Search results for ""University of Massachusetts Press""

Even as a fourth-generation Jewish Texan, S. L. Wisenberg has always felt the ghost of Europe dogging her steps, making her feel uneasy in her body and in the world. At age six, she’s sure that she hears Nazis at her bedroom window and knows that after they take her away, she’ll die without her asthma meds. In her late twenties, she infiltrates sorority rush at her alma mater, curious about whether she’ll get a bid now. Later in life, she makes her first and only trip to the mikvah while healing from a breast biopsy (benign this time), prompting an exploration of misogyny, shame, and woman-fear in rabbinical tradition.With wit, verve, blood, scars, and a solid dose of self-deprecation, Wisenberg wanders across the expanse of continents and combs through history books and family records in her search for home and meaning. Her travels take her from Selma, Alabama, where her Eastern European Jewish ancestors once settled, to Vienna, where she tours Freud’s home and figures out what women really want, and she visits Auschwitz, which—disappointingly—leaves no emotional mark.

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Logging in the northern forest has been romanticized, with images of log drives, plaid shirts, and bunkhouses in wide circulation. Increasingly dismissed as a quaint, rural pastime, logging remains one of the most dangerous jobs in the United States, with loggers occupying a precarious position amid unstable markets, expanding global competition, and growing labor discord. Examining a time of transition and decline in Maine's forest economy, Andrew Egan traces pathways for understanding the challenges that have faced Maine's logging community and, by extension, the state's forestry sector, from the postwar period through today.Seeking greater profits, logging companies turned their crews loose at midcentury, creating a workforce of independent contractors who were forced to purchase expensive equipment and compete for contracts with the mills. Drawing on his own experience with the region's forest products industry, interviews with Maine loggers, media coverage, and court documents, Egan follows the troubled recent history of the industry and its battle for survival.

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Bob Dylan is an iconic American artist, whose music and performances have long reflected different musical genres and time periods. His songs tell tales of the Civil War, harken back to 1930s labor struggles, and address racial violence at the height of the civil rights movement, helping listeners to think about history, and history making, in new ways. While Dylan was warned by his early mentor, Dave Van Ronk, that, "You're just going to be a history book writer if you do those things. An anachronism," the musician has continued to traffic in history and engage with a range of source material—ancient and modern—over the course of his career.In this beautifully crafted book, Freddy Cristóbal Domínguez makes a provocative case for Dylan as a historian, offering a deep consideration of the musician's historical influences and practices. Drawing on interviews, speeches, and the close analysis of lyrics and live performances, Bob Dylan in the Attic is the first book to consider Dylan's work from the point of view of historiography.

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By producing literature in nontraditional forms—books made of cardboard trash, posters in subway stations, miniature shopping bags, digital publications, and even children’s toys—Chileans have made and circulated literary objects in defiance of state censorship and independent of capitalist definitions of value. In The Labor of Literature Jane D. Griffin studies amateur and noncommercial forms of literary production in Chile that originated in response to authoritarian state politics and have gained momentum throughout the postdictatorship period. She argues that such forms advance a model of cultural democracy that differs from and sometimes contradicts the model endorsed by the state and the market.By examining alternative literary publications, Griffin recasts the seventeen-year Pinochet dictatorship as a time of editorial experimentation despite widespread cultural oppression and shows how grassroots cultural activism has challenged government-approved corporate publishing models throughout the postdictatorship period. Griffin’s work also points to the growing importance of autogestión, or do-it-yourself cultural production, where individuals combine artisanal forms with new technologies to make and share creative work on a global scale.

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In 1966, the most destructive flood in the history of Venice temporarily submerged the city and threatened its extraordinary art and architecture. Among the organizations that mobilized to protect this fragile heritage was Save Venice Inc. Founded in Boston and now headquartered in New York City, this nonprofit has become the largest and most active committee dedicated to preserving the artistic legacy of Venice.Christopher Carlsmith tells the fascinating story of Save Venice Inc., from its origins to its fiftieth anniversary. It continues to provide an influential model for philanthropy in the cultural sector, raising substantial funds to conserve and restore paintings, sculptures, books, mosaics, and entire buildings at risk from human and environmental impacts. Employing extensive archival research, oral interviews, and newspaper accounts, Save Venice Inc. explores a range of topics, including leadership, conservation projects, fundraising, and educational outreach. Using a range of methodologies from cultural history and art history, Carlsmith traces the achievements and challenges faced by this and other historic preservation organizations and by this unique city on the sea.

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On any given night, hundreds of guests walk the darkened streets of Colonial Williamsburg looking for ghosts. Since the early 2000s, both the museum and private companies have facilitated these hunts, offering year-round ghost tours. Critics have called these excursions a cash grab, but in truth, ghosts and hauntings have long been at the center of the Colonial Williamsburg project.The Spirit of Colonial Williamsburg examines how the past comes alive at this living-history museum. In the early twentieth century, local stories about the ghosts of former residents—among them Revolutionary War soldiers and nurses, tavern owners and prominent attorneys, and enslaved African Americans—helped to turn Williamsburg into a desirable site for historical restoration. But, for much of the twentieth century, the museum tried diligently to avoid any discussion of ghosts, considering them frivolous and lowbrow. Alena Pirok explores why historic sites have begun to embrace their spectral residents in recent decades, arguing that through them, patrons experience an emotional connection to place and a palpable understanding of the past through its people.

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In Every Home a Fortress, Thomas Bishop details the remarkable cultural history and personal stories behind an iconic figure of Cold War masculinity -- the fallout shelter father, who, with spade in hand and the canned goods he has amassed, sought to save his family from atomic warfare. Putting policy documents and presidential addresses into conversation with previously unmined personal letters, diaries, local media coverage, and antinuclear ephemera, Bishop demonstrates that the nuclear crisis years of 1957 to 1963 were not just pivotal for the history of international relations but were also a transitional moment in the social histories of the white middle class and American fatherhood. During this era, public concerns surrounding civil defense shaped private family conversations, and the fallout shelter emerged as a site at which ideas of nationhood, national security, and masculinity collided with the complex reality of trying to raise and protect a family in the nuclear age.

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News media and popular culture in the United States have produced a conventional narrative of the outcomes of sexual abuse: someone perpetrates sexual violence, goes to trial, and is then punished with prison time. Survivors recede into the background, becoming minor characters in their own stories as intrepid prosecutors, police officers, and investigators gather evidence and build a case.Leland G. Spencer explains how the stories we tell about sexual assault serve to reinforce rape culture, privileging criminal punishment over social justice and community-based responses to sexual violence. Examining a broad range of popular media, including news coverage of the Brock Turner case, Naomi Iizuka’s popular play Good Kids, the television program Criminal Minds, and the book turned television show 13 Reasons Why, Spencer demonstrates how these representations shore up the carceral state, perpetuate rape myths, blame victims, and excuse those who harm. While increased discussion about sexual violence represents feminist progress, these narratives assume that policing and prosecution are the only means of achieving justice, sidelining other potential avenues for confronting perpetrators and supporting victims.

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With original contributions from a diverse range of teachers, scholars, and practitioners in literary studies, history, book arts, library science, language studies, and archives, Teaching the History of the Book is the first collection of its kind dedicated to book history pedagogy. Presenting a variety of methods for teaching book history both as its own subject and as an approach to other material, each chapter describes lessons, courses, and programs centered on the latest and best ways of teaching undergraduate and graduate students. Expansive and instructive, this volume introduces ways of helping students consider how texts were produced, circulated, and received, with chapters that cover effective ways to organize courses devoted to book history, classroom activities that draw on this subject in other courses, and an overview of selected print and digital tools. Contributors, many of whom are leading figures in the field, utilize their own classroom experiences to bring to life some of the rich possibilities for teaching book history in the twenty-first century. In addition to the volume editors, contributors include Ryan Cordell, Brigitte Fielder, Barbara Hochman, Leslie Howsam, Matthew Kirschenbaum, Clare Mullaney, Kate Ozment, Leah Price, Jonathan Rose, Jonathan Senchyne, Sarah Wadsworth, and others.

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During the Cold War, political tensions associated with the division of Germany came to influence the world of competitive sport. In the 1950s, West Germany and its NATO allies refused to recognize the communist East German state and barred its national teams from sporting competitions. The construction of the Berlin Wall in 1961 further exacerbated these pressures, with East German teams denied travel to several world championships. These tensions would only intensify in the run-up to the 1968 Olympics.In Bidding for the 1968 Olympic Games, Heather L. Dichter considers how NATO and its member states used sport as a diplomatic arena during the height of the Cold War, and how international sport responded to political interference. Drawing on archival materials from NATO, foreign ministries, domestic and international sport functionaries, and newspapers, Dichter examines controversies surrounding the 1968 Summer and Winter Olympic Games, particularly the bidding process between countries to host the events. As she demonstrates, during the Cold War sport and politics became so intertwined that they had the power to fundamentally transform each other.

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For many Americans, the emergence of a “porno chic” culture provided an opportunity to embrace the sexual revolution by attending a film like Deep Throat (1972) or leafing through an erotic magazine like Penthouse. By the 1980s, this pornographic moment was beaten back by the rise of Reagan-era political conservatism and feminist anti-pornography sentiment.This volume places pornography at the heart of the 1970s American experience, exploring lesser-known forms of pornography from the decade, such as a new, vibrant gay porn genre; transsexual/female impersonator magazines; and pornography for new users, including women and conservative Christians. The collection also explores the rise of a culture of porn film auteurs and stars as well as the transition from film to video. As the corpus of adult ephemera of the 1970s disintegrates, much of it never to be professionally restored and archived, these essays seek to document what pornography meant to its producers and consumers at a pivotal moment.In addition to the volume editors, contributors include Peter Alilunas, Gillian Frank, Elizabeth Fraterrigo, Lucas Hilderbrand, Nancy Semin Lingo, Laura Helen Marks, Nicholas Matte, Jennifer Christine Nash, Joe Rubin, Alex Warner, Leigh Ann Wheeler, and Greg Youmans.

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In 1888, the Eastman Dry Plate and Film Company offered the first portable camera that allowed users to conveniently take photos, using leisure travel as a primary marketing feature to promote it. The combination of portability, ease of use, and mass advertising fed into a national trend of popular photography that drew on Americans' increasing mobility and leisure time. The Kodak Company and the first generation of tourist photographers established new standards for personal archiving that amplified the individual's role in authoring the national narrative. But not everyone had equal access to travel and tourism, and many members of the African American, Native American, and gay and lesbian communities used the camera to counter the racism, homophobia, and classism that shaped public spaces.In this groundbreaking history, Tammy S. Gordon tells the story of the camera's emerging centrality in leisure travel across the late nineteenth and early twentieth centuries and its role in "the mass production of memory," a process in which users crafted a visual archive attesting to their experiences, values, and circumstances, setting the stage for the customizable visual culture of the digital age.

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During the Cold War, dancers and musicians from the United States and the USSR were drawn into the battle for hearts and minds, crossing the Iron Curtain to prove their artistic and ideological prowess. After the passage of the Lacy-Zarubin Agreement, direct cultural exchange between the two superpowers opened up, and the Moiseyev Dance Company arrived in the United States in 1958. The first Soviet cultural representatives to tour America, this folk-dance troupe’s repertoire included dances from territories controlled or influenced by the USSR, including Uzbekistan, Crimea, and Poland. Drawing on contemporary personal and published accounts, Victoria Hallinan explores why the dancers garnered overwhelming acclaim during their multicity tour and Ed Sullivan Show appearance. The “boy-meets-girl” love stories of the dances, and their idealized view of multiple Soviet cultures living together in harmony, presented a comforting image of post–World War II gender norms and race relations for audiences. Americans saw the dancers—their supposed enemies—as humans rather than agents of communist contagion.

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The lyceum movement gained momentum in the decades preceding the Civil War, presenting members with the opportunity to participate in literary life and engage with the issues of the day. While urban lyceums played host to a who’s who of nineteenth-century intellectual life, literary societies also cropped up in thousands of villages across the nation, acting as influential sites of learning, creativity, and community engagement. In rural New England, ordinary men and women, farmers and intelligentsia, selectmen and schoolchildren came together to write and perform poetry and witty parodies and debate a wide range of topics, from women’s rights and temperance to slavery, migration, and more. Wit and Wisdom takes readers inside this long-forgotten tradition, providing new access to the vibrant voices, surprising talents, and understated humor on display on many a cold winter’s night. Having uncovered dozens of handwritten newspapers produced by village lyceums across Maine, New Hampshire, Vermont, and Massachusetts, Joan Newlon Radner proves that these close-knit groups offered a vital expression of the beliefs, ambitions, and resilience of rural New Englanders.

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In 1822, settlers pushed north from Massachusetts and other parts of New England into Monson, Maine. On land taken from the Penobscot people, they established prosperous farms and businesses. Focusing on the microhistory of this village, Andrew Witmer reveals the sometimes surprising ways that this small New England town engaged with the wider world across the nineteenth and twentieth centuries. Townspeople fought and died in distant wars, transformed the economy and landscape with quarries and mills, and used railroads, highways, print, and new technologies to forge connections with the rest of the nation.Here and Everywhere Else starts with Monson's incorporation in the early nineteenth century, when central Maine was considered the northern frontier and over 90 percent of Americans still lived in rural areas; it ends with present-day attempts to revive this declining Maine town into an artists' colony. Engagingly written, with colorful portraits of local characters and landmarks, this study illustrates how the residents of this remote place have remade their town by integrating (and resisting) external influences.

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Wrestling with desire, shame, and the complications of attempting to resist one's own nature, How to Love Everyone and Almost Get Away with It offers a tragicomic tour of a heart in midlife crisis. Populated by unruly angels, earthbound astronauts, xylophones, wordplay, and glitter glue, these wildly associative poems transform the world line by line, image by image. Part confessional, part kitsch, and often self-deprecating, this debut collection offers an honest and tender exploration of love's necessary absurdity. Lara Egger asks: Who put the end in crescendo, the over in lover? Are metaphors always reliable witnesses? Why does the past sleep with us when we hope the person beside us is the future?

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The familiar story of Delta blues musician Robert Johnson, who sold his soul to the devil at a Mississippi crossroads in exchange for guitar virtuosity, and the violent stereotypes evoked by legendary blues "bad men" like Stagger Lee undergird the persistent racial myths surrounding "authentic" blues expression. Fictional Blues unpacks the figure of the American blues performer, moving from early singers such as Ma Rainey and Big Mama Thornton to contemporary musicians such as Amy Winehouse, Rhiannon Giddens, and Jack White to reveal that blues makers have long used their songs, performances, interviews, and writings to invent personas that resist racial, social, economic, and gendered oppression.Using examples of fictional and real-life blues artists culled from popular music and literary works from writers such as Walter Mosley, Alice Walker, and Sherman Alexie, Kimberly Mack demonstrates that the stories blues musicians construct about their lives (however factually slippery) are inextricably linked to the "primary story" of the narrative blues tradition, in which autobiography fuels musicians' reclamation of power and agency.

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Precision is necessary in the field of architecture, and new technologies have increased demands for accuracy, particularly when the smallest errors can have outsized consequences. However, the importance of precision, or exactitude, has not received the consideration it merits. While themes of sustainability, performance, and formal innovation have been at the forefront of architectural scholarship for the past twenty years, this book moves beyond these concerns to explore the theoretical and practical demands exactitude makes on architecture as a field.The eleven essays collected here investigate the possibilities and shortcomings of exactitude and delve into current debates about the state of contemporary architecture as both a technological craft and artistic creation. Featuring new work by leading theorists, historians, editors, architects, and scholars, this volume brings theory and practice into insightful and productive conversations. In addition to the editors, contributors include Mark Wigley, Alejandro Zaera-Polo, Eric Höweler, Christopher Benfey, Sunil Bald, Ada Tolla and Giuseppe Lignano with Thomas de Monchaux, Alicia Imperiale, Francesca Hughes, Teresa Stoppani, and Cynthia Davidson.

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Since the mid-nineteenth century, Americans have known the Adirondack Mountains of upstate New York as a site of industrial production, a place to heal from disease, and a sprawling outdoor playground that must be preserved in its wild state. Less well known, however, has been the area's role in hosting a network of state and federal prisons. A Prison in the Woods traces the planning, construction, and operation of penitentiaries in five Adirondack Park communities from the 1840s through the early 2000s to demonstrate that the histories of mass incarceration and environmental consciousness are interconnected.Clarence Jefferson Hall Jr. reveals that the introduction of correctional facilities -- especially in the last three decades of the twentieth century -- unearthed long-standing conflicts over the proper uses of Adirondack nature, particularly since these sites have contributed to deforestation, pollution, and habitat decline, even as they've provided jobs and spurred economic growth. Additionally, prison plans have challenged individuals' commitment to environmental protection, tested the strength of environmental regulations, endangered environmental and public health, and exposed tensions around race, class, place, and belonging in the isolated prison towns of America's largest state park.

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Among the most influential and insightful thinkers of her generation, Audre Lorde (1934--1992) inspired readers and activists through her poetry, autobiography, essays, and her political action. Most scholars have situated her work within the context of the women's, gay and lesbian, and black civil rights movements within the United States. However, Lorde forged coalitions with women in Europe, the Caribbean, Canada, Australia, New Zealand, and Africa, and twenty years after her passing, these alliances remain largely undocumented and unexplored. Audre Lorde's Transnational Legacies is the first book to systematically document and thoroughly investigate Lorde's influence beyond the United States. Arranged in three thematically interrelated sections -- Archives, Connections, and Work -- the volume brings together scholarly essays, interviews, Lorde's unpublished speech about Europe, and personal reflections and testimonials from key figures throughout the world. Using a range of interdisciplinary approaches, contributors assess the reception, translation, and circulation of Lorde's writing and activism within different communities, audiences, and circles. They also shed new light on the work Lorde inspired across disciplinary borders. In addition the volume editors, contributors include Sarah Cefai, Cassandra Ellerbe-Dueck, Paul M. Farber, Tiffany N. Florvil, Katharina Gerund, Alexis Pauline Gumbs, Gloria Joseph, Jackie Kay, Marion Kraft, Christiana Lambrinidis, Zeedah Meierhofer-Mangeli, Rina Nissim, Chantal Oakes, Lester C. Olson, Pratibha Parmar, Peggy Piesche, Dagmar Schultz, Tamara Lea Spira, and Gloria Wekker.

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In September 2011, Occupy Wall Street activists took over New York's Zuccotti Park. Within a matter of weeks, the encampment had become a tiny model of a robust city, with its own kitchen, first aid station, childcare services -- and a library of several thousand physical books. Since that time, social movements around the world, from Nuit Debout in Paris to Gezi Park in Istanbul, have built temporary libraries alongside their protests. While these libraries typically last only a few weeks at a time and all have ultimately been dismantled or destroyed, each has managed to collect, catalog, and circulate books, serving a need not being met elsewhere.Libraries amid Protest unpacks how these protest libraries -- labor-intensive, temporary installations in parks and city squares, poorly protected from the weather, at odds with security forces -- continue to arise. In telling the stories of these surprising and inspiring spaces through interviews and other research, Sherrin Frances confronts the complex history of American public libraries. She argues that protest libraries function as the spaces of opportunity and resistance promised, but not delivered, by American public libraries.

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By the mid-1990s feminist theorists and critics began to challenge conventional thinking about sex difference and its relationship to gender and sexuality. Scholars such as Anne Fausto-Sterling and Judith Butler troubled the sex-gender/nature-nurture divide. Some have asserted that these questions about sex are much too abstract to contribute to a valuable understanding of the material politics faced by feminist movements. In A Question of Sex, Kristan Poirot challenges this assumption and demonstrates that contemporary theories about sex, gender, identity, and difference compel a rethinking of the history of feminist movements and their rhetorical practises.Poirot focuses on five case studies - the circulation of Sojourner Truth's "Ain't I a Woman?" in early and contemporary feminist contexts; the visual rhetorics of the feminist self-help health movement; the public discourse of Elizabeth Cady Stanton and early nineteenth-century ideas about suffrage, sex, and race; the conflicts over lesbian sexuality in the 1960s and 1970s; and the discourse that surrounds twenty-first-century SlutWalks. In the process, Poirot rethinks the terms through which we understand U.S. feminist movements to explore the ways feminism has questioned sexed distinctions and practises over time. She emphasizes the importance of reading feminist engagements with sex as rhetorical endeavors - practises that are shaped by the instrumental demands of movements, the exigent situations that call for feminists to respond, and the enduring philosophical traditions that circulate in U.S. political contexts.

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In this book, Arthur C. Mathieson and Clinton J. Dawes offer a complete and current treatment of the seaweeds of the Northwest Atlantic, including taxonomic descriptions, keys, and 108 plates of detailed line drawings of this rich assemblage of marine algal species found between the Canadian Arctic and Maryland. It is designed to serve as an up-to-date reference work, classroom text, and field manual for botanists, marine biologists, naturalists, and students learning about the highly diverse marine algal flora of the Northwest Atlantic Ocean.The introductory chapter provides a historical review of seaweed studies as well as a description of 15 geographical sites designated in the text. Three chapters on the green, brown, and red alga include more than 256 genera, 510 species, 10 subspecies, 21 varieties, and 14 forms. New taxonomic combinations and descriptions of several previously undescribed taxa are also included in the text. The modern classification reviews molecular as well as reproductive, morphological, and biological data. The work represents more than forty years of research on Northwest Atlantic seaweeds and will aid researchers throughout the Northeast and Southwest Atlantic coasts. The authors detail the taxonomy, morphology, cytology, and name derivation of various taxonomic entities, as well as the ecology and distribution patterns of over 555 taxa. The text includes keys to genera and species, a glossary, and sources of further information.

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Recaptures the astonishing outpouring of poetry in response to the Civil War ""Words for the Hour"" presents a readable and illuminating account of the Civil War, told through the words of poets North and South. From bathos to profound philosophical meditation and sorrow, the range of these poems illuminates the complexity of their era while also revealing the continuing power of this turning point in American history to speak to readers in the present day. The volume is divided into three parts, each offering a different perspective on the poetry generated by the war. Part I samples the extraordinary range of poems written immediately preceding and during the war and published in popular periodicals, providing a kind of poetic newspaper account as one might have read it then - from the early days of optimistically heralded victory on both sides, through the mounting casualties and brutal deaths of the long middle years, to the war's conclusion and President Lincoln's assassination. Viewing the struggle from many different vantage points gives the reader access to the ways that people from various backgrounds experienced the trajectory of the war. Civilians and soldiers, free blacks and proponents of slavery, women and men from Massachusetts and Virginia and from recently admitted states and barely developed territories, writers with their eyes on the national political stage and those focused on personal domestic issues: these are the multiple voices of America responding to the war. Part II includes substantial selections of poems by writers who published extensively in response to the conflict, providing more complex and comprehensive perceptions of the war. These poets include not just well-known figures such as Walt Whitman, Herman Melville, and John Greenleaf Whittier, but also African American poets George Moses Horton and Frances Ellen Watkins Harper and Southern poets Henry Timrod and Sarah Piatt. Part III offers poems by two poets who did not publish during their lifetimes, but had strong imaginative responses to the conflict, thus giving a sense of the long reach of the war as a defining national experience. One of these two poets (Emily Dickinson) is now renowned while the other (Obadiah Ethelbert Baker) is first published in this volume. ""Words for the Hour"" is indeed ""new"" among anthologies of Civil War poetry not only in its wide range of poems by popular, anonymous, and now canonical poets but also in its informational apparatus. A historical timeline listing major battles and events of the war begins the volume, and historical photographs or lithographs introduce each section of poems. The book also includes a substantial introduction, a glossary of important names and terminology relevant to understanding the poems, and biographical sketches for all the poets whose work is included.

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More than merely linguistic transposition, translation is a vector of power, resistance, rebellion, and even revolution. Exploring these facets of the ideology of translation, the contributors to this volume focus on the agency of translators and their activism. Spanning two centuries and reaching across the globe, the essays examine the varied activist strategies of key translators and translation movements.From silence to radical manipulation of texts, translation strategies are instrumental in significant historical interventions and cultural change. Translation plays a pivotal role in ideological dialogue and struggle, including resistance to oppression and cultural straitjackets of all types, from sexual puritanism to military dictatorships. Situated in their own space, time, history, and political contexts, translators promote ideological agendas by creating new cultural narratives, pragmatically adjusting tactics so as to maximize the social and political impact.The essays in this volume explore ways to read translations as records of cultural contestation and ideological struggle; as means of fighting censorship, physical coercion, cultural repression, and political dominance; and as texts that foster a wide variety of goals from cultural nationalism to armed confrontation. Translations are set in relief as central cultural documents rather than derivative, peripheral, or marginalized productions. They are seen as forms of ethical, political, and ideological activity rather than as mere communicative transactions or creative literary exercises.The contributors demonstrate that engaged and activist translations are performative acts within broader political and ideological contexts. The essays detail the initiative, resourcefulness, and courage of individual translators, whose willingness to put themselves on the line for social change can sometimes move the world.In addition to Maria Tymoczko, contributors include Pua'ala'okalani D. Aiu, Brian James Baer, Mona Baker, Paul F. Bandia, Georges L. Bastin, Nitsa Ben-Ari, Ángela Campo, Antonia Carcelen-Estrada, Álvaro Echeverri, Denise Merkle, John Milton, and Else R.P. Vieira.

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This volume combines interviews and photographs to document the experiences of lesbian, gay, bisexual and transgendered parents and their children. It allows all of the family members to speak candidly about their lives, their relationships and the ways in which they have dealt with the pressures of homophobia. Included in the book are people from a diverse array of racial, ethnic and economic backgrounds, representing a wide range of family structures. Together, they provide clear evidence that family roles and responsibilities need not be based on gender, and that children thrive in an atmosphere in which understanding, respect and love transcend the prejudices of the day.

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Polly Adler's ""house"" - the brothel that gave this best-selling 1953 autobiography its title - was a major site of New York City underworld activity from the 1920s through the 1940s. Adler's notorious Lexington Avenue house of prostitution functioned as a sort of social club for New York's gangsters and a variety of other celebrities, including Robert Benchley and his friend Dorothy Parker. According to one New York tabloid, it made Adler's name ""synonymous with sin."" This new edition of Adler's autobiography brings back into print a book that was a mass phenomenon, in both hardback and paperback, when it was first published. A self-consciously literary work, ""A House Is Not a Home"" provides an informal social history of immigrant mobility, prostitution, Jewish life in New York, police dishonesty, the ""white slavery"" scare of the early twentieth century, and political corruption. Adler's story fills an important gap in the history of immigrant life, urban experience, and organized crime in New York City. While most other accounts of the New York underworld focus on the lives of men, from Herbert Asbury's ""Gangs of New York"" through more recent works on Jewish and Italian gangsters, this book brings women's lives and problems to the forefront. ""A House Is Not a Home"" is compellingly readable and was popular enough to draw Hollywood's attention in the early 1960s - leading to a film starring Shelley Winters as Adler. The book has been largely forgotten in the ensuing decades, lost both to its initial audience of general readers and to scholars in women's studies, immigration history, and autobiography who are likely to find it a treasure trove. Now, with a new introduction by Rachel Rubin that contextualizes Adler's life and literary achievement, ""A House Is Not a Home"" is again available to the many readers who have come to understand such ""marginal"" life stories as a special refraction of the more typical American success narrative.

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At the end of the nineteenth century, several countries were developing journalistic traditions similar to what we identify today as literary reportage or literary journalism. Yet throughout most of the twentieth century, in particular after World War I, that tradition was overshadowed and even marginalised by the general perception among democratic states that journalism ought to be either “objective,” as in the American tradition, or “polemical,” as in the European. Nonetheless, literary journalism would survive and, at times, even thrive. How and why is a story that is unique to each nation. Though largely considered an Anglo-American phenomenon today, literary journalism has had a long and complex international history, one built on a combination of traditions and influences that are sometimes quite specific to a nation and at other times come from the blending of cultures across borders. These essays examine this phenomenon from various international perspectives, documenting literary journalism’s rich and diverse heritage and describing its development within a global context. In addition to the editors, contributors include David Abrahamson, Peiqin Chen, Clazina Dingemanse, William Dow, Rutger de Graaf, John Hartsock, Nikki Hessell, Maria Lassila-Merisalo, Edvaldo Pereira Lima, Willa McDonald, Jenny McKay, Sonja Merljak Zdovc, Sonia Parratt, Norman Sims, Isabel Soares, and Soenke Zehle.

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Dissatisfied with traditional diplomatic and military interpretations, historians have been investigating the role that political culture played in shaping global conflicts. This text illuminates the political and cultural assumptions underlying US policies from World War II to the mid-1960s.

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In this volume, 11 scholars explore the role of ethnic food in American culture, with a particular focus on women. They argue that ethnic cooking represents both a source of sustenance and a complex form of communication.

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An exploration of why women were singled out as witches in 15th-century in Germany. Sigrid Brauner examines the connections between three central developments in early modern Germany: a shift in gender roles for women; the rise of a new urban ideal of femininity; and the witch hunts that swept across Europe from 1435 to 1750. In mediaeval discourse on witchcraft, Brauner argues, men and women were assumed to become witches in roughly equal numbers. But starting with the notorious ""Malleus Maleficarum"" (1487), witchcraft was reinterpreted as a gender-specific crime: its authors argued contentiously that most witches were women and linked the crime of witchcraft to women's voracious sexual appetites. The work raises questions about the genesis of the modern social problems of race, gender and class oppression, and locates their roots in the early modern period.

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Harry Fenn was one of the most skilled and successful illustrators in the United States in the latter half of the nineteenth century, a time when illustrated periodicals and books were the primary means of sharing visual images. Fenn’s work fostered pride in America s scenic landscapes and urban centers, informed a curious public about foreign lands, and promoted appreciation of printed pictures as artworks for a growing middle class. Arriving in New York from London in 1857 as a young wood engraver, Fenn soon forged a career in illustration. His tiny black-and-white wood engravings for Whittier’s Snow-Bound (1868) surprised critics with their power, and his bold, innovative compositions for Picturesque America (1872 74) were enormously popular and expanded the field for illustrators and publishers. In the 1880s and 90s, his illustrations appeared in many of the finest magazines and newspapers, depicting the places and events that interested the public from post-Civil War national reconciliation to the World’s Columbian Exposition in 1893 to the beginnings of imperialism in the Spanish-American War.This handsomely designed volume documents Fenn’s prolific career from the 1860s until his death in 1911. Sue Rainey also recounts his adventurous sketching trips in the western United States, Europe, and the Middle East, which enhanced his reputation for depicting far-flung places at a time when the nation was taking a more prominent role on the world stage.

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Although often framed as an economic, military, and diplomatic confrontation, the Cold War was above all a conflict of ideas. In official pronouncements and publications as well as via radio broadcasts, television, and film, the United States and the Soviet Union both sought to extend their global reach as much through the power of persuasion as by the use of force. Yet of all the means each side employed to press its ideological case, none proved more reliable or successful than print. In this volume, scholars from a variety of disciplines explore the myriad ways print was used in the Cold War. Looking at materials ranging from textbooks and cookbooks to art catalogues, newspaper comics, and travel guides, they analyse not only the content of printed matter but also the material circumstances of its production, the people and institutions that disseminated it, and the audiences that consumed it. Among the topics discussed are the infiltration of book publishing by propagandists East and West; the distribution of pro-American printed matter in postwar Japan through libraries, schools, and consulates; and the collaboration of foundations, academia, and the government in the promotion of high culture as evidence of the superiority of Western values. At the same time, many of the qualities that made print the preferred medium of official propaganda also made it an effective instrument for challenging Cold War orthodoxies at home and abroad. Because printed materials were relatively easy to transport, to copy, and to share, they could just as well be used to bridge differences among people and cultures as to exploit them. They also provided a vehicle for disseminating satire and other expressions of dissent. In addition to the volume editors, contributors include Ed Brunner, Russell Cobb, Laura Jane Gifford, Patricia Hills, Christian Kanig, Scott Laderman, Amanda Laugesen, Martin Manning, Kristin Matthews, Hiromi Ochi, Amy Reddinger, and James Smith. Together their essays move beyond traditional Cold War narratives to gauge the role of a crucial cultural medium in the ideological battle between the superpowers and their surrogates. Gregory Barnhisel and Catherine Turner Gregory Barnhisel and Catherine Turner

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The subject matter of these poems is ordinary: motherhood, marriage, sexuality, middle age, ambivalence, mortality, the Midwest. But in addressing these topics, Laura Kasischke finds and reveals the strangeness of the most common traditions and dilemmas. These are poems that work to fuse reality and dream, life and death, logic and illogic. Kasischke precisely renders the experience we have of ourselves as physical and time-bound beings existing in a psychological and spiritual realm that seems to have no barriers or laws. The poems in this collection are both narrative and lyric, grounded in reality but also surreal, at once fully realized and merely hinting at what might be.

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This text examines the history of skiing in America, from its utilitarian origins to its transformation into a purely recreational activity. It integrates the history of skiing in the context of cultural, social and economic developments.

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Indifference is a common, even indispensable element of human experience. But it is rare in poetry, which is traditionally defined by its direct opposition to indifference-by its heightened emotion, consciousness, and effort. This definition applies especially to English poets of the nineteenth century, heirs to an age that predicated aesthetics on moral sentiment or feeling. Yet it was in this period, Erik Gray argues, that a concentrated strain of poetic indifference began to emerge. The Poetry of Indifference analyzes nineteenth-century works by Wordsworth, Keats, Byron, Tennyson, Robert Browning, and Edward FitzGerald, among others-works that do not merely declare themselves to be indifferent but formally enact the indifference they describe. Each poem consciously disregards some aspect of poetry that is usually considered to be crucial or definitive, even at the risk of seeming ""indifferent"" in the sense of ""mediocre."" Such gestures discourage critical attention, since the poetry of indifference refuses to make claims for itself. This is particularly true of FitzGerald's Rubaiyat, one of the most popular poems of the nineteenth century, but one that recent critics have almost entirely ignored. In concentrating on this underexplored mode of poetry, Gray not only traces a major shift in recent literary history, from a Romantic poetics of sympathy to a Modernist poetics of alienation, but also considers how this literature can help us understand the sometimes embarrassing but unavoidable presence of indifference in our lives.

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Essays in this collection explore ways that Emily Dickinson adapted nineteenth-century epistolary conventions of women’s culture, as well as how she directed her writing to particular readers, providing subtly tactful guidance to ways of approaching her poetics.

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Conversational, irreverent, and disarmingly honest, the poems of But She Is Also Jane follow the everyday contours of women’s lives and the expectations they grapple with. As our speaker approaches middle age, she copes with the loss of loved ones, the realities of an emptying nest, the routine indignities of sexism, and nostalgia for the past. Laura Read’s third poetry collection balances discussions of Degas, Vermeer, and Marie Curie with reflections on Sammy Hagar, a troubling outing to a male revue, and memories of watching Mork and Mindy on the night of her mother’s hysterectomy.

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In Every Home a Fortress, Thomas Bishop details the remarkable cultural history and personal stories behind an iconic figure of Cold War masculinity -- the fallout shelter father, who, with spade in hand and the canned goods he has amassed, sought to save his family from atomic warfare. Putting policy documents and presidential addresses into conversation with previously unmined personal letters, diaries, local media coverage, and antinuclear ephemera, Bishop demonstrates that the nuclear crisis years of 1957 to 1963 were not just pivotal for the history of international relations but were also a transitional moment in the social histories of the white middle class and American fatherhood. During this era, public concerns surrounding civil defense shaped private family conversations, and the fallout shelter emerged as a site at which ideas of nationhood, national security, and masculinity collided with the complex reality of trying to raise and protect a family in the nuclear age.

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The gold epaulettes that George Washington wore into battle. A Union soldier’s bloody shirt in the wake of the Civil War. A crushed wristwatch after the 9/11 attacks. The bullet-riddled door of the Pulse nightclub. Volatile and shape-shifting, relics have long played a role in memorializing the American past, acting as physical reminders of hard-won battles, mass tragedies, and political triumphs. Surveying the expanse of U.S. history, American Relics and the Politics of Public Memory shows how these objects have articulated glory, courage, and national greatness as well as horror, defeat, and oppression. While relics mostly signified heroism in the nation’s early years, increasingly, they have acquired a new purpose—commemorating victimhood. The atrocious artifacts of lynching and the looted remains of Native American graves were later transformed into shameful things, exposing ongoing racial violence and advancing calls for equality and civil rights. Matthew Dennis pursues this history of fraught public objects and assesses the emergence of new venues of memorialization, such as virtual and digital spaces. Through it all, relics continue to fundamentally ground and shape U.S. public memory in its uncertain present and future.

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Shortly after the first Europeans arrived in seventeenth-century New England, they began to import Africans and capture the area's indigenous peoples as slaves. By the eve of the American Revolution, enslaved people comprised only about 4 percent of the population, but slavery had become instrumental to the region's economy and had shaped its cultural traditions. This story of slavery in New England has been little told.In this concise yet comprehensive history, Jared Ross Hardesty focuses on the individual stories of enslaved people, bringing their experiences to life. He also explores larger issues such as the importance of slavery to the colonization of the region and to agriculture and industry, New England's deep connections to Caribbean plantation societies, and the significance of emancipation movements in the era of the American Revolution. Thoroughly researched and engagingly written, Black Lives, Native Lands, White Worlds is a must-read for anyone interested in the history of New England.

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The United States has long been dependent on the seas, but Americans know little about their maritime history. While Britain and other countries have established national museums to nurture their seagoing traditions, America has left that responsibility to private institutions. In this first-of-its-kind history, James M. Lindgren focuses on a half-dozen of these great museums, ranging from Salem's East India Marine Society, founded in 1799, to San Francisco's Maritime Museum and New York's South Street Seaport Museum, which were established in recent decades.Begun by activists with unique agendas -- whether overseas empire, economic redevelopment, or cultural preservation -- these museums have displayed the nation's complex interrelationship with the sea. Yet they all faced chronic shortfalls, as policymakers, corporations, and everyday citizens failed to appreciate the oceans' formative environment. Preserving Maritime America shows how these institutions shifted course to remain solvent and relevant and demonstrates how their stories tell of the nation's rise and decline as a commercial maritime power.

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You can open up a world of imagination and learning for children when you encourage the expression of ideas through writing. Kids Have All the Write Stuff: Revised and Updated for a Digital Age shows you how to support children's development as confident writers and communicators, offering hundreds of creative ways to integrate writing into the lives of toddlers, preschoolers, and elementary school students -- whether at home or at school.>You'll discover: · how to implement writing as a part of daily life with family and friends;· processes and invitations fit for young writers;· strategies for connecting writing to math and coding;· writing materials and technologies; and· creative and practical writing ideas, from fiction, nonfiction, and videos to blogs and emails.In order to connect writing to today's digital revolution, veteran educators Sharon A. Edwards, Robert W. Maloy, and Torrey Trust reveal how digital tools can inspire children to write, and a helpful companion Website brings together a range of resources and technologies. This essential book offers enjoyment and inspiration to young writers!

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At the end of the nineteenth century, cycling's popularity surged in the Boston area, but by 1900, the trend faded. Within the next few decades, automobiles became commonplace and roads were refashioned to serve them. Lorenz J. Finison argues that bicycling witnessed a renaissance in the 1970s as concerns over physical and environmental health coalesced. Whether cyclists hit the roads on their way to work or to work out, went off-road in the mountains or to race via cyclocross and BMX, or took part in charity rides, biking was back in a major way.Finison traces the city's cycling history, chronicling the activities of environmental and social justice activists, stories of women breaking into male-dominated professions by becoming bike messengers and mechanics, and challenges faced by African American cyclists. Making use of newspaper archives, newly discovered records of local biking organizations, and interviews with Boston-area bicyclists and bike builders, Boston's Twentieth­Century Bicycling Renaissance brings these voices and battles back to life.

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In her own private ways, Emily Dickinson participated in the popular entertainments of her time. On her piano, she performed popular musical numbers, many from the tradition of minstrelsy, and at theaters, she listened to famous musicians, including Jenny Lind and, likely, the Hutchinson Family Singers. In reading the Atlantic Monthly, the Springfield Republican, and Harper's, she kept up with the roiling conflicts over slavery and took in current fiction and verse. And, she enjoyed the occasional excursion to the traveling circus and appreciated the attractions of the dime museum. Whatever her aspirations were regarding participation in a public arena, the rich world of popular culture offered Dickinson a view of both the political and social struggles of her time and the amusements of her contemporaries."Theatricals of Day" explores how popular culture and entertainments are seen, heard, and felt in Dickinson's writing. In accessible prose, Sandra Runzo proposes that the presence of popular entertainment in Dickinson's life and work opens our eyes to new dimensions of the poems, illuminating the ways in which the poet was attentive to strife and conflict, to amusement, and to play.

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For thousands of years the Washoe people have lived in the shadows of the Sierra Nevada Mountains. At the center of their lands sits beautiful Lake Tahoe, a name derived from the Washoe word Da ow a ga.Perhaps because the Washoe population has always been small or because it has been more peaceful than other tribal communities, its history has never been published. In The Small Shall Be Strong, Matthew S. Makley demonstrates that, in spite of this lack of scholarly attention, Washoe history is replete with broad significance. The Washoes, for example, gained culturally important lands through the 1887 Dawes Act. And during the 1990s, the tribe sought to ban climbing on one of its most sacred sites, Cave Rock, a singular instance of Native sacred concerns leading to restrictions.The Small Shall Be Strong illustrates a history and raises a broad question: How might greater scholarly attention to the numerous lesser-studied tribes in the United States compel a rethinking of larger historical narratives?

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Designed as a corrective to colonial literary histories that have excluded Native voices, this anthology brings together a variety of primary texts produced by the Algonquian peoples of New England during the seventeenth, eighteenth, and very early nineteenth centuries. Included among these written materials and objects are letters, signatures, journals, baskets, pictographs, confessions, wills, and petitions, each of which represents a form of authorship. Together they demonstrate the continuing use of traditional forms of memory and communication and the lively engagement of Native peoples with alphabetic literacy during the colonial period.Each primary text is accompanied by an essay that places it in context and explores its significance. Written by leading scholars in the field, these readings draw on recent trends in literary analysis, history, and anthropology to provide an excellent overview of the field of early Native studies. They are also intended to provoke discussion and open avenues for further exploration by students and other interested readers. Above all, the texts and commentaries gathered in this volume provide an opportunity to see Native American literature as a continuity of expression that reflects choices made long before contact and colonization, rather than as a nineteenth- or even twentieth-century invention.

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