A SCHOLARLY BOOK REPOSITORY331 start with T start with T
Gathering together selections from his notebooks, dreamlogs, memoirs, and essays of such poets as Frost, Robert Lowell and George Oppen, Trying to Say It particularly focuses on the ways that the tension between in-formed structures and lineation create poems which--in all senses--move.
Employing the Thoreauvian sense of place for which his poetry is known, Booth probes the nature of poetry itself, as well as the poetry of nature--yielding insights that are rooted in the acute observation that catalyzes imagination. Infused with a restless spirit in search of a moving language commensurate with the complexity of being fully alive, the essays collected in Trying to Say It reveal the pulses of a teacher's mind and a poet's heart.
Philip Booth is the author of nine books of poetry, and has been honored by Guggenheim, Rockefeller, and National Endowment for the Arts fellowships, the National Institute of Arts and Letters, and the Academy of American Poets.
Winner of the 2008 Arthur J. Viseltear Prize from the American Public Health Association and Nominated for the 2008 William H. Welch Medal, AAHM
Though notorious for its polluted air today, the city of Los Angeles once touted itself as a health resort. After the arrival of the transcontinental railroad in 1876, publicists launched a campaign to portray the city as the promised land, circulating countless stories of miraculous cures for the sick and debilitated. As more and more migrants poured in, however, a gap emerged between the city’s glittering image and its dark reality.
Emily K. Abel shows how the association of the disease with “tramps” during the 1880s and 1890s and Dust Bowl refugees during the 1930s provoked exclusionary measures against both groups. In addition, public health officials sought not only to restrict the entry of Mexicans (the majority of immigrants) during the 1920s but also to expel them during the 1930s.
Abel’s revealing account provides a critical lens through which to view both the contemporary debate about immigration and the U.S. response to the emergent global tuberculosis epidemic.
Hans Magnus Enzensberger, widely regarded as Germany’s greatest living poet, was already well known in the 1960s, the tempestuous decade of which Tumult is an autobiographical record. Derived from old papers, notes, jottings, photos, and letters that the poet stumbled upon years later in his attic, the volume is not so much about the man, but rather the many places he visited and people whom he met on his travels through the Soviet Union and Cuba during the 1960s. The book is made up of four long-form pieces written from 1963 to 1970, each episode concluding with a poem and postscript written in 2014. Translated by Mike Mitchell, the book is a lively and deftly written travelogue offering a glimpse into the history of leftist thought. Dedicated to “those who disappeared,” Tumult is a document of that which remains one of humanity’s headiest times.
Now commonly accepted as the point of reference for musicians in the Western world, A 440 hertz only became the standard pitch during an international conference held in 1939. The adoption of this norm was the result of decades of negotiations between countries, involving a diverse group of performers, composers, diplomats, physicists, and sound engineers. Although there is widespread awareness of the variability of musical pitches over time, as attested by the use of lower frequencies to perform early music repertoires, no study has fully explained the invention of our current concert pitch. In this book, Fanny Gribenski draws on a rich variety of previously unexplored archival sources and a unique combination of musicological perspectives, transnational history, and science studies to tell the unknown story of how A 440 became the global norm. Tuning the World demonstrates the aesthetic, scientific, industrial, and political contingencies underlying the construction of one of the most “natural” objects of contemporary musical performance and shows how this century-old effort was ultimately determined by the influence of a few powerful nations.
Franz Göll was a thoroughly typical Berliner. He worked as a clerk, sometimes as a postal employee, night watchman, or publisher's assistant. He enjoyed the movies, ate spice cake, wore a fedora, tamed sparrows, and drank beer or schnapps. He lived his entire life in a two-room apartment in Rote Insel, Berlin's famous working-class district. What makes Franz Göll different is that he left behind one of the most comprehensive diaries available from the maelstrom of twentieth-century German life. Deftly weaving in Göll’s voice from his diary entries, Fritzsche narrates the quest of an ordinary citizen to make sense of a violent and bewildering century.
Peter Fritzsche paints a deeply affecting portrait of a self-educated man seized by an untamable impulse to record, who stayed put for nearly seventy years as history thundered around him. Determined to compose a “symphony” from the music of everyday life, Göll wrote of hungry winters during World War I, the bombing of Berlin, the rape of his neighbors by Russian soldiers in World War II, and the flexing of U.S. superpower during the Reagan years. In his early entries, Göll grappled with the intellectual shockwaves cast by Darwin, Freud, and Einstein, and later he struggled to engage with the strange lifestyles that marked Germany's transition to a fluid, dynamic, unmistakably modern society.
With expert analysis, Fritzsche shows how one man's thoughts and desires can give poignant shape to the collective experience of twentieth-century life, registering its manifold shocks and rendering them legible.
Whether the subject is Jack Ruby, Willie Nelson, or his own leukemia-stricken son Mark, when it comes to looking at the world through another person's eyes, nobody does it better than Gary Cartwright. For over twenty-five years, readers of Texas Monthly have relied on Cartwright to tell the stories behind the headlines with pull-no-punches honesty and wry humor. His reporting has told us not just what's happened over three decades in Texas, but, more importantly, what we've become as a result.
This book collects seventeen of Cartwright's best Texas Monthly articles from the 1980s and 1990s, along with a new essay, "My Most Unforgettable Year," about the lasting legacy of the Kennedy assassination. He ranges widely in these pieces, from the reasons for his return to Texas after a New Mexican exile to profiles of Kris Kristofferson and Willie Nelson. Along the way, he strolls through San Antonio's historic King William District; attends a Dallas Cowboys old-timers reunion and the Holyfield vs. Foreman fight; visits the front lines of Texas' new range wars; gets inside the heads of murderers, gamblers, and revolutionaries; and debunks Viagra miracles, psychic surgery, and Kennedy conspiracy theories. In Cartwright's words, these pieces all record "the renewal of my Texas-ness, a rediscovery of Texas after returning home."
Turning Points in Modern Times focuses on events after 1917: the rise of Nazism on the Right and authoritarianism on the Left. Bracher provides an incisive framework for understanding the great ideological confrontation of this century--democracy versus totalitarianism in the forms of fascism, Nazism, and communism. His analysis of the outcomes underscores the significance and power of democratic values and governments.
The doyen of German political history, Karl Dietrich Bracher extends the argument against dictatorship that runs through his life's work, offers a blueprint for dealing with the recent past of the communist East German State (DDR), looks at the true facts of the Stasi collaboration, and challenges misperceptions of Hitler, Stalin, and others. He demonstrates the kinship between fascism and communism, considers Weimar and liberalism, assesses the legacy of Nazism, and outlines the ethos of democracy. In all this Bracher exposes the twentieth-century threats to the democratic state so that they can never again subvert representative government.
A founder of the new history of Germany, which considers the larger context for Hitler and illuminates events through the theories of social science and the values of liberalism and democracy, Bracher writes in the tradition of Acton, Burckhardt, Croce, and Dahrendorf. This is a vital history lesson for our turbulent times, when once more democracy is on the march after a twilight century.
This book documents the period when a handful of University of Alabama student activists formed an alliance with President Frank A. Rose, his staff, and a small group of progressive-minded professors in order to transform the university during a time of social and political turmoil. Together they engaged in a struggle against Governor George Wallace and a state legislature that reflected the worst aspects of racism in a state where the passage of civil rights legislation in 1964 and 1965 did little to reduce segregation and much to inflame the fears and passions of many white Alabamians.
Earl H. Tilford details the origins of the student movement from within the Student Government Association, whose leaders included Ralph Knowles and future governor Don Siegelman, among others; the participation of key members of “The Machine,” the political faction made up of the powerful fraternities and sororities on campus; and the efforts of more radical non-Greek students like Jack Drake, Ed Still, and Sondra Nesmith. Tilford also details the political maneuverings that drove the cause of social change through multiple administrations at the university. Turning the Tide highlights the contributions of university presidents Frank A. Rose and David Mathews, as well as administrators like the dean of men John L. Blackburn, who supported the student leaders but also encouraged them to work within the system rather than against it.
Based on archival research, interviews with many of the principal participants, and the author’s personal experiences, Tilford’s Turning the Tide is a compelling portrait of a university in transition during the turbulence surrounding the civil rights and anti-war movements of the 1960s.
Situated in the South Texas borderlands some fifty miles west of Corpus Christi, San Diego was a thriving town already a hundred years old at the turn of the twentieth century. With a population that was 90 percent Mexican or Mexican American and 10 percent Anglo, the bicultural community was the seat of Duval County and a prosperous town of lumberyards, banks, mercantile stores, and cotton gins, which also supplied the needs of area ranchers and farmers. Though Anglos dominated its economic and political life, San Diego was culturally Mexican, and Mexican Americans as well as Anglos built successful businesses and made fortunes.
This collection of nearly one hundred photographs from the estate of amateur photographer William Hoffman captures the cosmopolitan town of San Diego at a vibrant moment in its history between 1898 and 1909. Grouped into the categories women and their jobs, local homes, men and their businesses, children at school and church, families and friends, and entertainment about town, the photos offer an immediate visual understanding of the cultural and economic life of the community, enhanced by detailed captions that identify the subjects and circumstances of the photos. An introductory historical chapter constitutes the first published history of Duval County, which was one of the most important areas of South Texas in the early twentieth century.
Whereas most histories of television focus on the way older forms of entertainment were recycled for the new medium, Lynn Spigel shows how TV was instrumental in introducing the public to the latest trends in art and design. Abstract expressionism, pop art, art cinema, modern architecture, and cutting-edge graphic design were all mined for staging techniques, scenic designs, and an ever-growing number of commercials. As a result, TV helped fuel the public craze for trendy modern products, such as tailfin cars and boomerang coffee tables, that was vital to the burgeoning postwar economy. And along with influencing the look of television, many artists—including Eero Saarinen, Ben Shahn, Saul Bass, William Golden, and Richard Avedon—also participated in its creation as the networks put them to work designing everything from their corporate headquarters to their company cufflinks.
The Twelve Best Books by African Women is a collection of critical essays on eleven works of fiction and one play. The titles by African women that were included in the list of “Africa’s 100 Best Books of the Twentieth Century” are: Anowa, Ama Ata Aidoo (1970); A Question of Power, Bessie Head (1974); Woman at Point Zero, Nawal El Saadawi (1975); The Beggars’ Strike, Aminata Sow Fall (1979); Burger’s Daughter, Nadine Gordimer (1979); The Joys of Motherhood, Buchi Emesheta (1979); So Long a Letter, Mariama Bâ (1980); Fantasia: An Algerian Cavalcade, Assia Djebar (1983); Nervous Conditions, Tsitsi Dangarembga (1988); Living, Loving and Lying Awake at Night, Sindiwe Magona (1991); Butterfly Burning, Yvonne Vera (1998); Riwan ou le chemin de sable, Ken Bugul (1999).
This collection of original essays recognizes the gesture of inclusion as an important shift in consciousness and creates a fresh awareness of the literary works by African women writers. Each essay offers a penetrating analysis of individual texts and opens up a fresh perspective that allows scholars and students alike to explore new dimensions of these writers’ work.
Winner, 2012 Northern California Book Award for Fiction in Translation
More faithful to the original text and its deeply resonant humor, this new translation of The Twelve Chairs brings Ilf and Petrov’s Russian classic fully to life. The novel’s iconic hero, Ostap Bender, an unemployed con artist living by his wits, joins forces with Ippolit Matveyevich Vorobyaninov, a former nobleman who has returned to his hometown to look for a cache of missing jewels hidden in chairs that have been appropriated by the Soviet authorities. The search for the chairs takes them from the provinces of Moscow to the wilds of the Transcaucasus mountains. On their quest they encounter a variety of characters, from opportunistic Soviet bureaucrats to aging survivors of the old propertied classes, each one more selfish, venal, and bungling than the last. A brilliant satire of the early years of the Soviet Union, as well as the inspiration for a Mel Brooks film, The Twelve Chairs retains its universal appeal.
Scorned by critics since birth, decreed dead by many, naturalism, according to Donald Pizer, is “one of the most persistent and vital strains in American fiction, perhaps the only modern literary form in America that has been both popular and significant.”
To define naturalism and explain its tenacious hold throughout the twentieth century on the American creative imagination, Pizer explores six novels: James T. Farrell’s Studs Lonigan, John Dos Passos’s U.S.A., John Steinbeck’s The Grapes of Wrath, Norman Mailer’s The Naked and the Dead, William Styron’s Lie Down in Darkness, and Saul Bellow’s The Adventures of Augie March.
Pizer’s approach to these novels is empirical; he does not wrench each novel awkwardly until it fits his framework of generalizations and principles; rather, he approaches the novels as fiction and arrives at his definition through his close reading of the works.
Establishing the background of naturalism, Pizer explains that it comes under attack because it is “sordid and sensational in subject matter,” it challenges “man’s faith in his innate moral sense and thus his responsibility for his actions,” and it is so full of “social documentation” that it is often dismissed as little more than a photographic record of a life or an era; thus the “aesthetic validity of the naturalistic novel has often been questioned.”
Pizer posits the 1890s, the 1930s,and the late 1940s as the decades when naturalism flourished in America. He concentrates on literary criticism, not on the philosophy ofnaturalism, to show that literary criticism can make a contribution to a particularly muddled area of literary history—a naturalism that is alive and changing, thus resisting the neat definitions reserved for the dead.
Self-help authors like Tom Peters and Stephen Covey, who have dominated best-seller lists over the last two decades, have exercised increasing influence on political, governmental, and educational organizations. By contrast, the topic of American success books— texts that promise to help readers succeed by retrofitting their identity to meet workplace demands—has been ignored by scholars since the 1980s. John Ramage challenges the neglect of this hugely popular literature and revives a once-lively conversation among eminent critics about the social phenomenon represented in the work of Bruce Barton, Dale Carnegie, and Norman Vincent Peale, among others.
Using literary texts from Don Quixote to Catch-22 to gloss the discussion, Ramage utilizes Kenneth Burke’s rhetorical theory to understand symbolic acts and social issues and brings together earlier commentaries within a new critical framework. He considers the problematic and paradoxical nature of success and examines its meaning in terms of its traditional dialectic partner, happiness. A synopsis of seventeenth- to nineteenth-century forerunners prefaces this analysis in which Ramage links literary code heroes with the activities of twentieth-century business leaders to determine whether, in the search for authenticity, the heroic individual or the corporation is ultimately served.
This comprehensive study chronicles the legitimation of the success book genre, enumerates rhetorical strategies used to win over readers, and supplies the historical context that renders each book’s message timely. After considering some of the dangers of crossing disciplinary borders, as exemplified by Deborah Tannen’s work, Ramage critiques Stanley Fish’s theoretical strictures against this practice, finally summoning academic critics to action with a strong call to exert greater influence within the popular marketplace.
The first comprehensive history of the Vatican’s agenda to defeat the forces of secular liberalism and communism through international law, cultural diplomacy, and a marriage of convenience with authoritarian and right-wing rulers.
After the United States entered World War I and the Russian Revolution exploded, the Vatican felt threatened by forces eager to reorganize the European international order and cast the Church out of the public sphere. In response, the papacy partnered with fascist and right-wing states as part of a broader crusade that made use of international law and cultural diplomacy to protect European countries from both liberal and socialist taint.
A Twentieth-Century Crusade reveals that papal officials opposed Woodrow Wilson’s international liberal agenda by pressing governments to sign concordats assuring state protection of the Church in exchange for support from the masses of Catholic citizens. These agreements were implemented in Mussolini’s Italy and Hitler’s Germany, as well as in countries like Latvia, Lithuania, and Poland. In tandem, the papacy forged a Catholic International—a political and diplomatic foil to the Communist International—which spread a militant anticommunist message through grassroots organizations and new media outlets. It also suppressed Catholic antifascist tendencies, even within the Holy See itself.
Following World War II, the Church attempted to mute its role in strengthening fascist states, as it worked to advance its agenda in partnership with Christian Democratic parties and a generation of Cold War warriors. The papal mission came under fire after Vatican II, as Church-state ties weakened and antiliberalism and anticommunism lost their appeal. But—as Giuliana Chamedes shows in her groundbreaking exploration—by this point, the Vatican had already made a lasting mark on Eastern and Western European law, culture, and society.
This celebrated anthology, first published in 1978 as Russian Poetry: The Modern Period, provides a much-needed panoramic overview of Russian poetry since the Bolshevik Revolution of 1917.
Major features of this collection include a new and expanded introduction, a substantial new section of glasnost-era poetry, a generous sampling of postrevolutionary poetry in Russia, full representation of poets of the first and second post-World War II generations, and poetry of the successive emigrations, flights, or expulsions from Russia.
Twentieth-Century Russian Poetry makes an important contribution to our continuing understanding of a changing world order. This anthology should be read by all those who wish to know more about the poetry of Russia, those interested in international cultural and literary history, and all Slavicists.
Today’s critical establishment assumes that sentimentalism is an eighteenth- and nineteenth-century literary mode that all but disappeared by the twentieth century. In this book, Jennifer Williamson argues that sentimentalism is alive and well in the modern era. By examining working-class literature that adopts the rhetoric of “feeling right” in order to promote a proletarian or humanist ideology as well as neo-slave narratives that wrestle with the legacy of slavery and cultural definitions of African American families, she explores the ways contemporary authors engage with familiar sentimental clichés and ideals.
Williamson covers new ground by examining authors who are not generally read for their sentimental narrative practices, considering the proletarian novels of Grace Lumpkin, Josephine Johnson, and John Steinbeck alongside neo-slave narratives written by Margaret Walker, Octavia Butler, and Toni Morrison. Through careful close readings, Williamson argues that the appropriation of sentimental modes enables both sympathetic thought and systemic action in the proletarian and neo-slave novels under discussion. She contrasts appropriations that facilitate such cultural work with those that do not, including Kathryn Stockett’s novel and film The Help. The book outlines how sentimentalism remains a viable and important means of promoting social justice while simultaneously recognizing and exploring how sentimentality can further white privilege.
Sentimentalism is not only alive in the twentieth century. It is a flourishing rhetorical practice among a range of twentieth-century authors who use sentimental tactics in order to appeal to their readers about a range of social justice issues. This book demonstrates that at stake in their appeals is who is inside and outside of the American family and nation.
Spanish American fiction became a world phenomenon in the twentieth century through multilanguage translations of such novels as Gabriel Garcia Marquez's One Hundred Years of Solitude, Manuel Puig's Kiss of the Spider Woman, Octavio Paz's Labyrinth of Solitude, and Isabel Allende's House of the Spirits. Yet these "blockbusters" are only a tiny fraction of the total, rich outpouring of Spanish-language literature from Latin America.
In this book, Naomi Lindstrom offers English-language readers a comprehensive survey of the century's literary production in Latin America (excluding Brazil). Discussing movements and trends, she places the famous masterworks in historical perspective and highlights authors and works that deserve a wider readership. Her study begins with Rodó's famous essay Ariel and ends with Rigoberta Menchú's 1992 achievement of the Nobel Prize. Her selection of works is designed to draw attention, whenever possible, to works that are available in good English translations.
A special feature of the book is its treatment of the "postboom" period. In this important concluding section, Lindstrom discusses documentary narratives, the new interrelations between popular culture and literary writing, and underrepresented groups such as youth cultures, slum dwellers, gays and lesbians, and ethnic enclaves. Written in accessible, nonspecialized language, Twentieth-Century Spanish American Fiction will be equally useful for general readers as a broad overview of this vibrant literature and for scholars as a reliable reference work.
A Choice Magazine Outstanding Academic Book
Spanish American novels of the Boom period (1962-1967) attracted a world readership to Latin American literature, but Latin American writers had already been engaging in the modernist experiments of their North American and European counterparts since the turn of the twentieth century. Indeed, the desire to be "modern" is a constant preoccupation in twentieth-century Spanish American literature and thus a very useful lens through which to view the century's novels.
In this pathfinding study, Raymond L. Williams offers the first complete analytical and critical overview of the Spanish American novel throughout the entire twentieth century. Using the desire to be modern as his organizing principle, he divides the century's novels into five periods and discusses the differing forms that "the modern" took in each era. For each period, Williams begins with a broad overview of many novels, literary contexts, and some cultural debates, followed by new readings of both canonical and significant non-canonical novels. A special feature of this book is its emphasis on women writers and other previously ignored and/or marginalized authors, including experimental and gay writers. Williams also clarifies the legacy of the Boom, the Postboom, and the Postmodern as he introduces new writers and new novelistic trends of the 1990s.
"A memoir infused with both empathy and inquiry."
—Wendy J. Fox, Electric Literature
In this vivid memoir Neidhardt explores her childhood in wider familial and social contexts. Drawing upon a trove of family letters and other archival material, she follows her parents’ journey from privilege to food stamps—from their formative youths, to their embrace of pioneer homemaking and rural poverty, to their sudden and wrenching return to conventional society—and explores the back-to-the-land movement of the 1970s as it was, and as she lived it.
A story of strangers in a strange land, of class, marriage, and family in a changing world, Twenty Acres: A Seventies Childhood in the Woods is part childhood idyll, part cautionary tale. Sarah Neidhardt reveals the treasures and tolls of unconventional, pastoral lives, and her insightful reflections offer a fresh perspective on what it means to aspire to pre-industrial lifestyles in a modern world.
In the dismantling of the Ottoman Empire following World War I, nearly two million citizens in Turkey and Greece were expelled from homelands. The Lausanne treaty resulted in the deportation of Orthodox Christians from Turkey to Greece and of Muslims from Greece to Turkey. The transfer was hailed as a solution to the problem of minorities who could not coexist. Both governments saw the exchange as a chance to create societies of a single culture. The opinions and feelings of those uprooted from their native soil were never solicited.
In an evocative book, Bruce Clark draws on new archival research in Turkey and Greece as well as interviews with surviving participants to examine this unprecedented exercise in ethnic engineering. He examines how the exchange was negotiated and how people on both sides came to terms with new lands and identities.
Politically, the population exchange achieved its planners' goals, but the enormous human suffering left shattered legacies. It colored relations between Turkey and Greece, and has been invoked as a solution by advocates of ethnic separation from the Balkans to South Asia to the Middle East. This thoughtful book is a timely reminder of the effects of grand policy on ordinary people and of the difficulties for modern nations in contested regions where people still identify strongly with their ethnic or religious community.
A readable account of both the history of the construction of the Twin Towers and the life of the people who work there.
The Twin Towers of the World Trade Center are more than office buildings. They are symbols of America, just as the Eiffel Tower and Big Ben represent their countries. Commissioned in 1962 and completed in 1976, these edifices are still the tallest man-made structures in New York City. Indeed, the builders intended the towers to make a statement about the importance of the Port of New York and New Jersey. The complex rises like Emerald City, with fountains and sculpture from what was once a dilapidated area of half-abandoned stores.
Folklorist Angus Gillespie takes us on a tour that goes back in time and continues to the present day. He recounts the political maneuvering necessary to get the State of New Jersey to agree to situate the project at its present location. Deftly presenting portraits of the men responsible for mooring the World Trade Center at its present location, Gillespie provides ample evidence that the World Trade Center backers were “second to none in self promotion.”
Twin Towers also demonstrates how engineers prepared the site and solved complex problems (wind patterns, elevator placement, ground-water complications) in order to erect the towers, each with 110 stories. And he discusses the contrast between the architectural community’s almost universal disdain for the towers’ design and the public’s enthusiastic acceptance of the buildings as a symbol of New York.
There is more to the Twin Towers than its architecture, however. People give this complex life, purpose, vibrancy, Gillespie points out. The World Trade Center houses more than 400 businesses and organizations from some 60 different countries engaged in a broad range of international business activities. Through his numerous first-hand interviews conducted with the people who daily work there, Gillespie vividly portrays the world of bankers, shippers, freight forwarders, and traders. With skill and insight, he captures what happens during a normal 24-hour day in the Twin Towers, starting with early morning food deliveries and ending with the patrols of nighttime security guards.
Twin Towers is both a fitting tribute and careful analysis of one of the most resonating symbols in American culture.
Drawing on a rich archive of Korean, Japanese, and Chinese sources, Park describes how Koreans negotiated the contradictory demands of national and colonial powers. She demonstrates that the dynamics of global capitalism led the Chinese and Japanese to pursue capitalist expansion while competing for sovereignty. Decentering the nation-state as the primary analytic rubric, her emphasis on the role of global capitalism is a major innovation for understanding nationalism, colonialism, and their immanent links in social space.
Through a regional and temporal comparison of Manchuria from the late nineteenth century until 1945, Park details how national and colonial powers enacted their claims to sovereignty through the regulation of access to land, work, and loans. She shows that among Korean migrants, the complex connections among Chinese laws, Japanese colonial policies, and Korean social practices gave rise to a form of nationalism in tension with global revolution—a nationalism that laid the foundation for what came to be regarded as North Korea’s isolationist politics.
Praise for David Mason
“. . . richly evocative and rare . . .”
—Publishers Weekly
“David Mason has succeeded in restoring to poetry some of the territory lost over recent centuries to prose fiction.”
—Paul Lake, First Things
In this new collection of essays, award-winning poet David Mason further broadens his exploration of Western and frontier themes. Beginning with the subject of poetry in and about the American West, he then widens his canvas to examine poets as diverse as James Wright, Anthony Hecht, and B. H. Fairchild, as well as taking up the idea of “the West” in global terms.
The title essay builds on a product of Mason’s upbringing in the American West—his “two minds” about the life of poetry, one aware that he needs and loves the art, and one equally aware that he understands a world outside cultural definitions. These two minds coexist throughout each lively, evocative essay, while Mason delves into family history and his efforts to connect himself to place, narrative poets of the American West, and farther-flung topics such as literary movements, post-colonial studies, and favorite Greek writers. In each of these meditations, Mason pursues a personal voice, connecting what he reads to a life outside books and making poetry accessible to the common reader.
“Described by José Garcia Villa as America’s ‘greatest short story writer,’ by Alistair Cooke as the ‘the unrecognized genius of our time,’ and by his biographer as ‘one of the most remarkable, talented, and shamefully neglected writers that America has pro- duced,’ William March (1893–1954) is remembered, if at all, for The Bad Seed, which March ironically regarded as his worst work. The emphasis in The Two Worlds of William March is on the literary career, and we get a fairly full picture of a hardworking, oversensitive, compassionate bachelor, who suffered a tragic breakdown late in life . . . [and] whose best long works, Company K and The Looking-Glass, as well as March himself are almost forgotten. . . . Simmonds’s comprehensive, scholarly, and sympathetic study may redress this unwarranted neglect.” —CHOICE
A challenge to the long-held view that the only important and influential politicians in post-Reconstruction Deep South states were Democrats.
In this insightful and exhaustively researched volume, Samuel L. Webb presents new evidence that, contrary to popular belief, voters in at least one Deep South state did not flee en masse from the Republican party after Reconstruction. As Webb demonstrates conclusively, the party gained strength among white voters in Upcountry areas of northern Alabama between 1896 and 1920. Not only did GOP presidential candidates win more than a dozen area counties but Republican congressional candidates made progress in Democratic strongholds, and local GOP officials gained control of several county courthouses.
Nor were these new Republicans simply the descendants of anti-Confederate families, as some historians have claimed. Rather, they were former independents, Greenbackers, and Populists, who, in keeping with the 1890s Populist movement, were reacting against what they perceived as the control of the Democratic party by "moneyed elites" and planter landlords. Webb also breaks with previous historical opinion by showing that ex-Populists in the Hill Country, who had been radical reformers during the 1890s, remained reform minded after 1900.
Webb's ground-breaking reassessment of Alabama state politics from Reconstruction to the 1920s describes a people whose political culture had strong roots in the democratic and egalitarian Jacksonian ideology that dominated north Alabama in the antebellum period. These people carried forward elements of Jacksonianism into the late 19th century, with its tenets continuing to influence them well into the early 20th century.
Until the late nineteenth century, Japan could boast of an elaborate cultural tradition surrounding the love and desire that men felt for other men. By the first years of the twentieth century, however, as heterosexuality became associated with an enlightened modernity, love between men was increasingly branded as “feudal” or immature. The resulting rupture in what has been called the “male homosocial continuum” constitutes one of the most significant markers of Japan’s entrance into modernity. And yet, just as early Japanese modernity often seemed haunted by remnants of the premodern past, the nation’s newly heteronormative culture was unable and perhaps unwilling to expunge completely the recent memory of a male homosocial past now read as perverse.
Two-Timing Modernity integrates queer, feminist, and narratological approaches to show how key works by Japanese male authors—Mori Ōgai, Natsume Sōseki, Hamao Shirō, and Mishima Yukio—encompassed both a straight future and a queer past by employing new narrative techniques to stage tensions between two forms of temporality: the forward-looking time of modernization and normative development, and the “perverse” time of nostalgia, recursion, and repetition.
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