Search results for ""Vanderbilt University Press""

Offers a comprehensive look into the secret lives of Davidson County's six native orchid species. The book's vibrant, eye-catching photographs of plant life cycles provide a straightforward way for readers to quickly identify these varieties and rediscover the fascinating history of these natural wonders.

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Narrative Sociology defines classics, identifies exemplars of narrative analysis, and delineates a field in the making.

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We are living a moment in which famous chefs, Michelin stars, culinary techniques, and gastronomical accolades attract moneyed tourists to Spain from all over the world. This has prompted the Spanish government to declare its cuisine as part of Spanish patrimony.Yet even with this widespread global attention, we know little about how Spanish cooking became a litmus test for demonstrating Spain’s modernity and, in relation, the roles ascribed to the modern Spanish women responsible for daily cooking. Efforts to articulate a new, modern Spain infiltrated writing in multiple genres and media. Women’s Work places these efforts in their historical context to yield a better understanding of the roles of food within an inherently uneven modernization process. Further, the book reveals the paradoxical messages women have navigated, even in texts about a daily practice that shaped their domestic and work lives. This argument is significant because of the degree to which domestic activities, including cooking, occupied women’s daily lives, even while issues like their fitness as citizens and participation in the public sphere were hotly debated. At the same time, progressive intellectuals from diverse backgrounds began to invoke Spanish cooking and eating as one measure of Spanish modernity.Women’s Work shows how culinary writing engaged these debates and reached women at the site of much of their daily labor—the kitchen—and, in this way, shaped their thinking about their roles in modernizing Spain.

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Although known primarily as a country music star, Marty Stuart has been taking photographs of the people and places surrounding him since he first went on tour with bluegrass performer Lester Flatt at age twelve. His inspirations to do this include his own mother, Hilda Stuart, whom he watched document their family's everyday life in Mississippi, bassist Milt Hinton's photographs of fellow jazz artists, and Edward Curtis's well-known images of Native Americans at the turn of the twentieth century. Stuart's work ranges from intimate and often candid behind-the-scenes depictions of legendary musicians, to images that capture the eccentricities of characters from the back roads of America, to dignified portraits of members of the impoverished Lakota tribe in South Dakota, a people he was introduced to through his former father-in-law, Johnny Cash. Whatever the subject, Stuart is able to sensitively tease out something unexpected or hidden beneath the surface through a skillful awareness of timing and composition as well as a unique relationship with many of the subjects based on years of friendship and trust.This book will present images from these three bodies of work: "Badlands," on his time with the Lakota; "The Masters," from his work with musicians like Bill Monroe, Johnny Cash, Ray Charles, Dolly Parton, George Jones, Kitty Wells, Willie Nelson, and Waylon Jennings; and "Blue Line Hot Shots." As Stuart explains, "The newly built Interstate Highway System was at one time represented on our maps by the color red, while the two-lane highways and back roads of the nation were represented in blue. The back roads are where you'll find some of the people that I admire, respect, and always keep an eye out for. ... They are renegades … As Roger Miller once said, 'These people flush to the beat of a different plumber.' "The photographs are framed by an introduction by Stuart and a context-setting essay by photography historian Susan Edwards, executive director of the First Center for the Visual Arts. The book and accompanying exhibition at the First Center demonstrate that Marty Stuart is a master storyteller not only through his songs but also through his revealing and compelling photographs.

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At the end of the nineteenth century, American artists demonstrated a preference for gardens as artistic motifs as well as a growing appreciation of the art of gardening itself. The range of color and the variation in form and silhouette made the garden a compelling subject for a large number of painters inclined toward the Impressionist style. Early twentieth-century America witnessed a mania for the garden, and the interest in the art of gardening dominated many aspects of domestic life. Publications and articles offered gardening advice for Americans, while also asserting that the art of gardening paralleled the art of painting. The exhibition catalog The American Impressionists in the Garden explores the theme of the garden in American art and society of the late nineteenth and early twentieth centuries. May Brawley Hill's essay discusses a range of themes, including the Impressionist fascination for gardens, the history of garden design, comparisons between European and American garden paintings, images of women, and the art colony movement, as well as providing detailed readings of the specific gardens painted and cultivated by these artists. Besides the forty-four color plates depicting European and American gardens by American artists, the catalog includes some historic photographs of artists in garden settings. These allow the reader to examine the relationship between the garden as photographed and the garden as painted. The catalog looks at garden paintings from Holland, France, Italy, and England and from different regions in the United States, including the Northeast, Southeast, Southwest, and West Coast. Garden sculpture was an essential element of garden design, and the catalog also features images of a number of small-scale bronzes and other statuary for garden environments. This book has been developed to accompany a 2010 exhibition at Cheekwood Botanical Garden & Museum of Art.

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Before there were guidebooks there were just guides--people in the community you could count on to show you around.I'll Take You There is written by and with the people who most intimately know Nashville, foregrounding the struggles and achievements of people's movements towards social justice. The colloquial use of 'I'll take you there' has long been a response to the call of a stranger: for recommendations of safe passage through unfamiliar territory, a decent meal and place to lay one's head, or perhaps a watering hole or juke joint. In the pages that follow, more than 100 Nashvillians 'take us there,' guiding us to places we might not otherwise encounter. Their collective entries bear witness to the ways that power has been used by social, political, and economic elites to tell or omit certain stories, while celebrating the power of counter-narratives as a tool to resist injustice. Indeed, each entry is simultaneously a story about place, power, and the historic and ongoing struggle toward a more just city for all. We hope the result is akin to the experience of arriving in an unfamiliar place asking directions, and rather than simply getting pointed in the right direction, receiving a warm offer from a local to lead us on, accompanied by a tale or two.

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This critical anthology of writings by Carlos Monsiváis represents a foundational set of texts by an exceptional (yet under‑translated) Mexican cultural critic. Fatefully, Faithfully Feminist situates the urgencies of social movements as they developed in real time. The essays span from 1973 to 2008 and analyze the role of women in a patriarchal culture from pre‑Colombian times to the present. This critical edition offers extensive annotation and cultural background to understand the cogent, but particularly Mexican, arguments that MonsivÁis makes, many of which are extremely relevant in today's political economy in the U.S. and the world.

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Carmen Miranda got knocked down and kept going. Filming an appearance on The Jimmy Durante Show on August 4, 1955, the "ambassadress of samba" suddenly took a knee during a dance number, clearly in distress. Durante covered without missing a beat, and Miranda was back on her feet in a matter of moments to continue with what she did best: performing. By the next morning, she was dead from heart failure at age 46.This final performance in many ways exemplified the power of Carmen Miranda. The actress, singer, and dancer pursued a relentless mission to demonstrate the provocative theatrical force of her cultural roots in Brazil. Armed with bare-midriff dresses, platform shoes, and her iconic fruit-basket headdresses, Miranda stole the show in films like That Night in Rio and The Gang's All Here. For American film audiences, her life was an example of the exoticism of a mysterious, sensual South America. For Brazilian and Latin American audiences, she was an icon. For the gay community, she became a work of art personified and a symbol of courage and charisma.In Creating Carmen Miranda, Kathryn Bishop-Sanchez takes the reader through the myriad methods Miranda consciously used to shape her performance of race, gender, and camp culture, all to further her journey down the road to becoming a legend.

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In 1997, when the author began research in Peru, she observed a profound disconnect between the birth care desires of health personnel and those of indigenous women. Midwives and doctors would plead with her as the anthropologist to ""educate women about the dangerous inadequacy of their traditions."" They failed to see how their aim of achieving low rates of maternal mortality clashed with the experiences of local women, who often feared public health centers, where they could experience discrimination and verbal or physical abuse. Mainly, the women and their families sought a ""good"" birth, which was normally a home birth that corresponded with Andean perceptions of health as a balance of bodily humors.Peru's Intercultural Birthing Policy of 2005 was intended to solve these longstanding issues by recognizing indigenous cultural values and making biomedical care more accessible and desirable for indigenous women. Yet many difficulties remain.Guerra-Reyes also gives ethnographic attention to health care workers. She explains the class and educational backgrounds of traditional birth attendants and midwives, interviews doctors and health care administrators, and describes their interactions with local families. Interviews with national policy makers put the program in context.

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Breach of Peace is a photo-history told in images old and new. The book includes the mug shots of all 328 Freedom Riders arrested in Jackson, Mississippi, along with contemporary portraits of 98 Riders, supplemented by interviews and brief bios. (The 2008 edition had 82 profiles.)In the spring and summer of 1961, several hundred Americans blacks and whites, men and women—entered Southern bus and train stations to challenge the segregated waiting rooms, lunch counters, and bathrooms. The Supreme Court had ruled that such segregation was illegal, and the Riders were trying to make the federal government enforce that decision.Though there were Freedom Rides across the South, Jackson soon became the campaign's focus. The 328 Riders arrested there were quickly convicted of breach of peace. The Riders then compounded their protest by refusing bail. ""Jail, no bail!"" was their cry, and they soon filled the city's jails. Mississippi responded by transferring them to Parchman, the infamous Delta prison farm, for the remainder of their time behind bars, usually about six weeks. New to the expanded edition are five portraits made in the maximum-security cells at Parchman during the fiftieth anniversary events of 2011.The mug shots of each Rider, bearing name, birth date, and other personal details, were duly filed away by agents of the Mississippi State Sovereignty Commission, a state investigative body dedicated to preserving white supremacy. By carefully preserving the mug shots, the Commission inadvertently created a testament to these heroes of the civil rights movement.

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Named One of the "Best Art Books of 2018" by the New York Times Fifty years after Martin Luther King Jr.'s death—and at a time when race relations and social justice are again at the forefront of our country's consciousness—this book expands on a Frist Art Museum exhibition to present a selection of approximately one hundred photographs that document an important period in Nashville's struggle for racial equality. The images were taken between 1957, the year that desegregation in public schools began, and 1968, when the National Guard was called in to surround the state capitol in the wake of the civil rights leader's assassination in Memphis. Of central significance are photographs of lunch counter sit-ins in early 1960, led by a group of students, including John Lewis (who contributed the book's foreword) and Diane Nash, from local historically black colleges and universities. The demonstrations were so successful that King stated just a few weeks later at Fisk University: "I did not come to Nashville to bring inspiration but to gain inspiration from the great movement that has taken place in this community." The role that Nashville played in the national civil rights movement as a hub for training students in nonviolent protest and as the first Southern city to integrate places of business is a story that warrants reexamination. The book also provides an opportunity to consider the role of images and the media in shaping public opinion, a relevant subject in today's news-saturated climate. Photographs from the archives of both daily newspapers are included: the Tennessean, which was the more liberal publication, and the Nashville Banner, a conservative paper whose leadership seemed less interested in covering events related to racial issues. Some of the photographs in the exhibition had been selected to be published in the papers, but many were not, and their disclosure reveals insight into the editorial process. In several images, other photojournalists and news crews are visible, serving as a reminder of the almost constant presence of the camera during these historic times. Essays by Linda Wynn of Fisk University and the Tennessee Historical Commission and Susan H. Edwards, executive director of the Frist Art Museum, offer historical context on Nashville during the civil rights era and on photojournalism, respectively. Congressman John Lewis's foreword recounts memories of his time in Nashville and reminds us that there is still work to be done to build King's Beloved Community.

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Americana Portrait Sessions is the first photography book to take a comprehensive view of contemporary Americana music. The collection features intimate portraits that reveal the strength, heart, and soul of nearly two hundred great artists from the big tent that is Americana music, all shot through the expert lens of Jeff Fasano. Fasano's unparalleled access to Americana artists like Sheryl Crow, Rhiannon Giddens, Vince Gill, Keb' Mo', Judy Collins, John Oates, The Avett Brothers, The McCrary Sisters, Lucinda Williams, Margo Price, Blind Boys of Alabama, and Kris Kristofferson gives Americana Portrait Sessions the kind of authority that comes from true reach into the breadth of the genre. But this collection is as important for the artists few fans know as for the ones with successful careers behind them. While the book champions the diversity of race, gender, sexuality, and age inherent in Americana music, it also spans career arcs to bring lesser-known acts into the spotlight.Americana Portrait Sessions brings you backstage to the green rooms and quiet corners where artists like The War and Treaty, Jewel, Jason Isbell, and The Wooten Brothers aren't just artists performing, but people hanging out.

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The 400th anniversaries of Don Quixote in 2005 and 2015 sparked worldwide celebrations that brought to the fore its ongoing cultural and ideological relevance. Living Quixote examines contemporary appropriations of Miguel de Cervantes's masterpiece in political and social justice movements in the Americas, particularly in Brazil.In this book, Cervantes scholar Rogelio Miñana examines long-term, Quixote-inspired activist efforts at the ground level. Through what the author terms performative activism, Quixote-inspired theater companies and nongovernmental organizations deploy a model for rewriting and enacting new social roles for underprivileged youth. Unique in its transatlantic, cross-historical, and community-based approach, Living Quixote offers both a new reading of Don Quixote and an applied model for cultural activism-a model based, in ways reminiscent of Paulo Freire, on the transformative potential of performance, literature, and art.

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In 1997, when the author began research in Peru, she observed a profound disconnect between the birth care desires of health personnel and those of indigenous women. Midwives and doctors would plead with her as the anthropologist to ""educate women about the dangerous inadequacy of their traditions."" They failed to see how their aim of achieving low rates of maternal mortality clashed with the experiences of local women, who often feared public health centers, where they could experience discrimination and verbal or physical abuse. Mainly, the women and their families sought a ""good"" birth, which was normally a home birth that corresponded with Andean perceptions of health as a balance of bodily humors.Peru's Intercultural Birthing Policy of 2005 was intended to solve these longstanding issues by recognizing indigenous cultural values and making biomedical care more accessible and desirable for indigenous women. Yet many difficulties remain.Guerra-Reyes also gives ethnographic attention to health care workers. She explains the class and educational backgrounds of traditional birth attendants and midwives, interviews doctors and health care administrators, and describes their interactions with local families. Interviews with national policy makers put the program in context.

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Continually Working tells the stories of Black working women who resisted employment inequality in Milwaukee, Wisconsin, from the 1940s to the 1970s. The book explores the job-related activism of Black Midwestern working women and uncovers the political and intellectual strategies they used to critique and resist employment discrimination, dismantle unjust structures, and transform their lives and the lives of those in their community. Moten emphasizes the ways in which Black women transformed the urban landscape by simultaneously occupying spaces from which they had been historically excluded and creating their own spaces. Black women refused to be marginalized within the historically white and middle‑class Milwaukee Young Women's Christian Association (MYWCA), an association whose mission centered on supporting women in urban areas. Black women forged interracial relationships within this organization and made it, not without much conflict and struggle, one of the most socially progressive organizations in the city. When Black women could not integrate historically white institutions, they created their own. They established financial and educational institutions, such as Pressley School of Beauty Culture, which beautician Mattie Pressley Dewese opened in 1946 as a result of segregation in the beauty training industry. This school served economic, educational and community development purposes as well as created economic opportunities for Black women. Historically and contemporarily, Milwaukee has been and is still known as one of the most segregated cities in the nation. Black women have always contested urban segregation, by making space for themselves and others on the margins. In so doing, they have transformed both the urban landscape and urban history.

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A resident of Nashville whose work has been exhibited and collected internationally, Jack Spencer alters the surfaces of his photographs with techniques suggestive of painting - rich patinas and luminous colours, softly-focused or veiled forms, and traces of the artist's hand: imperfections, marks, and painterly textures. The exhibition catalog consists of an essay by Susan Edwards and 70 full-page colour plates selected from such series as ""Native Soil,"" ""Apariciones,"" ""This Land,"" and ""Portraits and Gestures"" to exemplify the relationship between these compelling surfaces and Spencer's interest in myth, mystery, and the ephemeral nature of existence that is implied by and beyond the surface. Each of six sections includes works from various series in which the language of photography is expanded to convey narratives inspired by other art forms, especially literature and painting. ""Portraits and Figures"" reveals Spencer's capacity to define the psychological complexity of the people he photographs, who often occupy the periphery of society. Further exploring the theme of hidden narratives, but as suggested by the altered face, ""Disguise/Perform"" includes photographs - primarily taken in Mexico - featuring masked and painted figures often associated with ancient rituals and alternative life styles. ""Beautiful Lies"" includes new work in which the exposed skin of subjects has been painted or otherwise altered by the artist and then photographed with luminous props and mysterious settings to underscore the sense of artifice, as if the body itself is shown to be an imaginative construction. ""Day into Night"" continues Spencer's consideration of transitions from one state of being to another, this time through the use of ephemeral plays of light and shadow, often suggesting dawn or dusk as signifiers of change. The final two sections focus on the symbolic meaning and phenomenological experiences of the landscape. Inspired by such regionalist painters as Grant Wood, ""This Land"" includes works that convey dreamlike views of rural and small-town America. ""Colour as Light"" features landscapes in which the limpid atmosphere merges land, trees, animals, and sky into a palpable gestalt - landscapes of the mind's eye that evoke the limitless quality of Mark Rothko's colour-saturated canvases.

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A Laboratory of Her Own: Women and Science in Spanish Culture gathers diverse voices to address women's interaction with STEM fields in the context of Spanish cultural production. This volume focuses on the many ways the arts and humanities provide avenues for deepening the conversation about how women have been involved in, excluded from, and represented within the scientific realm.While women's historic exclusion from STEM fields has received increased scrutiny worldwide in recent years, women within the Spanish context have been perhaps even more peripheral given the complex socio-cultural structures emanating from gender norms and political ideologies dominant in the Spanish nineteenth and twentieth centuries. Nonetheless, Spanish female cultural producers have long been engaged with science and technology within the cultural realm, as expressed in literature, art, film, and other areas. Spanish cultural production offers diverse representations of the relationships between women, gender, sexuality, race, and the STEM fields.A Laboratory of Her Own studies representations of Spanish women (including non-white women) and scientific cultural production from the late nineteenth through the twenty-first centuries. STEM topics include the environment, biodiversity, temporal and spatial theories, medicine and reproductive rights, neuroscience, robotics, artificial intelligence, and quantum physics. These scientific themes and other issues are analyzed in narratives, paintings, poetry, photographs, science fiction, medical literature, translation, newswriting, film, and other forms.

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One of this book's goals is to evaluate the complex ways that Madrid has served as the political, economic, and cultural capital of the Global South from the end of the Franco dictatorship to the present. The other is to examine the city as lived experience, where citizens contest capital's push to shape urban space in its own image through activities of the imagination.Scholars, investigative journalists, political activists, and a filmmaker combine to document the vast array of Madrid's grassroots movements.

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Subjunctive Aesthetics argues for the importance of ecocritical approaches within the field of Mexican Studies. While environmental historians of Mexico have been leading the charge in terms of foregrounding the nonhuman as a legitimate object of analysis, Mexican cultural studies is just beginning to do. This monograph engages with established and up-and-coming Latin American ecocritical scholars who argue that Latin America offers an important corrective to Anglocentric approaches to the Anthropocene by foregrounding colonialism and empire. Studies indicate that Mexicans are more worried about climate change than any other global issue, more anxious about natural disasters than any other quotidian threat (including crime), and that suicide rates have risen along with temperatures. These fears are grounded in reality: in the last twenty years, Mexico issued more than 2,000 extreme weather warnings linked to hydrometeorological events, and ranked in the top ten countries in terms of absolute economic losses caused by (un)natural disasters. Mexico is also one of the deadliest countries in the world for environmental activists: in 2018 alone, twenty-one defenders of the land were murdered, and many others criminalized or intimidated. Pervasive social anxiety in Mexico about ongoing and future climate change is reflected in the outpouring of eco-cultural production over the past decade, a body of work that has yet to be comprehensively studied. The exponential explosion of cultural responses to climate change is not limited to any one genre: Mexican poets like Karen Villeda and Isabel Zapata have thematized extinction, sci-fi writer Alberto Chimal recently published a dystopian young adult climate fiction, and performance artist Naomi Rincón Gallardo has created works that contest extractivism’s murderous tactics. Subjunctive Aesthetics brings together these artists and others to collate a diverse constellation of Mexican cultural responses to climate change that index the multifaceted nature of this crisis. Carolyn Fornoff argues that what unites this array is the way in which it deploys the subjunctive—not the what is, but the what if—in order to disrupt current paradigms of energy consumption and envision a more just and sustainable planetary future.

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Creation Story explores parallels and intersections in the works of Dial and his fellow Alabamians, the remarkable quilters of Gee's Bend. In the tradition of African American cemetery constructions and yard art, these artists harness the tactile properties and symbolic associations of cast-off materials in creating an art of profound beauty and evocative power. Produced against a backdrop of poverty and racism, these artworks have an appeal that crosses aesthetic, social, and geographical boundaries, earning them wide recognition as being among the most compelling art of our time.The quilters of Gee's Bend, a small rural community near Selma, Alabama, use salvaged fabric in orchestrations of strong colours, dynamic patterns, and eccentric geometric shapes. While drawing from classic traditions of American quilt making, their sensitivity to the evocative power of materials and fine balance of optical tension and harmony marks their quilts as truly original. The New York Times has called them ""some of the most miraculous works of modern art America has produced."" Going beyond the beauty and tactile richness of the Gee's Bend quilts, the densely layered assemblages of Thornton Dial are, in his words, ""about ideas, and about life, and the experiences of the world."" A keen observer and interpreter of his times, Dial uses the technique of bricolage--the aesthetic reconfiguring of found objects--to reflect on personal memories, insights into root causes of racism and poverty, and news events and programs he sees on television. The Wall Street Journal has called Dial's works ""tough, beautiful, disturbing, seductive, improvisatory, unignorable, fierce, exhilarating, ambiguous--and much more."" While Dial's social symbolism contrasts with the inherent abstraction of the Gee's Bend quilts, the two are linked by an appreciation for the poetic and evidentiary power of raw materials, which they transform into expressions of beauty and truth. The artworks reproduced in this exhibition catalogue are drawn from the extensive collection of the Souls Grown Deep Foundation in Atlanta, Georgia. The 43 colour plates are accompanied by illustrated essays by curators Paul Arnett and Joanne Cubbs.

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The Sculpture of William Edmondson: Tombstones, Garden Ornaments, and Stonework is the first large-scale museum examination of the artist's career in over twenty years. Organized by Cheekwood Curator of Sculpture, Dr. Marin R. Sullivan, the exhibition draws upon new scholarship and methodologies to contextualize Edmondson's sculpture, both within the histories of Nashville during the Interwar years and the art histories of modern art in the United States. Edmonson has largely been confined to narratives that focus on his artistic discovery by white patrons in the 1930s, his work's formal resonance with so-called primitivism and direct carving techniques, and his place in the traditions of African American ""outsider"" art. This exhibition revisits Edmonson's work within these frameworks, but also seeks to reevaluate his sculpture on its own terms and as part of a comprehensive practice that included the creation of commercial objects rather than strictly fine art. The exhibition's title references the sign that hung on the outside of Edmondson's studio, advertising what was for sale and on view to the public in his yard, including tombstones, birdbaths, and statuary meant to be used and intended for outdoor rather than gallery display. This catalog expands upon the exhibition, including photos of Edmondson's grave markers and his yard art.

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Do we want to perpetuate a Jim Crow health system?" A brilliant, idealistic physician asked that question in Alabama in 1966. Her answer was no—it led to her murder. Unearthing the truth of Jean Cowsert's life and death is a central concern of David Barton Smith's Race, Murder, and Medicine. Unearthing the grim history of our healthcare system is another. Race-related disparities in American death rates, exacerbated once again by the Covid-19 pandemic, have persisted since the birth of the modern U.S. medical system a century ago. A unique but fundamentally racist history has prevented the United States from providing the kind of healthcare assurances that are taken for granted in other industrialized nations. The underlying story is one of political, medical, and bureaucratic machinations, all motivated by a deliberate, racist design. In Race, Murder, and Medicine, David Barton Smith traces the Jean Cowsert story and the cold case of her death as a through line to explain the construction and fulfillment of an unequal healthcare system that would rather sacrifice many than provide for Black Americans. Cowsert's suspicious death came at a key moment in the struggle for universal healthcare in the wealthiest country on earth. Race, Murder, and Medicine is a history of those failed efforts, and a story of selective amnesia about one doctor's death and the movement she died for.

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When Nashville identified its first case of coronavirus in March 2020, the city was between directors of public health and as unprepared as the rest of the world for what was to come. Dr. Alex Jahangir, a trauma surgeon acting at that time as chair of the Metro Nashville Board of Health, soon found himself in front of the cameras and eventually in the unenviable position as head of the city's Coronavirus Task Force.What followed was a year of unprecedented challenge and scrutiny. Jahangir, a first-generation Iranian immigrant, grew up in Nashville—but that didn't stop ethnic, racial, and cultural tensions around masking, schools, vaccines, and the very reality of the virus from dominating what should have been a collective effort at keeping Nashville healthy and safe.Hot Spot is Jahangir's narrative derived from his actual op notes (the journal-like entries surgeons often keep following operations) and expanded to include his personal reflections and a glimpse into the inner sanctums of city and state governance in crisis.

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