Lisa William's poems are infused with what John Hollander calls "a guarded wonder." A poet of unique vision, she seems always to be "looking at," with special attention to the experience of the senses. Moreover, Williams is equally concerned with epistemology—the how of seeing. And it is perhaps this quality of attention that informs her interest in the formulations of poetry itself, in its constructed dimension. Her control of the line, of rhythmic possibilities, of structures both formal and free, is evident in every poem. Together, William's original voice and her poetic finesse allow her to create those harmonies of wonder evoked by the very instrument, the hammered dulcimer, that gives her collection its name. Judge for the 1998 May Swenson Poetry Award was John Hollander, poet, critic, professor. Long a major figure in American letters, Hollander was a personal friend to May Swenson, and has influenced the work of many of our best emerging poetic voices.
Appalachians have always honored craft. Showoff quilts, complicated whittlings, "face jugs," intricate woven coverlets, and the work of famous basketmakers constituted the art of early Appalachia, the life and color of its remote mountain households. By the 1920s, however, the craft tradition was quickly vanishing. This lively, highly personal book recounts the "missionary" effort that preserved the traditional Appalachian craft culture and traces the organization, politics, and economics of later handcraft revival organizations in Southern Appalachia.
Deeply involved in many of the events he describes, Garry Barker has worked in the Appalachian crafts world since the early 1960s. He draws on memories of the leading craftspeople of a bygone era, LBJ's War on Poverty, mushrooming markets for craft products, and the rise of academic crafts training. The Handcraft Revival in Southern Appalachia represents the thoughtful winnowing of Barker's decades of serendipitous experience and disciplined observation, casual conversation and formal interviews, research and collecting, teaching and writing.
The book is the only history of the Appalachian craft movement between 1930 and 1990. As such it will become an essential resource for craftspeople, scholars, and all interested in the Southern Appalachian region. In addition, it constitutes a crucial chapter in the newly emerging history of American craft.
HandiLand looks at young adult novels, fantasy series, graphic memoirs, and picture books of the last 25 years in which characters with disabilities take center stage for the first time. These books take what others regard as weaknesses—for instance, Harry Potter’s headaches or Hazel Lancaster’s oxygen tank—and redefine them as part of the hero’s journey. HandiLand places this movement from sidekick to hero in the political contexts of disability rights movements in the United States, the United Kingdom, and Ghana.
Elizabeth A. Wheeler invokes the fantasy of HandiLand, an ideal society ready for young people with disabilities before they get there, as a yardstick to measure how far we’ve come and how far we still need to go toward the goal of total inclusion. The book moves through the public spaces young people with disabilities have entered, including schools, nature, and online communities. As a disabled person and parent of children with disabilities, Wheeler offers an inside look into families who collude with their kids in shaping a better world. Moving, funny, and beautifully written, HandiLand: The Crippest Place on Earth is the definitive study of disability in contemporary literature for young readers.
Sometimes it's possible to pick up a book and hear the words being spoken by the characters as if you were sitting across the table from them. This is the sensation you'll have as you read through The Handywoman Stories by Lenore McComas Coberly.
Whether the story describes the civil defense preparations of a small West Virginia town in World War II, the same town years later dealing with an influx of hippies, or the return of a woman to her roots after decades up north, the voices are convincing and true. “I nearly got kicked in the head by a cow before I learned that if you use your full strength pulling milk, you won’t get much milk,” says one. “To see Zevelda the way she was that Sunday is, well, not something you're very likely to see,” says another.
The Handywoman Stories themselves are driven by characters shaped by the place they have lived most all of their lives. They deal with economic depression, mine and war deaths, the arrogance of community leaders, and what might have been, but was not, a stultifying environment. Their tools are astonishing resourcefulness, steadfast friendship, and always humor.
Lenore McComas Coberly has woven together a bittersweet community of strong Appalachian women and men in this remarkable collection. Moving and joyful, these stories are made from the stuff of life.
In the mid-1960s, Winberg Chai, a young academic and the son of Chinese immigrants, married an Irish-American artist. In Hapa Girl ("hapa" is Hawaiian for "mixed") their daughter tells the story of this loving family as they moved from Southern California to New York to a South Dakota farm by the 1980s. In their new Midwestern home, the family finds itself the object of unwelcome attention, which swiftly escalates to violence. The Chais are suddenly socially isolated and barely able to cope with the tension that arises from daily incidents of racial animosity, including random acts of cruelty.
May-lee Chai's memoir ends in China, where she arrives just in time to witness a riot and demonstrations. Here she realizes that the rural Americans' "fears of change, of economic uncertainty, of racial anxiety, of the unknowable future compared to the known past were the same as China's. And I realized finally that it had not been my fault."
BLACK POWER!
It was a phrase that consumed the American imagination in the 1960s and 70s and inspired a new agenda for black freedom. Dynamic and transformational, the black power movement embodied more than media stereotypes of gun-toting, dashiki-wearing black radicals; the movement opened new paths to equality through political and economic empowerment.
In Harambee City, Nishani Frazier chronicles the rise and fall of black power within the Congress of Racial Equality (CORE) by exploring the powerful influence of the Cleveland CORE chapter. Frazier explores the ways that black Clevelanders began to espouse black power ideals including black institution building, self-help, and self-defense. These ideals challenged CORE’s philosophy of interracial brotherhood and nonviolent direct action, spawning ideological ambiguities in the Cleveland chapter. Later, as Cleveland CORE members rose to national prominence in the organization, they advocated an open embrace of black power and encouraged national CORE to develop a notion of black community uplift that emphasized economic populism over political engagement. Not surprisingly, these new empowerment strategies found acceptance in Cleveland.
By providing an understanding of the tensions between black power and the mainstream civil rights movement as they manifested themselves as both local and national forces, Harambee City sheds new light on how CORE became one of the most dynamic civil rights organizations in the black power era.
For twenty-five years, the Iowa Review has published many of America's finest writers, often helping them become established in their careers. From Tillie Olsen and William Stafford in the first volume to James Galvin and Pattiann Rogers in the twenty-fourth, the names and voices are recognizable and respected or soon will be. As editor David Hamilton notes in his introduction to this eclectic anniversary volume of nearly eighty poems and stories, "To a considerable extent we have defined ourselves by them; thus Hard Choices, a generous sampling of the best and most interesting writing from the Iowa Review's first years, defines the past and the future of American literature."
The Iowa Review is one of a small group of dedicated literary magazines that have defined American literary culture in the past quarter century. The adventurous, stimulating pieces in Hard Choices will encourage readers to look forward to the next quarter century.
African-American women fought for their freedom with courage and vigor during and after the Civil War. Leslie Schwalm explores the vital roles of enslaved and formerly enslaved women on the rice plantations of lowcountry South Carolina, both in antebellum plantation life and in the wartime collapse of slavery. From there, she chronicles their efforts as freedwomen to recover from the impact of the war while redefining their lives and labor.
Freedwomen asserted their own ideas of what freedom meant and insisted on important changes in the work they performed both for white employers and in their own homes. As Schwalm shows, these women rejected the most unpleasant or demeaning tasks, guarded the prerogatives they gained under the South's slave economy, and defended their hard-won freedoms against unwanted intervention by Northern whites and the efforts of former owners to restore slavery's social and economic relations during Reconstruction. A bold challenge to entrenched notions, A Hard Fight for We places African American women at the center of the South's transition from a slave society.
The art and artists of Harlem: Found Ways represent the place and its people, burnishing Harlem’s luster but never attempting to smooth its rough edges. The works in the exhibition span a variety of media to explore the invention of Harlem and, at the same time, reinvent it. Artists in the exhibition Harlem: Found Ways, at the Ethelbert Cooper Gallery of African & African American Art in Cambridge, MA, from 24 May to 15 July, 2017, included Dawoud Bey, Abigail DeVille, Glenn Ligon, Howard Tangye, Nari Ward, and Kehinde Wiley. The exhibition also included items from the Harlem Postcards project at The Studio Museum in Harlem.
This catalog features essays, including a foreword by Henry Louis Gates, Jr., that contemplate the uniquely layered urban landscape of Harlem, a city within a city. Vibrantly illustrated with objects from the exhibition, the catalog itself is an important resource for students of contemporary African American art and of the city.
It wasn’t all black or white. It wasn’t a vogue. It wasn’t a failure. By restoring interracial dimensions left out of accounts of the Harlem Renaissance—or blamed for corrupting it—George Hutchinson transforms our understanding of black (and white) literary modernism, interracial literary relations, and twentieth-century cultural nationalism in the United States.
What has been missing from literary histories of the time is a broader sense of the intellectual context of the Harlem Renaissance, and Hutchinson supplies that here: Boas’s anthropology, Park’s sociology, various strands of pragmatism and cultural nationalism—ideas that shaped the New Negro movement and the literary field, where the movement flourished. Hutchinson tracks the resulting transformation of literary institutions and organizations in the 1920s, offering a detailed account of the journals and presses, black and white, that published the work of the “New Negroes.” This cultural excavation discredits bedrock assumptions about the motives of white interest in the renaissance, and about black relationships to white intellectuals of the period. It also allows a more careful investigation than ever before of the tensions among black intellectuals of the 1920s. Hutchinson’s analysis shows that the general expansion of literature and the vogue of writing cannot be divorced from the explosion of black literature often attributed to the vogue of the New Negro—any more than the growing sense of “Negro” national consciousness can be divorced from expanding articulations and permutations of American nationality. The book concludes with the first full-scale interpretation of the landmark anthology The New Negro.
A courageous work that exposes the oversimplifications and misrepresentations of popular readings of the Harlem Renaissance, this book reveals the truly composite nature of American literary culture.
In poems, stories, memoirs, and essays about color and culture, prejudice and love, and feminine trials, dozens of African-American women writers--some famous, many just discovered--give us a sense of a distinct inner voice and an engagement with their larger double culture. Harlem's Glory unfolds a rich tradition of writing by African-American women, hitherto mostly hidden, in the first half of the twentieth century. In historical context, with special emphasis on matters of race and gender, are the words of luminaries like Zora Neale Hurston and Georgia Douglas Johnson as well as rare, previously unpublished writings by figures like Angelina Weld Grimké, Elise Johnson McDougald, and Regina Andrews, all culled from archives and arcane magazines.
Editors Lorraine Elena Roses and Ruth Elizabeth Randolph arrange their selections to reveal not just the little-suspected extent of black women's writing, but its prodigious existence beyond the cultural confines of New York City. Harlem's Glory also shows how literary creativity often coexisted with social activism in the works of African-American women.
This volume is full of surprises about the power and diversity of the writers and genres. The depth, the wit, and the reach of the selections are astonishing. With its wealth of discoveries and rediscoveries, and its new slant on the familiar, all elegantly presented and deftly edited, the book will compel a reassessment of writing by African-American women and its place in twentieth-century American literary and historical culture.
Harriet Tubman’s name is known world-wide and her exploits as a self-liberated Underground Railroad heroine are celebrated in children’s literature, film, and history books, yet no major biography of Tubman has appeared since 1943. Jean M. Humez’s comprehensive Harriet Tubman is both an important biographical overview based on extensive new research and a complete collection of the stories Tubman told about her life—a virtual autobiography culled by Humez from rare early publications and manuscript sources. This book will become a landmark resource for scholars, historians, and general readers interested in slavery, the Underground Railroad, the Civil War, and African American women.
Born in slavery in Maryland in or around 1820, Tubman drew upon deep spiritual resources and covert antislavery networks when she escaped to the north in 1849. Vowing to liberate her entire family, she made repeated trips south during the 1850s and successfully guided dozens of fugitives to freedom. During the Civil War she was recruited to act as spy and scout with the Union Army. After the war she settled in Auburn, New York, where she worked to support an extended family and in her later years founded a home for the indigent aged. Celebrated by her primarily white antislavery associates in a variety of private and public documents from the 1850s through the 1870s, she was rediscovered as a race heroine by woman suffragists and the African American women’s club movement in the early twentieth century. Her story was used as a key symbolic resource in education, institutional fundraising, and debates about the meaning of "race" throughout the twentieth century.
Humez includes an extended discussion of Tubman’s work as a public performer of her own life history during the nearly sixty years she lived in the north. Drawing upon historiographical and literary discussion of the complex hybrid authorship of slave narrative literature, Humez analyzes the interactive dynamic between Tubman and her interviewers. Humez illustrates how Tubman, though unable to write, made major unrecognized contributions to the shaping of her own heroic myth by early biographers like Sarah Bradford. Selections of key documents illustrate how Tubman appeared to her contemporaries, and a comprehensive list of primary sources represents an important resource for scholars.
In “Hatching Ruin,” Charles H. Gold provides a complete description of Samuel L. Clemens’s business relationships with Charles L. Webster and James W. Paige during the 1880s. Gold analyzes how these relationships affected Clemens as a person and an artist, most notably in A Connecticut Yankee in King Arthur’s Court.
Winner of the Zócalo Public Square Book Prize
Benjamin L. Hooks Award Finalist
“An insightful, powerful, and moving book.”
—Kevin Boyle, author of Arc of Justice
“Sturkey’s clear-eyed and meticulous book pulls off a delicate balancing act. While depicting the terrors of Jim Crow, he also shows how Hattiesburg’s black residents, forced to forge their own communal institutions, laid the organizational groundwork for the civil rights movement.”
—New York Times
If you really want to understand Jim Crow—what it was and how African Americans rose up to defeat it—you should start by visiting Mobile Street in Hattiesburg, Mississippi, the heart of the historic black downtown. There you can still see remnants of the shops and churches where, amid the violence and humiliation of segregation, men and women gathered to build a remarkable community. Hattiesburg takes us into the heart of this divided town and deep into the lives of families on both sides of the racial divide to show how the fabric of their existence was shaped by the changing fortunes of the Jim Crow South.
“Sturkey’s magnificent portrait reminds us that Mississippi is no anachronism. It is the dark heart of American modernity.”
—Robin D. G. Kelley, author of Thelonious Monk
“When they are at their best, historians craft powerful, compelling, often genre-changing pieces of history…William Sturkey is one of those historians…A brilliant, poignant work.”
—Charles W. McKinney, Jr., Journal of African American History
Drawing on a range of comparative readings by writers, theorists, and filmmakers, including John Edgar Wideman, Frantz Fanon, Richard Wright, Issac Julien, Alain Locke, and Sidney Poitier, Haunted Life is a bold and original exploration of the legacies of black visual culture and the political, deeply sexualized violence that lies buried beneath it.
An engrossing encounter with lingering ghosts of the Korean War
Since the Korean War—the forgotten war—more than a million Korean women have acted as sex workers for U.S. servicemen. More than 100,000 women married GIs and moved to the United States. Through intellectual vigor and personal recollection, Haunting the Korean Diaspora explores the repressed history of emotional and physical violence between the United States and Korea and the unexamined reverberations of sexual relationships between Korean women and American soldiers.
Grace M. Cho exposes how Koreans in the United States have been profoundly affected by the forgotten war and uncovers the silences and secrets that still surround it, arguing that trauma memories have been passed unconsciously through a process psychoanalysts call “transgenerational haunting.” Tracing how such secrets have turned into “ghosts,” Cho investigates the mythic figure of the yanggongju, literally the “Western princess,” who provides sexual favors to American military personnel. She reveals how this figure haunts both the intimate realm of memory and public discourse, in which narratives of U.S. benevolence abroad and assimilation of immigrants at home go unchallenged. Memories of U.S. violence, Cho writes, threaten to undo these narratives—and so they have been rendered unspeakable.At once political and deeply personal, Cho’s wide-ranging and innovative analysis of U.S. neocolonialism and militarism under contemporary globalization brings forth a new way of understanding—and remembering—the impact of the Korean War.The writings are arranged chronologically, beginning with “Indiana Street,” a vivid autobiographical account of the artist’s early years in Kansas City, Missouri. Have I Reasons includes reflections on Morris’s own site-specific installations; transcripts of seminars he conducted in conjunction with exhibitions; and the textual element of The Birthday Boy, the two-screen video-and-sound piece he installed at the Galleria dell’Accademia in Florence, Italy, on the occasion of the five hundredth anniversary of Michelangelo’s David. Essays range from original interpretations of Cézanne’s Mont Sainte-Victoire paintings and Jasper Johns’ early work to engagements with one of Morris’s most significant interlocutors, the philosopher Donald Davidson. Have I Reasons conveys not only Morris’s enduring deep interest in philosophy and issues of resemblance and representation but also his more recent turn toward directly addressing contemporary social and political issues such as corporate excess and preemptive belligerence.
A depiction of moral imagination that resonates today, Have You Got Good Religion? reveals how Black Churchwomen’s understanding of God became action and transformed a nation.
Robyn R. Warhol’s goal is to investigate the effects of readers’ emotional responses to formulaic fiction of the nineteenth and twentieth centuries on gendered subjectivity. She argues that modern literary and cultural studies have ignored nonsexual affectivity in their inquiries. The book elaborates on Warhol’s theory of affect and then focuses on sentimental stories, marriage plots, serialized novels, and soap operas as distinct genres producing specific feelings among fans.
Popular narrative forms use formulas to bring up familiar patterns of feelings in the audiences who love them. This book looks at the patterns of feelings that some nineteenth- and twentieth-century popular genres evoke, and asks how those patterns are related to gender. Soap operas and sentimentalism are generally derided as “effeminate” forms because their emotional range is seen as hyperfeminine. Having a Good Cry presents a celebration of effeminate feelings and works toward promoting more flexible, less pejorative concepts of gender. Using a psychophysiological rather than a psychoanalytic approach to reading and emotion, Warhol seeks to make readers more conscious of what is happening to the gendered body when we read.
At his death, Nathaniel Hawthorne (1804–1864) was universally acknowledged in America and England as "the Great Romancer." Novels such as The Scarlet Letter and The House of the Seven Gables and stories published in such collections as Twice-Told Tales continue to capture the minds and imaginations of readers and critics to this day. Harder to capture, however, were the character and personality of the man himself. So few of the essays that appeared in the two years after his death offered new insights into his life, art, and reputation that Hawthorne seemed fated to premature obscurity or, at least, permanent misrepresentation. This first collection of personal reminiscences by those who knew Hawthorne intimately or knew about him through reliable secondary sources rescues him from these confusions and provides the real human history behind the successful writer.
Remembrances from Elizabeth Peabody, Sophia Hawthorne, Oliver Wendell Holmes, Ralph Waldo Emerson, Bronson Alcott, Rebecca Harding Davis, and twenty others printed in Hawthorne in His Own Time follow him from his childhood in Salem, through his years of initial literary obscurity, his days in the Boston and Salem Custom Houses, his service as U.S. Consul to Liverpool and Manchester and his life in the Anglo-American communities at Rome and Florence, to his late years as the "Great Romancer."
In their enlightening introduction, editors Ronald Bosco and Jillmarie Murphy assess the postmortem building of Hawthorne's reputation as well as his relationship to the prominent Transcendentalists, spiritualists, Swedenborgians, and other personalities of his time. By clarifying the sentimental associations between Hawthorne's writings and his actual personality and moving away from the critical review to the personal narrative, these artful and perceptive reminiscences tell the private and public story of a remarkable life.
Winner, 2011 National Book Award for Poetry
Winner, 2012 GCLS Award for Poetry
Winner, 2012 SIBA Book Award for Poetry
Nominee, 2012 NAACP Image Award for Outstanding Literary Work in Poetry
The poems in Nikky Finney's breathtaking new collection Head Off & Split sustain a sensitive and intense dialogue with emblematic figures and events in African American life: from civil rights matriarch Rosa Parks to former secretary of state Condoleezza Rice, from a brazen girl strung out on lightning to a terrified woman abandoned on a rooftop during Hurricane Katrina. Finney's poetic voice is defined by an intimacy that holds a soft yet exacting eye on the erotic, on uncanny political and family events, like her mother's wedding waltz with South Carolina senator Strom Thurmond, and then again on the heartbreaking hilarity of an American president's final State of the Union address.
Artful and intense, Finney's poems ask us to be mindful of what we fraction, fragment, cut off, dice, dishonor, or throw away, powerfully evoking both the lawless and the sublime.
Hearing Things is a meditation on sound’s work in literature. Drawing on critical works and the commentaries of many poets and novelists who have paid close attention to the role of the ear in writing and reading, Angela Leighton offers a reconsideration of literature itself as an exercise in hearing.
An established critic and poet, Leighton explains how we listen to the printed word, while showing how writers use the expressivity of sound on the silent page. Although her focus is largely on poets—Alfred Tennyson, W. B. Yeats, Robert Frost, Walter de la Mare, Wallace Stevens, Elizabeth Bishop, Jorie Graham, and Alice Oswald—Leighton’s scope includes novels, letters, and philosophical writings as well. Her argument is grounded in the specificity of the text under discussion, but one important message emerges from the whole: literature by its very nature commands listening, and listening is a form of understanding that has often been overlooked. Hearing Things offers a renewed call for the kind of criticism that, avoiding the programmatic or purely ideological, remains alert to the work of sound in every literary text.
Book Prize Winner of the International Alliance for Women in Music of the 2022 Pauline Alderman Awards for Outstanding Scholarship on Women in Music
The Heart of a Woman offers the first-ever biography of Florence B. Price, a composer whose career spanned both the Harlem and Chicago Renaissances, and the first African American woman to gain national recognition for her works.
Price's twenty-five years in Chicago formed the core of a working life that saw her create three hundred works in diverse genres, including symphonies and orchestral suites, art songs, vocal and choral music, and arrangements of spirituals. Through interviews and a wealth of material from public and private archives, Rae Linda Brown illuminates Price's major works while exploring the considerable depth of her achievement. Brown also traces the life of the extremely private individual from her childhood in Little Rock through her time at the New England Conservatory, her extensive teaching, and her struggles with racism, poverty, and professional jealousies. In addition, Brown provides musicians and scholars with dozens of musical examples.
J. McHenry Jones’s Hearts of Gold is a gripping tale of post-Civil War battles against racism and systemic injustice. Originally published in 1896, this novel reveals an African American community of individuals dedicated to education, journalism, fraternal organizations, and tireless work serving the needs of those abandoned by the political process of the white world. Jones challenges conventional wisdom by addressing a range of subjects—from interracial relationships to forced labor in coal mines—that virtually no other novelist of the time was willing to approach. With the addition of an introduction and appendix, this new edition reveals the difficult foundations upon which African Americans built a platform to address injustice; generate opportunities; and play a prominent role in American social, economic, and political life.
Arts as intimate as a piece of needlework or a home altar. Arts as visible as decorative iron, murals, and low riders. Through such arts, members of Tucson's Mexican American community contribute much of the cultural flavor that defines the city to its residents and to the outside world. Now Tucson folklorist Jim Griffith celebrates these public and private artistic expressions and invites us to meet the people who create them.
Featuring a foreword by Tucson author Patricia Preciado Martin and a spectacular gallery of photographs, many by Pulitzer prize-winning photographer José Galvez, this remarkable book offers a close-up view of a community rich with tradition and diverse artistic expression. Hecho a Mano is a piñata bursting with unexpected treasures that will inspire and inform anyone with an interest in folk art or Mexican American culture.
Heiress of All the Ages was first published in 1959. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In a provocative study of American literature, Professor Wasserstrom reappraises the genteel tradition and its place in social and intellectual history. He shows that our image of this tradition has been inadequate, that most of our writers and critics have failed to recognize its profound effects.
Basing his discussion primarily on a study of the major novelists of the period from 1830 to the present, the author examines the role of women in fiction and defines some of our national attitudes toward love. He discusses especially the world of Henry James (from whose phrase "heir of all the ages" the title of this book is derived), William Dean Howells, Nathaniel Hawthorne, James Fenimore Cooper, Edith Wharton, and Robert Penn Warren. He also considers such well known novelists of their day as Bret Harte, Edgar Fawcett, Robert Herrick, Henry B. Fuller, Hamlin Garland, and Gertrude Atherton. In addition, his study is based on source material of the period: diaries, recipe books, family magazines, early issues of sociology and psychology journals, and travel books.
This book will interest not only students of literature and history but also those in the general field of American civilization and sociologists and psychologists concerned with the relation of American literature to our mores.
The American West has taken on a rich and evocative array of regional identities since the late nineteenth century. Wilderness wonderland, Hispanic borderland, homesteader’s frontier, cattle kingdom, urban dynamo, Native American homeland. Hell of a Vision explores the evolution of these diverse identities during the twentieth century, revealing how Western regionalism has been defined by generations of people seeking to understand the West’s vast landscapes and varied cultures.
Focusing on the American West from the 1890s up to the present, Dorman provides us with a wide-ranging view of the impact of regionalist ideas in pop culture and diverse fields such as geography, land-use planning, anthropology, journalism, and environmental policy-making.
Going well beyond the realm of literature, Dorman broadens the discussion by examining a unique mix of texts. He looks at major novelists such as Cather, Steinbeck, and Stegner, as well as leading Native American writers. But he also analyzes a variety of nonliterary sources in his book, such as government reports, planning documents, and environmental impact studies.
Hell of a Vision is a compelling journey through the modern history of the American West—a key region in the nation of regions known as the United States.
Hello I Must Be Going, David Hernandez’s fifth collection of poems, offers a unique take on poetry informed by works of art, in particular the work of artist Ed Ruscha. With narrative and lyrical brushstrokes, Hernandez crafts vibrant landscapes that depict the chaos of the modern world and the beauty entwined within it. Hello I Must Be Going pulses with originality. This is a book of our time, and of time itself—of unrest, loss, grief, and “this endless parade / shimmering toward silence.”
Hemingway and the Black Renaissance, edited by Gary Edward Holcomb and Charles Scruggs, explores a conspicuously overlooked topic: Hemingway’s wide-ranging influence on writers from the Harlem Renaissance to the present day. An observable who’s who of black writers—Ralph Ellison, James Baldwin, Langston Hughes, Claude McKay, Wallace Thurman, Chester Himes, Alex la Guma, Derek Walcott, Gayl Jones, and more—cite Hemingway as a vital influence. This inspiration extends from style, Hemingway’s minimalist art, to themes of isolation and loneliness, the dilemma of the expatriate, and the terrifying experience of living in a time of war. The relationship, nevertheless, was not unilateral, as in the case of Jean Toomer’s 1923 hybrid, short-story cycle Cane, which influenced Hemingway’s collage-like 1925 In Our Time.
Love was a central theme of Ernest Hemingway’s major works. And although his passages on sexual love and on romantic love may be widely remembered and frequently quoted, says Robert W. Lewis in this scholarly and detailed consideration, Hemingway’s later work revealed his ultimate belief that brotherly love was the supreme love of mankind. Eros, Hemingway concluded, was a neutral value, neither good nor bad in itself, but yet capable of complementing agape in giving man pleasure.
By examining the forms and essences of the various kinds of love, Hemingway worked out an explanation and tentative solution to the troubles of the human condition. The tradition of romantic love that had prevailed in Western literature had challenged sexual love and brotherly love and had been confused with them since the Middle Ages. Hemingway’s early work was destructive of romantic love, says Lewis; the work of his middle career was crucial in his exploration for the supreme love and the means to whatever peace and happiness man may achieve. By the time he wrote The Old Man and the Sea, his ethic was formulated and he could write conclusively of the trial and lesson of love in Western civilization in a way that reflected his discovery that true love must be a reciprocal blend of eros and agape between man and woman, man and man, and man and his world.
Hemingway was first published in 1970. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In a close critical analysis of five of Ernest Hemingway's novels and a number of his most important short stories, Professor Benson provides a fascinating new view of his work. The novels discussed are The Sun Also Rises, A Farewell to Arms, For Whom the Bell Tolls, Across the River and into the Trees,and the Old Man and the Sea.
Hemingway's art of self-defense, which Professor Benson refers to in his subtitle, was, as he demonstrates in his perceptive criticism, the writer's use of style and technique to attack the sentimentalities which were Hemingway's own weakness. Emotion was central to the task which Hemingway defined for himself, Professor Benson explains, and a critical appraisal of his work must, therefore, focus particularly on the ways in which he dealt with and expressed emotion.
Reveal a range of voices, narrative strategies, and fictional interests more wide-ranging and experimental than any other extant work of Hemingway’s
In 1924 Ernest Hemingway published a small book of eighteen vignettes, each little more than one page long, with a small press in Paris. Titled in our time, the volume was later absorbed into Hemingway’s story collection In Our Time. Those vignettes, as Milton Cohen demonstrates in Hemingway’s Laboratory, reveal a range of voices, narrative strategies, and fictional interests more wide-ranging and experimental than any other extant work of Hemingway’s. Further, they provide a vivid view of his earliest tendencies and influences, first manifestations of the style that would become his hallmark, and daring departures into narrative forms that he would forever leave behind.
In 1937 and 1938, Ernest Hemingway made four trips to Spain to cover its civil war for the North American News Alliance wire service and to help create the pro-Republican documentary film The Spanish Earth. Hemingway’s Second War is the first book-length scholarly work devoted to this subject.
Winner, 2015 Seven Sisters Book Award for Poetry
The poems in Hemisphere explore what it means to be a daughter and what it means to bear new life. Ellen Hagan investigates the world historical hemispheres of a family legacy from around the globe and moves down to the most intimate hemisphere of impending motherhood. Her poems reclaim the female body from the violence, both literal and literary, done to it over the years. Hagan acknowledges the changing body of a mother from the strains of birth—from the growing body of a child, to the scars left most visibly by a C-section—as well as the changes wrought by age and, too often, abuse. The existence of a hemisphere implies a part seeking a whole, and as a collection, Hemisphere is a coherent and cogent journey toward reclamation and wholeness.
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