work style and organizational culture. You will learn from such stories and lessons as
Celebrate a trailblazer in the areas of women and re
Celebrate a trailblazer in the areas of women and religion, Jews and Judaism, and earliest Christianity in the ancient Mediterranean
Ross Kraemer is Professor Emerita in the Department of Religious Studies at Brown University. This volume of essays, conceived and produced by students, colleagues, and friends bears witness to the breadth of her own scholarly interests. Contributors include Theodore A. Bergren, Debra Bucher, Lynn Cohick, Mary Rose D’Angelo, Nathaniel P. DesRosiers, Robert Doran, Jennifer Eyl, Paula Fredriksen, John G. Gager, Maxine Grossman, Kim Haines-Eitzen, Susan Ashbrook Harvey, Jordan Kraemer, Robert A. Kraft, Shira L. Lander, Amy-Jill Levine, Susan Marks, E. Ann Matter, Renee Levine Melammed, Susan Niditch, Elaine Pagels, Adele Reinhartz, Jordan Rosenblum, Sarah Schwarz, Karen B. Stern, Stanley K. Stowers, Daniel Ullucci, Arthur Urbano, Heidi Wendt, and Benjamin G. Wright.Features:
Winner of 2005 Grammy Award for Best Instrumental Composition
Winner of 2005 National Medal of Arts
My Sax Life is the award-winning memoir of famed Cuban musician Paquito D'Rivera. A best-selling artist with more than thirty solo albums to his credit, D'Rivera has performed at the White House and the Blue Note, and with orchestras, jazz ensembles, and chamber groups around the world. Propelled by jazz-fueled high spirits, D'Rivera's story soars and spins from memory to memory in a collage of his remarkable life. D'Rivera recalls his early nightclub appearances as a child, performing with clowns and exotic dancers, as well as his search for artistic freedom in communist Cuba and his hungry explorations of world music after his defection. Opinionated but always good-humored, My Sax Life is a fascinating statement on art and the artist's life.
In this remarkable collection of essays, Stephen Harrigan explores, with an unfailing depth of feeling, the human longing to feel at home in the world of nature. In vivid and convincing prose, he evokes the landscape of his home territory, Texas, and his own reactions, sometimes droll, sometimes haunted, to the extraordinary power of place that Texas projects.
What form does the crisis of modernity take in Latin America when societies are politically demobilized and there is no revolutionary agenda in sight? How does postmodern criticism reflect on enlightenment and utopia in a region marked by incomplete modernization, new waves of privatization, great masses of excluded peoples, and profound sociocultural heterogeneity? In No Apocalypse, No Integration Martín Hopenhayn examines the social and philosophical implications of the triumph of neoliberalism and the collapse of leftist and state-sponsored social planning in Latin America.
With the failure of utopian movements that promised social change, the rupture of the link between the production of knowledge and practical intervention, and the defeat of modernization and development policy established after World War II, Latin American intellectuals and militants have been left at an impasse without a vital program of action. Hopenhayn analyzes these crises from a theoretical perspective and calls upon Latin American intellectuals to reevaluate their objects of study, their political reality, and their society’s cultural production, as well as to seek within their own history the elements for a new collective discourse. Challenging the notion that strict adherence to a single paradigm of action can rescue intellectual and cultural movements, Hopenhayn advocates a course of epistemological pluralism, arguing that such an approach values respect for difference and for cultural and theoretical diversity and heterodoxy.
This essay collection will appeal to readers of sociology, public policy, philosophy, cultural theory, and Latin American history and culture, as well as to those with an interest in Latin America’s current transition.
"Starting out, my mind and spirit were open to the mystery of foreign cultures, the spareness of aridity, the tension of seismicity, the heat of fire, the exuberance of the vast, the abundance of rot and rebirth, the kindness of strangers, the indomitable rules of climate, the triumph of life, the limits of the earth.""—from the prologue.
On a crisp January morning, the first day of a new year, writer Tim Palmer and his wife set out in their custom-outfitted van on a nine-month journey through the Pacific Coast Ranges. With a route stretching from the dry mesas of the Baja Peninsula to the storm-swept Alaskan island of Kodiak, they embarked on an incomparable tour of North America's coastal mountains high above the Pacific.
In Pacific High, Palmer recounts that adventure, interweaving tales of exploration and discovery with portraits of the places they visited and the people they came to know along the way. Bringing together images of places both exotic and familiar with profiles of intriguing people and descriptions of outdoor treks on foot, skis, mountain bike, canoe, and whitewater raft, Palmer captures the brilliant wonders of nature, the tragedy of irreversible loss, and the hope of everyone who cares for this extraordinary but threatened edge of North America.
At the heart of the story is author's concern for the health of the land and all its life. Nature thrives in many parts of the Coast Ranges—pristine rivers and ancient forests that promise refuge to the king salmon and the grizzly bear—but with a human population of 36 million, nature is under attack throughout the region. Oil spills, clearcutting, smog, sprawling development and more threaten even national parks and refuges. Yet Palmer remains hopeful, introducing readers to memorable people who strive for lasting stewardship in this land they call home.
It used to be a secret that, in its postwar heyday, the Broadway musical recruited a massive underground following of gay men. But though this once silent social fact currently spawns jokes that every sitcom viewer is presumed to be in on, it has not necessarily become better understood.
In Place for Us, D. A. Miller probes what all the jokes laugh off: the embarrassingly mutual affinity between a "general" cultural form and the despised "minority" that was in fact that form's implicit audience. In a style that is in turn novelistic, memorial, autobiographical, and critical, the author restores to their historical density the main modes of reception that so many gay men developed to answer the musical's call: the early private communion with original cast albums, the later camping of show tunes in piano bars, the still later reformatting of these same songs at the post-Stonewall disco. In addition, through an extended reading of Gypsy, Miller specifies the nature of the call itself, which he locates in the postwar musical's most basic conventions: the contradictory relation between the show and the book, the mimetic tendency of the musical number, the centrality of the female star. If the postwar musical may be called a "gay" genre, Miller demonstrates, this is because its regular but unpublicized work has been to indulge men in the spectacular thrills of a femininity become their own.
Pluralist Universalism: An Asian Americanist Critique of U.S. and Chinese Multiculturalisms by Wen Jin is an extended comparison of U.S. and Chinese multiculturalisms during the post–Cold War era. Her book situates itself at the intersection of Asian American literary critique and the growing field of comparative multiculturalism. Through readings of fictional narratives that address the issue of racial and ethnic difference in both national contexts simultaneously, the author models a “double critique” framework for U.S.–Chinese comparative literary studies.
“ONE OF THE SHARPEST, FUNNIEST, AND BEST BOOKS EVER ABOUT ANY ROCK ARTIST”—Rolling Stone
“WEIRD AND WONDROUS”—New York Times
“I ADORED IT”—Michael Chabon
A literary and visual exploration of the songs of Steely Dan.
Steely Dan’s songs are exercises in fictional world-building. No one else in the classic-rock canon has conjured a more vivid cast of rogues and heroes, creeps and schmucks, lovers and dreamers and cold-blooded operators—or imbued their characters with so much humanity.
Pulling from history, lived experience, pulp fiction, the lore of the counterculture, and their own darkly comic imaginations, Donald Fagen and Walter Becker summoned protagonists who seemed like fully formed people with complicated pasts, scars they don’t talk about, delusions and desires and memories they can’t shake. From Rikki to Dr. Wu, Hoops McCann to Kid Charlemagne, Franny from NYU to the Woolly Man without a Face, every name is a locked-room mystery, beguiling listeners and earning the band an exceptionally passionate and ever-growing cult fandom.
Quantum Criminals presents the world of Steely Dan as it has never been seen, much less heard. Artist Joan LeMay has crafted lively, color-saturated images of her favorite characters from the Daniverse to accompany writer Alex Pappademas’s explorations of the famous and obscure songs that inspired each painting, in short essays full of cultural context, wild speculation, inspired dot-connecting, and the occasional conspiracy theory. All of it is refracted through the perspectives of the characters themselves, making for a musical companion unlike any other. Funny, discerning, and visually stunning, Quantum Criminals is a singular celebration of Steely Dan’s musical cosmos.
While engaging a wide spectrum of Native American writing, Teuton focuses on three of the most canonized and, he contends, most misread novels of the era—N. Scott Momaday’s House Made of Dawn (1968), James Welch’s Winter in the Blood (1974), and Leslie Marmon Silko’s Ceremony (1977). Through his readings, he demonstrates the utility of tribal realism as an interpretive framework to explain social transformations in Indian Country during the Red Power era and today. Such transformations, Teuton maintains, were forged through a process of political awakening that grew from Indians’ rethought experience with tribal lands and oral traditions, the body and imprisonment, in literature and in life.
The walk from my apartment in Greenwich Village to my studio in Tribeca takes about twenty minutes, depending upon the route and whether I stop for a coffee and the Times. Invariably, though, it begins with a trip down the stairs.
And so sets out architecture critic Michael Sorkin on his daily walk from his home in a Manhattan old-law-style tenement building. Sorkin has followed the same path for over fifteen years, a route that has allowed him to observe the startling transformations in New York during this period of great change. Twenty Minutes in Manhattan is his personal, anecdotal account of his casual encounters with the physical space and social dimensions of this unparalleled city.
From the social gathering place of the city stoop to Washington Square Park, Sorkin’s walk takes the reader on a wry, humorous journey past local characters, neighborhood stores and bodegas, landmark buildings, and overlooked streets. His perambulations offer him—and the reader—opportunities to not only engage with his surroundings but to consider a wide range of issues that fascinate Sorkin as an architect, urbanist, and New Yorker. Whether he is despairing at street garbage or marveling at elevator etiquette, Twenty Minutes in Manhattan offers a testing ground for his ideas of how the city can be newly imagined and designed, addressing such issues as the crisis of the environment, free expression and public space, historic preservation, and the future of the neighborhood as a concept.
Inspired by Sorkin’s close, attentive relationship to his beloved city, Twenty Minutes in Manhattan is in the end a valentine to the idea of the city that ultimately offers a practical set of solutions that are relevant to not only the preservation and improvement of New York but to urban environments everywhere.
In the heart of Wyoming sprawls the ancient homeland of the Eastern Shoshone Indians, who were forced by the U.S. government to share a reservation in the Wind River basin and flanking mountain ranges with their historical enemy, the Northern Arapahos. Both tribes lost their sovereign, wide-ranging ways of life and economic dependence on decimated buffalo. Tribal members subsisted on increasingly depleted numbers of other big game—deer, elk, moose, pronghorn, and bighorn sheep. In 1978, the tribal councils petitioned the U.S. Fish and Wildlife Service to help them recover their wildlife heritage. Bruce Smith became the first wildlife biologist to work on the reservation. Wildlife on the Wind recounts how he helped Native Americans change the course of conservation for some of America's most charismatic wildlife.
In January 1992, poet Neal Bowers received a phone call that changed his life. He learned his poems had been stolen and published under another name. Bowers hired a copyright lawyer and a private detective, and they began the agonizing hunt to track down the person who stole his creative work.
Bowers was dealing with more than the theft of words. He uncovered the plagiarist’s unsavory past when he found convicted child molester David Jones, who published the poems using the name David Sumner.
Determined to hold the plagiarist accountable, Bowers is drawn into a bizarre game of catch-me-if-you-can. His odyssey introduces him to the legal system and a sympathetic female detective, reveals the reactions of fellow poets, and provokes a flood of nationwide publicity and a deluge of letters from strangers interested in the case. Letters from Bowers’s attorney to Jones and phone conversations between the two produce unsatisfactory results. In the end, the plagiarist is not punished, and Bowers deals with the loss of friends, derision from his colleagues, and trouble in his marriage.
Words for the Taking: The Hunt for a Plagiarist, first published in 1997, is as much a commentary on our cultural view of plagiarism as it is a real-life detective story. Bowers’s wry and disturbing account of being the victim of a serial plagiarist offers unexpected twists and startling revelations. This updated edition presents a final consideration of the bizarre case and remains the only book to offer a personal account of the effects of plagiarism.
Ten years after the original publication, Neal Bowers finds his life as a writer altered in ways he could never have foreseen. His responses to the series of events show his vulnerability as an artist and his adjustment to being a victim. In a new chapter, Bowers describes his renewed quest in 2006 for a resolution and explains why he chose to give up writing poetry.
This beautifully written case study about the discovery and attempted resolution of an intellectual crime will appeal to academicians and general readers alike who care about language, the state of poetry, and intellectual property in contemporary America.
What is the relationship between history and fiction in a place with a contentious past? And of what concern is gender in the telling of stories about that past?
Writing Women in Central America explores these questions as it considers key Central American texts. This study analyzes how authors appropriate history to confront the rhetoric of the state, global economic powers, and even dissident groups within their own cultures. Laura Barbas-Rhoden winds a common thread in the literary imaginations of Claribel Alegría, Rosario Aguilar, Gioconda Belli, and Tatiana Lobo and shows how these writers offer provocative supplements to the historical record.
Writing Women in Central America considers more than a dozen narratives in which the authors craft their own interpretations of history to make room for women, indigenous peoples, and Afro-Latin Americans. Some of the texts reveal silences in the narratives of empire- and nation-building. Others reinterpret events to highlight the struggle of marginalized peoples for dignity and humanity in the face of oppression. All confront the ways in which stories have been told about the past.
Yet ultimately, Professor Barbas-Rhoden asserts, all concern the present and the future. As seen in Writing Women in Central America, though their fictions are historical, the writers direct their readers beyond the present toward a more just future for all who live in Central America.
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