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</span>Unknownnoreply@blogger.com90tag:blogger.com,1999:blog-6100197071811815441.post-56070985012676015272015-06-10T12:58:00.001-05:002015-06-10T12:58:36.044-05:00Author Spotlight: Patricia Dunlavy Valenti Part II<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-Adi82TRVEbA/U4-BLKEkYRI/AAAAAAAAAMQ/0gx3Hkzw8YE/s1600/Valenti_SPH_Vol2_FNL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="http://press.umsystem.edu/product/Sophia-Peabody-Hawthorne,2200.aspx" border="0" height="320" src="http://2.bp.blogspot.com/-Adi82TRVEbA/U4-BLKEkYRI/AAAAAAAAAMQ/0gx3Hkzw8YE/s1600/Valenti_SPH_Vol2_FNL.jpg" width="211" /></a><span id="goog_378246293"></span></div>
<div class="ProductDescBookDetail">
<i></i><a href="http://press.umsystem.edu/product/Sophia-Peabody-Hawthorne,2200.aspx"><i>Sophia Peabody Hawthorne: A Life, Volume 2, 1848-1871</i></a><span id="ctl00_MainContent_ProductInfo1_ctl00_lblAuthorName"><a href="http://press.umsystem.edu/product/Sophia-Peabody-Hawthorne,2200.aspx"><i>,</i></a> by Patricia Dunlavy Valenti</span>
</div>
<br />
<br />
Q. Your much-anticipated second volume of <i>Sophia Peabody Hawthorne, A Life</i>, has now been published. Who are the intended readers for your book? <br />
<br />
A. I think my biography of Sophia will appeal to the general reader, and it will be accessible even to someone who has not read volume I. It’s clear why contemporary novels such as <i>Z</i>, or <i>The Paris Wife,</i> or <i>Mrs. Poe</i> have gained such popularity. The public craves access to the lives of women kept in the shadows by their famous author-husbands. But my book also presents really new scholarship in the areas of American history, gender and literary studies, and what I like to call the domestic politics of authorship, that complex influence of one spouse upon the other in the production of art. Scholars who have already reviewed Volume II attest to its contribution to these areas.<br />
<br />
Q. Did your research and writing of this volume uncover anything completely unexpected? <br />
<br />
A. I knew the issues that would dominate Sophia’s life between 1848 and 1871, when she died in England, but I had been unaware of the scope and significance of some of them. In terms of specifics, I had no idea that <i>The Marble Faun,</i> the last novel Nathaniel published, required so much of Sophia’s effort. Her life was entwined with his for nearly twenty-six years, and after his death, she lived another seven years with the burden of his bad financial decisions and failures as a writer during last decade of his life. Looking at Nathaniel Hawthorne from Sophia’s perspective reveals a side to him that was entirely ignored by his biographers. <br />
<br />
Q. Are you saying that Sophia saw her husband in an unflattering light?<br />
<br />
A. No, I’m not. Ralph Waldo Emerson once wrote to Sophia that she had “a beauty making eye.” He was referring to her artistic talent, but he coined a phrase that serves us well in understanding her character. She was optimistic to the core. She persisted in seeing Nathaniel, their children, and her marriage as the epitome of domestic bliss. Among her surviving thousands of pages of letters and journals, not one word criticizing her husband can be found. But actions tell a different story than words.<br />
<br />
Q. What do you mean?<br />
<br />
A. Sophia’s emotional appetite was not satisfied by marriage and motherhood. She and Nathaniel spent a good deal of time apart. Their lack of money sometimes forced them to live separately, and when they had money to spare, Nathaniel took regular summer vacations without her. While the Hawthornes were living in England, Sophia developed a pulmonary problem and went to sunny, warmer Portugal to live in the home of John Louis O’Sullivan. She became alarmingly fond—from her husband’s point of view--of this vexing figure in America history. Then, when the Hawthornes lived in Italy, Nathaniel frequently remained in their apartment while Sophia enjoyed Rome’s museums and historic sites with a group of women who were part of a thriving lesbian community. When Nathaniel’s health was failing, Sophia urged him to take one after another trip, claiming that a change of scene would restore his health. During this same period, she developed intense feelings for Annie Fields, the young, beautiful wife of Nathaniel’s publisher. Sophia also became deeply attached to General Ethan Allen Hitchcock, who had been appointed by President Lincoln to oversee the return of prisoners during the Civil War. <br />
<br />
Q. You make her sound like a scarlet woman, or like Hawthorne’s character who wore the scarlet letter.<br />
<br />
A.That would be a huge over-simplification of Sophia’s very complex and nuanced relationships. But there is no doubt that Nathaniel Hawthorne incorporated many of her traits into his female characters, particularly into one of the best-known female characters in American literature. Like Hester Prynne--who wished that her timid, secret lover would proclaim his love publicly--Sophia bristled at the secrecy Nathaniel imposed upon their lengthy engagement. While Nathaniel was writing<i> The Scarlet Letter,</i> Sophia was the breadwinner, earning money for their household expenses by selling her decorative arts, a prototype for Hester’s ability to support herself and her child with needlework. And among other parallels, Sophia’s tenacious protection of her children suggests Hester’s behavior with Pearl. <br />
<br />
Q. Why did Sophia need to protect her children?<br />
<br />
A. All mothers need to protect their children, but at Sophia’s particular moment in history, medicine did little to prevent childhood mortality. Religious belief in the afterlife was waning and no longer provided mothers like Sophia with consolation when a child died. Sophia attempted to stave off illness and other harm through diet and hygiene; she wanted her children to develop moral character without the scare tactics of Calvinism. She refused to use any form of corporal punishment. In many ways, her story as a mother is a very contemporary one. She was a helicopter mother before helicopters were invented. The sad truth is, that even with the best intentions, there are unfortunate consequences. <br />
<br />
Q. How so?<br />
<br />
A. You’ll have to read both volumes of <i>Sophia Peabody Hawthorne: A Life</i> for the full answer. But I’ll say here that Sophia’s children came of age during the Civil War, when many of their counterparts were sacrificing their lives for the abolition of slavery. Sarah Shaw, the mother of Robert Gould Shaw, who was slaughtered in battle with his African American soldiers, was Sophia’s good friend. The Alcotts were Sophia’s longtime neighbors, and Louisa May suffered lasting effects from the disease she contracted while she nursed Union soldiers. Examining Sophia’s attitudes as a mother—and one opposed to the Civil War—helps us better understand the sacrifices of others who were, or no longer could be, her friends. <br />
<br />
<br />
You can read about Volume 1 at the earlier <a href="http://umissouripress.blogspot.com/2014/06/author-spotlight-patricia-dunlavy.html">Author Spotlight for Patricia Dunlavy Valenti.</a> <br />
<br />
<br />
<!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F2.bp.blogspot.com%2F-Adi82TRVEbA%2FU4-BLKEkYRI%2FAAAAAAAAAMQ%2F0gx3Hkzw8YE%2Fs1600%2FValenti_SPH_Vol2_FNL.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://2.bp.blogspot.com/-Adi82TRVEbA/U4-BLKEkYRI/AAAAAAAAAMQ/0gx3Hkzw8YE/s1600/Valenti_SPH_Vol2_FNL.jpg" --><!-- Blogger automated replacement: "https://2.bp.blogspot.com/-Adi82TRVEbA/U4-BLKEkYRI/AAAAAAAAAMQ/0gx3Hkzw8YE/s1600/Valenti_SPH_Vol2_FNL.jpg" with "https://2.bp.blogspot.com/-Adi82TRVEbA/U4-BLKEkYRI/AAAAAAAAAMQ/0gx3Hkzw8YE/s1600/Valenti_SPH_Vol2_FNL.jpg" -->Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-6100197071811815441.post-54917850442126610262014-10-23T06:00:00.000-05:002014-10-23T06:00:08.747-05:00Baseball Past and Present<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman";">By Matthew Linenbroker<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>In 1985, the Kansas City Royals
faced the St. Louis Cardinals in what was deemed the “I-70 Showdown Series.”
During the ninth inning of Game 6, first base umpire Don Denkinger called Royals’
batter Jorge Orta safe at first, although replays showed that Cardinals’ first
baseman Todd Worrell actually beat Orta to the base. After another base hit and
intentionally walking Hal McRae, a single to right field drove in two runs,
giving the Royals a 2-1 win. After that loss, the Cardinals melted down in Game
7, letting the Royals take their crown. Missouri was halved into bitterness and
glee, caught in a newly inflated intra-state rivalry. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>The Royals are once again in the World Series, for the first time since 1985, and the Cardinals could have potentially
become their opponent. The scent of a rematch wafted through the air, but the
San Francisco Giants overtook them (although the Cardinals have won the World
Series twice since their loss to the Royals). <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">Missouri is an explosive epicenter of
baseball fanaticism, which is often due to the deafening dedication of Cardinal
Nation. However, Royals’ fans are doing their part this year too – <i style="mso-bidi-font-style: normal;">Anchorman</i> actor Paul Rudd even invited
everyone to a kegger at his mom’s house in Overland Park after the Royals’
American League Championship Series win. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">Hit singer-songwriter Lorde penned her
breakthrough song “Royals” after seeing a picture of Kansas City Royals’ player
George Brett signing baseballs in a 1976 National Geographic magazine. A couple
of San Francisco radio stations have responded to this by banning Lorde’s
KC-inspired song from the radio until after the World Series is over. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8PARyr94raQLlTIYsQmcIF-XEDITnAtRX7GEoM_xCXdVfXjmDm5lTacoRF0Cv-yPdzKeLZEXs_ySo1jHwW9OIoP9thw9trC7kpvxw5BbyHbP6Dzw4QdeRezAG_xlUpfujRXDCp6VKTJyh/s1600/launius+seasons+in+the+sun.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8PARyr94raQLlTIYsQmcIF-XEDITnAtRX7GEoM_xCXdVfXjmDm5lTacoRF0Cv-yPdzKeLZEXs_ySo1jHwW9OIoP9thw9trC7kpvxw5BbyHbP6Dzw4QdeRezAG_xlUpfujRXDCp6VKTJyh/s1600/launius+seasons+in+the+sun.jpg" height="200" width="134" /></a></div>
<span style="font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>A look back at Missouri baseball history
reveals more than just a kegger and a 17-year-old musician, and more than just an
infamous umpire and a Royals’ triumph. Before the Cardinals’ #11in11, before
Jarrod Dyson, before Jon Jay, before Pujols, Eckstein, and Edmonds, even before
Don Denkinger and the 1985 Show-Me Showdown, Missouri basked in the sunlight of
groundbreaking baseball culture. Roger D. Launius’ book <i style="mso-bidi-font-style: normal;"><a href="http://upress.missouri.edu/product/Seasons-in-the-Sun,639.aspx" target="_blank">Seasons in the Sun</a></i> digs into the dirt to examine the Midwestern
roots of baseball. St. Louis became a charter member of the newly formed
National League in 1876, and Kansas City housed one of the premiere Negro
National League </span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1SesNvqF9PIETsfx-FO10_BVdYrMY9dzgK_1-BPsdpUGJWGQpZEvlg-dte2fvcKdsi8lESZoxm2U1q3g486ek6ONH0DFXyXofshKaVoGkK_9QXI4RCCsXwp4iSBNc-wTc8Vtn7ZW_E2Ys/s1600/Spivey.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1SesNvqF9PIETsfx-FO10_BVdYrMY9dzgK_1-BPsdpUGJWGQpZEvlg-dte2fvcKdsi8lESZoxm2U1q3g486ek6ONH0DFXyXofshKaVoGkK_9QXI4RCCsXwp4iSBNc-wTc8Vtn7ZW_E2Ys/s1600/Spivey.jpg" height="200" width="131" /></a><span style="font-family: "Times New Roman";"></span></div>
<span style="font-family: "Times New Roman";">teams, the Kansas City Monarchs, in the 1920’s. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">The history of baseball is intertwined
with the history of Missouri, existing through political turmoil, war, economic
depression, and segregation. Prior to his death in Kansas City in 1982, star
Negro League Pitcher Leroy “Satchel” Paige impacted the baseball
African-American civil rights fight. Donald Spivey’s <i style="mso-bidi-font-style: normal;"><a href="http://upress.missouri.edu/product/If-You-Were-Only-White,2088.aspx" target="_blank">If You Were Only White</a></i> follows the tense political struggle, and
Satchel’s important role in it. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<span style="font-family: "Times New Roman";">Stan Musial is more than a Cardinals’
legend; he is a baseball legend. When America fought the Great Depression, war,
and post-war turmoil, Stan <span id="goog_83310822"></span><span id="goog_83310823"></span>the Man offered the nation a taste of hope and
escape as he broke records and barriers. James N. <span id="goog_83310826"></span><span id="goog_83310827"></span><span id="goog_83310841"></span><span id="goog_83310842"></span><span id="goog_83310844"></span><span id="goog_83310845"></span>Giglio’s <i style="mso-bidi-font-style: normal;"><a href="http://upress.missouri.edu/product/Musial,560.aspx" target="_blank">Musial</a></i> illuminates the life and career of the man immortalized in
statue-form outside of <span id="goog_83310830"></span><span id="goog_83310831"></span><span id="goog_83310847"></span><span id="goog_83310848"></span>Busch Stadium. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-indent: .5in;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOsdRwy5qFX5TSTG8g3dNP30U-8ykaEM4SDpX0OAhhNGM0my5HZpZRpJhPyklzRxcPYAhlpzsIEY97DyJsNL4fg1Ds7TOAhqDxDJ393M2CYg3ysOB8sN-4WPrBujpri3LnOd6MZ940fDYk/s1600/giglio+musial.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOsdRwy5qFX5TSTG8g3dNP30U-8ykaEM4SDpX0OAhhNGM0my5HZpZRpJhPyklzRxcPYAhlpzsIEY97DyJsNL4fg1Ds7TOAhqDxDJ393M2CYg3ysOB8sN-4WPrBujpri3LnOd6MZ940fDYk/s1600/giglio+musial.jpg" height="200" width="135" /></a></div>
<span style="font-family: "Times New Roman";">Missouri’s exceptional baseball past will
forever help forge the legacy of excellence in Missouri’s baseball future. It
is the nature of friendly competition to bring people together in solidarity;
as fans assemble for #BlueOctober and #RedOctober, seeing Missouri once again
bask in the possibility of its two teams uniting once more over America’s
pastime feels like an intrinsic homage to Satchel, Musial, and all the others,
large and small, who made Missouri baseball the noble creation that it is
today. These books highlight a time in Missouri that helped shape the baseball
culture we live in today, and just as people study the Declaration of Independence
to understand the conception of our current government, so can Musial be looked
at as a stepping-stone to Ozzie Smith, to Pujols, to Jay, so can a possible
Royals’ World Series win be viewed through a retrospective of the Negro League
Kansas City Monarchs. As a central facet of American culture, Baseball is ever
evolving, and by learning of its progression, we can deeper our understanding
and appreciation of the glorious baseball present. <o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/08926037744077776271noreply@blogger.com4tag:blogger.com,1999:blog-6100197071811815441.post-83727849812243873002014-10-11T06:00:00.000-05:002014-10-21T10:44:42.109-05:00Q & A: The Cinematic Voyage of THE PIRATE by Earl J. Hess & Pratibha A. Dabholkar<div class="MsoNormalCxSpFirst" style="line-height: 200%;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOMyDSfEJ-XUNaXmRPXXB_ZJggiqQVXxsrNyRWeygqJQXTKBG44JXMDujw7b_s4gcrWqyyLa3R7nfdojKxf8UWlWqu1VH56EYchS0x5NwS8IvQJZ56w3uGpDtFX1rRVUpSV-EgzPOVpOLF/s1600/Hess+web.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOMyDSfEJ-XUNaXmRPXXB_ZJggiqQVXxsrNyRWeygqJQXTKBG44JXMDujw7b_s4gcrWqyyLa3R7nfdojKxf8UWlWqu1VH56EYchS0x5NwS8IvQJZ56w3uGpDtFX1rRVUpSV-EgzPOVpOLF/s1600/Hess+web.jpg" height="200" width="133" /></a></div>
<span style="font-family: Arial;"><a href="http://upress.missouri.edu/product/The-Cinematic-Voyage-of-THE-PIRATE,2159.aspx"><i>The Cinematic Voyage of The Pirate: Kelly, Garland, and Minnelli at Work</i></a> follows the model of Earl J. Hess and Pratibha A. Dabholkar’s previous study of <i>Singin’ in the Rain</i>.
Drawing on exhaustive research in archives, memoirs, interviews, and
newspaper coverage, it takes the reader from the original conception of
the story in the mind of a German playwright named Ludwig Fulda, through
S. N. Behrman’s Broadway production starring Alfred Lunt and Lynn
Fontanne, to the arduous task of crafting a suitable screenplay at MGM.
Behind-the-scenes issues such as Garland’s personal problems during the
making of the film and the shaping of the film by Minnelli and Kelly are
among the many subjects detailed here. </span><br />
<span style="font-family: Arial;"><br /></span><span style="font-family: Arial;"><b>Why was it important to write a book about the MGM film, <i style="mso-bidi-font-style: normal;">The Pirate</i>?</b></span><br />
<i style="line-height: 200%; text-indent: 0.5in;"><span style="font-family: Arial;">The Pirate</span></i><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">
has garnered a great deal of attention from viewers and critics alike as one of
the most interesting film musicals of all time. It was a controversial film in
several ways and has attracted considerable commentary over the years. Arguments
about its plot, acting, sets, and dances, as well as the place it holds in the
creative work of its director and its stars have raged since its initial
release in 1948. Those arguments continue today, more than six decades later. And
yet, <i>The Pirate</i> had not received the acclaim it deserves in scholarly
literature. Among other things, the remarkable ways that the film helped the
careers of Kelly, Minnelli, and Garland, its pioneering depiction of race
relations in musicals, and the mastery displayed in the staging, filming, and
choreography of Kelly’s dances led us to conclude that <i>The Pirate</i> is an underappreciated masterpiece. In writing this
book, we set about to correct that situation and give the film its due.</span></div>
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<span style="font-family: Arial;"><b>What can we learn about film production from this book?</b></span><br />
<span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">Readers can get an idea of the complex process of
writing screen plays based on stage plays. They can appreciate how songs and
dances are created to fit into the plot and learn about repeated rehearsals to
get everything right. Readers can understand how shooting has to be planned to
make efficient use of resources rather than chronologically according to the
story. They can also find out how moviemakers have to deal with personal
problems of the </span><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">players</span><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;"> and keep up morale. It
is also interesting to learn that changes are made in plot and dialogue after
shooting has started and even after the previews, and that the colors one sees
on the screen are often adjusted in a lab after making the film.</span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: 200%;">
<span style="font-family: Arial;"><br /><b>You write that early audiences did not always understand the tongue-in-cheek
humor in the film. Can you elaborate on the mixed reviews of the film musical?</b></span><br />
<span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">Although movie audiences were less enthusiastic than
film critics when </span><i style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">The Pirate</i><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;"> was released in 1948, it was mainly because
they were not sophisticated enough to understand that the film was made
tongue-in-cheek and that the imitations of Barrymore and Fairbanks by Kelly
were done with affection to delight audiences. Some early audience members did
get it, however, as seen from the excellent ratings when the film was
previewed. As audiences became more sophisticated, enthusiasm for the film
grew. It appears that this motion picture was at least twenty years ahead of
its time. Our book includes a full discussion of critical and scholarly
commentary over the years (including commentary by gay studies scholars) to
help readers appreciate diverse views about the film as well as how
perspectives changed over time.</span></div>
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<span style="font-family: Arial;"><b>Is <i style="mso-bidi-font-style: normal;">The Pirate </i>a cult film?</b></span><br />
<span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">Strange as it may seem, it
is both a cult film and one that appeals to mainstream audiences, especially
those who love musicals.<i> The Pirate</i></span><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">
did appeal to gay audiences soon after its release. Garland’s presence in the
film and her camp performance started that process, but gay audiences also
appreciated Minnelli’s aesthetics and Kelly’s virile dancing. Also, the film
has been a hit with many college students since the 1970s
and, a decade later, it began to be a popular topic of analysis for scholars
who deal with gay theory and the cinema. At the same
time, <span style="color: red;"><span style="color: black;">the film was appreciated by mainstream
audiences all along.</span> </span>It won high praise
from many viewers, critics, and scholars who savor the particular aesthetics of
dance on film, with appreciation for the movie growing over the years. In fact,
many fans of the film musical rank it as their absolute favorite.</span></div>
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<span style="font-family: Arial;"><b>What effect did the film have on the careers of the major players?</b></span><br />
<span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">For Gene Kelly, the film was the true beginning of
his postwar fame as a dancer on the big screen. He worked more intimately on
choreography in this movie than on any previous film and also played an
important part in character development. Kelly also learned a good deal about
camera work and direction from Minnelli that he later employed very
successfully in his own career as a director. </span><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">For Vincent Minnelli, the movie exemplified his
fascination with colorful locale, exotic costumes, and strongly defined
characters. The director used his trademark boom camera work to full effect and
also worked extensively to revise the final screenplay. He worked closely with
the Technicolor Corporation to create a rich visual product. <i>The Pirate</i> is one of Minnelli’s most
effective creations, displaying verve, irony, and a sardonic gusto. </span><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">For Judy Garland, her personal problems with drugs
and her troubled relationship with her husband came to a head with Minnelli during
the filming of this movie. She missed many days of production, costing M-G-M a
good deal of money and wasted time, but she turned in a stellar performance in
a role that was unusual for her. Her pairing with Gene Kelly was phenomenal, as
always.</span></div>
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<br /></div>
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<span style="font-family: Arial;"><b>The history behind the production of <i>The Pirate</i> seems awfully
complicated. What challenges did you face while writing this book?</b></span><br />
<span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">We had to get access to the stage plays and all the
versions of the </span><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">screen plays</span><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;"> to see how the
story evolved and why it took such a long time and so many writers to produce
an acceptable script for the screen. We had to research all possible primary
sources (including archival material, interviews, and so on) as well as
secondary sources, and piece together the history of making this film,
including its production, marketing, and legacy. Very often, there were
divergent accounts and we had to evaluate which versions were based on fact and
which were not. Also, scholarly accounts had misrepresented some facts, stating
that the film was panned by critics on its release and made a loss over its
lifetime. Researching original documents, we found that neither was true. Our
book corrects the errors others have propagated.</span><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;"> </span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: 200%;">
<br />
<span style="font-family: Arial;"><b>Despite the challenges, was it fun to write the book?</b></span><br />
<span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">We had as much fun researching
and writing this book as we do when watching this great movie musical. Everything
we discovered about </span><i style="font-family: Arial; line-height: 200%; text-indent: 0.5in;">The Pirate</i><span style="font-family: Arial; line-height: 200%; text-indent: 0.5in;"> is in
this book, presented in a way that helps us understand and enjoy the film even
more. Each time we watch the film, it offers more layers of meaning and
enjoyment, tied closely to everything discussed in our book.</span></div>
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Anonymoushttp://www.blogger.com/profile/08926037744077776271noreply@blogger.com6tag:blogger.com,1999:blog-6100197071811815441.post-69235869261003752352014-10-06T06:00:00.000-05:002014-10-06T06:00:00.635-05:00Q & A: PRICE'S LOST CAMPAIGN by Mark A. Lause<div class="MsoNormal">
<span style="font-family: Calibri;">By Sara L. Deters</span><br />
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<span style="font-family: Calibri;">As a history major at the University of Missouri, I've always hoped that Missouri's history would deservedly receive more attention. Mark A. Lause, author of <i><a href="http://press.umsystem.edu/product/Prices-Lost-Campaign,2173.aspx">Price's Lost Campaign: The 1864 Invasion of Missouri</a> </i>does just that by exploring the largely ignored events that took place in Missouri during the Civil War. Focused around one military general, Sterling Price, <i>Price's Lost Campaign </i>describes the unsuccessful military raid in Missouri of 1864. Emphasizing guerrilla warfare and how that brutality shaped the political elections in Missouri during 1864 provides cultural as well as political history for the readers out there interested in more than just warfare history. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx1BfB9WtaVDcycI3FHT-epxCagHABy8sX93M_IPf5hZtF2ppe1_nwNxLM7NgAz6F2u_Mp212hi1xZeQZJx4QHdTxgA122twbH3MuYBLQ_H5drByLgi2owYO2QfaGdYcqH92KNA5SpDrXt/s1600/Lause+lost+campaign.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx1BfB9WtaVDcycI3FHT-epxCagHABy8sX93M_IPf5hZtF2ppe1_nwNxLM7NgAz6F2u_Mp212hi1xZeQZJx4QHdTxgA122twbH3MuYBLQ_H5drByLgi2owYO2QfaGdYcqH92KNA5SpDrXt/s1600/Lause+lost+campaign.jpg" height="200" width="131" /></a></div>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">What prompted you to write about the military campaign in
Missouri?<o:p></o:p></span></b></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Most of what’s written on the Civil War in
Missouri has focused on the early days - before the Federal authorities secured
their hold on the state - or on the
colorful and violent events of the guerilla war in the state.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Although I’ve always had an interest in the
1864 Missouri campaign, I didn’t pursue it seriously until after writing the book <i style="mso-bidi-font-style: normal;">Race and Radicalism in the Union Army</i>,
which focused on the efforts of John Brown’s surviving followers to build a
tri-racial Federal army in the Indian Territory--present Oklahoma.<span style="mso-spacerun: yes;"> </span>It isn’t surprising that such a prospect did
not please the Confederates at all, but I was surprised at the extent to which
the Federal authorities did everything they could to divert it, drain it of
resources, and even to line their pockets from the artificial misfortune
imposed upon the project.<span style="mso-spacerun: yes;"> </span>By the
conclusion of that book, I had a very different and much dimmer view of the
prospects for a real Reconstruction after the war.<o:p></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Missouri troops and events in Missouri
generally figured heavily in those operations.<span style="mso-spacerun: yes;">
</span>At one point, for example, the Indian brigade essentially took over Neosho as a base--the place had been essentially abandoned.<span style="mso-spacerun: yes;"> </span>And the fact that the Confederate army ended
the 1864 campaign by retreating south right past a Union Indian brigade
rendered helpless by Federal policies seemed to require another look at the
movements of Price’s Army and his pursuers. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">You say that your grandmother passed down stories of her
grandfathers witnessing and participating in the 1864 campaign. Any stories you
wish to share?<o:p></o:p></span></b></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Both of her grandfathers and several great
uncles were in the Enrolled Missouri Militia.<span style="mso-spacerun: yes;">
</span>However, their wives and children may have seen more of this campaign
than they did.<span style="mso-spacerun: yes;"> </span>Riders went along those
country roads warning that Confederate columns were on the way and everybody
grabbed what they could and headed out across the fields into the woods.<span style="mso-spacerun: yes;"> </span>They stayed there for several days.<span style="mso-spacerun: yes;"> </span>Most of their houses were robbed of anything
not nailed down and vandalized.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The Federal Department of Missouri later made
a great issue about the cold-blooded murder of Major James Wilson and his men
outside of Union, Missouri.<span style="mso-spacerun: yes;"> </span>This was a
truly horrific act, but there was no mention of the murder of captured members
of the militia the same day only a few miles away, or the previous day in
Union, or in the other days before and after Wilson’s murder. The killing of Union
soldiers, militia or civilians that fell into Confederate hands was a daily
occurrence.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">And, yes, it went the other way, too, though
never to the same extent. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Why did the Federals call Price’s army a “raid” instead of a
“campaign?”<o:p></o:p></span></b></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The book argues that the Confederates planned
the operation as an invasion to reoccupy as much of Missouri as they could on
the eve of the 1864 presidential elections.<span style="mso-spacerun: yes;">
</span>This included taking St. Louis and/or Jefferson City.<span style="mso-spacerun: yes;"> </span>Union Generals William S. Rosecrans and
Alfred Pleasanton, though, did not think that the Confederacy had that much
life left in it, and originally thought that reports of Price’s presence with a
large army represented a panicked response to a mere raid with no more than a
few thousand men or less.<span style="mso-spacerun: yes;"> </span>They staked
everything on this mistaken assessment.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Notwithstanding the stories later told that
Pilot Knob alerted St. Louis to the danger and inspired Rosecrans to mobilize
the population in the city’s defense. In fact, Rosecrans and his staff did not
really mobilize city’s militia and continued to discuss this is a “raid,”
almost until the Confederate advance probed the borders of St. Louis county on
September 30.<span style="mso-spacerun: yes;"> </span>Among other things,
Price’s decision not to attack St. Louis permitted the Federals to continue to
speak disparagingly of the operation as “a raid.”<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">A few days later, after Price again decided
not to attack a strategic objective at Jefferson City.<span style="mso-spacerun: yes;"> </span>Thereafter, Confederate goals centered on the
idea of supporting themselves as long as possible in Missouri.<span style="mso-spacerun: yes;"> </span>Indeed, the campaign proved to be such a
dismal failure that Price and his staff increasingly preferred to have their
achievements viewed in terms of a “raid.”<span style="mso-spacerun: yes;">
</span>By the original standards, there was no seizure and occupation of St.
Louis or Jefferson City, but nabbing dozens of farm wagons as you pass through
Saline County might make a raid successful.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">What can we learn about Missouri’s role in the Civil War from <i style="mso-bidi-font-style: normal;">Price’s Lost Campaign? <o:p></o:p></i></span></b></div>
<div class="MsoNormal">
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">I hope that readers of the book will realize
that historians have been making choices about what priorities to place on
aspects of the Civil War.<span style="mso-spacerun: yes;"> </span>The sectional
tensions between the east and west, perhaps, were secondary only to those
between the North and the South.<span style="mso-spacerun: yes;"> </span>And
sectional tensions represent a gross oversimplification.<span style="mso-spacerun: yes;"> </span>The Civil War pit two different ways of
seeing America’s future against each other, but there were also many variations
in those aspirations, especially on the most complex side of the war.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="color: red;"></span><o:p></o:p></span><br />
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">What was the most fascinating part for you during your research?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">What always amazes me in doing historical
research is the extent to which we can actually probe the experience of the
rank and file--the soldiers, militia, and civilians touched by the war.<span style="mso-spacerun: yes;"> </span>Part of this is has to do with new
technologies, such as the digitalization of newspapers, military records, and even
some manuscript collections.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">When they digitized the <i style="mso-bidi-font-style: normal;">Official Records</i> some years ago, I remember saying that this would
probably enable critical researchers to start putting some holes into the often
conflicting information contained in them.<span style="mso-spacerun: yes;">
</span>That process has started.<span style="mso-spacerun: yes;"> </span>I hope
that, in a way, <i style="mso-bidi-font-style: normal;">Price’s Lost Campaign</i>
and the forthcoming <i style="mso-bidi-font-style: normal;">Collapse of Price’s
Raid</i> will be able to contribute to this.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Any other projects currently in the works?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">I have several books already on the way to
press, including <i style="mso-bidi-font-style: normal;">The Collapse of Price’s
Raid: The Beginning of the End in Civil War Missouri </i>(University of
Missouri Press), <i style="mso-bidi-font-style: normal;">Free Labor: the Civil
War and the Making of the American Working Class</i> and a book on the politics
of spiritualism in the Civil War years.<span style="mso-spacerun: yes;"> </span>I
am also finishing a book that grew out of what I learned in the
Trans-Mississippi Civil War and applies it to the Franco-Prussian War,
tentatively entitled <i style="mso-bidi-font-style: normal;">The Last Republicans</i>.<span style="mso-spacerun: yes;"> </span>I have started another on political violence
in the Wild West, aimed at the role of violence in reconstructing and imposing the
two-party system.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
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Anonymoushttp://www.blogger.com/profile/08926037744077776271noreply@blogger.com5tag:blogger.com,1999:blog-6100197071811815441.post-84747312456919806002014-09-22T08:49:00.000-05:002014-09-22T12:14:23.554-05:00Teddy Roosevelt and Leonard Wood: Partners in Command by John S.D. EisenhowerBy Matthew Linenbroker<br />
<br />
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: inherit; text-indent: 0.5in;">Simon
and Garfunkel. Antony and Cleopatra. Abbott and Costello. John and Yoko.</span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: inherit;">Okay,
not John and Yoko. No one <i style="mso-bidi-font-style: normal;">actually</i>
liked Yoko, did they?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: inherit;">But
my point still stands! History has a way of bringing people together, people
with compatible strengths and weaknesses who, together, can forge their way
through the world and make their mark. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: inherit;">Partners
in crime. Partners in comedy. Partners in song. And partners in command. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: inherit;">Part
of me would very much like to imagine President Roosevelt, lieutenant colonel
of the Rough Riders at the time, dressed in black polyester and Kevlar, mask
covering his face, cape fluttering in the wind, riding his trusty Bat-Steed off
towards the Bat Signal glaring over San Juan Hill. And who is by his side?
Commanding colonel and boy wonder Leonard Wood. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: inherit;">I
know, I know, it’s a weird image – Leonard Wood could totally be Batman, and
Roosevelt be Robin. I don’t think there’s a right way to sort it. But if I
didn’t compare Roosevelt and Wood to the greatest (sadly fictional) duo ever,
well, to quote Roosevelt, I would “consider myself the damndest ass within ten
miles of this camp!” <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="mso-tab-count: 1;"> </span>How we handle the extraordinary
circumstances life so often dumps us in is the true showing of our character.
Roosevelt and Wood’s bond in <i style="mso-bidi-font-style: normal;">Partners in
Command </i>showcases the way that two vastly different people can do more
together than they ever could have alone. Each with an insatiable ambition and
overwhelming zeal for the United States, together the two men make history and
propel themselves and their country to a better standing. <o:p></o:p></span></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIFKo-btcrWAoBjofxWG4hEqbJ1tS0vXW9XmKw86LeVNo7PHx0QGBjF9urky0rSDksyKOVIoCOElYg1RlToFh-7nxkuvUNCAbXzzq1danJuYGXjzjt9t1mgH5CJdW5a4HyyoeGtF24xFE/s1600/RooseventandWood.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: inherit;"></span></a> <br />
<br />
Below is an excerpt from Chapter 5 of <span style="font-family: inherit;"><i><a href="http://press.umsystem.edu/product/Teddy-Roosevelt-and-Leonard-Wood,2126.aspx" target="_blank">Teddy Roosevelt and Leonard Wood: Partners in Command</a></i> by John S.D. Eisenhower:</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIFKo-btcrWAoBjofxWG4hEqbJ1tS0vXW9XmKw86LeVNo7PHx0QGBjF9urky0rSDksyKOVIoCOElYg1RlToFh-7nxkuvUNCAbXzzq1danJuYGXjzjt9t1mgH5CJdW5a4HyyoeGtF24xFE/s1600/RooseventandWood.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIFKo-btcrWAoBjofxWG4hEqbJ1tS0vXW9XmKw86LeVNo7PHx0QGBjF9urky0rSDksyKOVIoCOElYg1RlToFh-7nxkuvUNCAbXzzq1danJuYGXjzjt9t1mgH5CJdW5a4HyyoeGtF24xFE/s1600/RooseventandWood.png" /></span></a><br />
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Leonard
Wood knew that his appointment as a line officer, even of volunteers, would
cause resentment in the Regular Army. However, his ambition far overcame his
inhibitions. He knew he was prepared for that transition, for in his off hours
throughout his years of doctoring he had been studying tactics and military
history with a view to this end. On learning of the sinking of the Maine,
therefore, he had lost no time in approaching President McKinley and
volunteering his services as a line officer of any grade. McKinley refused the
request, primarily because he hated to lose the services of the doctor upon
whom his sick wife was so dependent. The president, however, promised not to
stand in Wood’s way if he could attain his goals by dealing directly with the
Army authorities.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Wood’s
task in convincing the Army authorities was more difficult than manipulating
McKinley, for the regulars, especially the West Pointers, believed they had a
monopoly on military knowledge. Wood’s recent award of the Medal of Honor,
which had been pending for a dozen years, did little to further his cause,
because his services in earning it had involved duties other than those of a
line officer.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Unable
to sell himself to the War Department, Wood resolved to attain his ends as a
volunteer, the appointee of a state governor. Armed with lavish recommendations
from Roosevelt, Army chief Nelson Miles, and even Secretary of War Alger, he
approached the governor of his home state of Massachusetts. The governor,
however, had no intention of organizing such a regiment. Wood also met failure
in New York, but for another reason: that governor had his own favorite son in
case such a unit should be called up.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Finally,
fortune smiled from two directions. Roosevelt had begun his campaign, and the
governor of Arizona, where Wood was still a big hero, decided to contribute a
volunteer unit as a gift to the nation. Senator Francis Warren of Wyoming was
also creating a similar unit. Secretary Alger finally agreed to organize
several volunteer regiments, of which three would be cavalry. The first would
be commanded by Wood, with Roosevelt as his lieutenant colonel. It was really a
political act; the professional head of the Army, General Miles, appeared to
lack interest in organizing any volunteer regiments at all.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">But
Roosevelt had broken the bureaucratic barriers, and Wood’s greatest ambitions
had been exceeded: he was to be the colonel of a regiment. He was ready. Once
his appointment had been confirmed, he flew into action. He even knew the
location where he wanted the regiment to be recruited and trained: a large
piece of unoccupied territory near San Antonio, Texas. He also knew what he
wanted in other matters. He insisted, for example, on issuing his troopers a
lightweight tan uniform, far different from the heavy blue of the regulars. He
also knew the type of boots he wanted, based on the report he had sent to Washington
from Arizona many years previously. In the matter of armament, he would accept
only the best. He demanded that his men be issued the same rifles as those of
the regulars, the new Krag Jørgensen. Wood made all these arrangements
informally with the chief of ordnance and the quartermaster general, but to
implement them officially he needed to have them ordered formally by the
secretary of war. Taking no chances on Alger’s shillyshallying, Wood brought
the stack of orders for his requests into the secretary’s office all at once.
In a short period, a be-wildered Alger had given Wood all that he wanted. Wood
was then ready to depart Washington for San Antonio.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">On
arriving at his destination, Wood had many urgent tasks to accomplish. Although
there would be overlap, he had a set of priorities. First was sanitation,
second was housing, third was the reception of incoming packets of troops, then
came the issue of clothing and equipment, and finally came the instruction of
noncommissioned officers. Mixed with all these activities were training of new
recruits, care of mounts, drill, and ceremonies. Wood performed this program
with quiet dignity and intensity. Occasionally, Wood slipped out of his role.
On one occasion, when a young soldier was flung against a tree by a
recalcitrant mount, the colonel was quickly on his knees beside him: the
commanding officer had temporarily been transformed into a physician. He took
pride in the regiment and his role as its commanding officer. It was always,
despite public perception, Wood’s regiment.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Although
Roosevelt’s appointment as Wood’s lieutenant colonel was effective in early–May
1898, he did not leave Washington for Texas immediately. He and Wood had
decided that he would be more useful for the moment by staying behind to see to
it that the War Department came through with its promises— even written orders.
It was well that Roosevelt did so, because the administrative services were
slow to respond. On May 10, however, Roosevelt was able to send a message to
the friend he now called “Colonel Wood”: “I spent a good deal of yesterday and
today fussing with the Ordnance and Quartermaster General’s Department. They
have sent out tracers and tell me that by day after tomorrow the rifles and
most of the supplies will be at San Antonio. I hope you got your horses pretty
well purchased by this time. The enclosed letter shows that you are allowed to
purchase over the number if necessary.”<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Roosevelt
had another incentive to stay in the East for a while. He was re-solved to do
some recruiting among men he particularly wanted. He made visits to the
campuses of Ivy League universities, especially his own alma mater, Harvard.
His theme, which seems startling today, was that the privileged classes of
American society must take the lead in fighting the war. So effective were his
efforts that he found himself somewhat embarrassed by the fact that he was
overwhelmed with men intent on joining him. He finally selected about fifty,
among them two star football quarterbacks from Harvard, a champion high jumper,
a former US tennis champion, and a group of polo players. He did not, however,
restrict himself to the universities; he also signed up some former members of
the New York Police Force. He took great pride in the fact that almost none of
these volunteers asked to come in as commissioned officers; they were content
to serve as privates.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">The
easterners whom Roosevelt had recruited would actually constitute only a small
fraction of the twelve hundred men of the Rough Riders, but Roosevelt’s visibility
in recruiting them gave the public the impression that the regiment was
Roosevelt’s. At one point, a friend of Wood’s from New York wrote in protest.
“The newspapers about here keep talking about Roosevelt’s regiment. Give the
reporters a bit of discipline and have things called by their right name.” This
type of thing did not make Wood happy, but he took it philosophically. Not long
after, Wood wrote a friend: “It was not long after I had been joined by
Roosevelt at San Antonio, when I realized that if the campaign lasted for any
considerable length of time I would be kicked upstairs to make room for the
promotion of Roosevelt. I decided that, if that should happen, I would see to
it that no matter in what situation I found myself, I would find justification
of my being there and find a job that needed doing and would do it with all my
power.”<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Despite
the publicity engendered by Roosevelt’s activities in the East, the basic
character of the regiment followed the style of rough men from the Southwest.
Most were cowboys and ranchers, although the roster also included professional
men. To take them in, Wood had asked the local governors to set up about a
dozen reception centers. Once his men were inducted and sworn in, they were
subjected to extensive training, so intensive that the 1st United States
Volunteer Cavalry Regiment became known as the “Rough Riders,” the name that
has lived on in history.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Roosevelt,
despite his time in the Dakotas, was highly impressed by the sturdiness of the
men of the regiment. In a letter to Senator Lodge, he bub-bled with enthusiasm:<o:p></o:p></span></span></div>
<div style="margin-left: .5in; text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">It is as typical an American regiment as ever marched or fought. I
suppose that about 95 per cent of the men are of native birth, but we have a
few from everywhere, including a score of Indians and about as many men of
Mexican origin from New Mexico, then there are some fifty Easterners—almost all
graduates of Harvard, Yale, Princeton, etc,—and almost as many southerners, the
rest are from the plains and the Rocky Mountains. Three fourths of our men have
at one time or another been cowboys or small stockmen, certainly two thirds
have fathers who fought on one side or the other in the civil war. . . . These
men are in [the Army] because they want to be in it. They are intelligent as
well as game.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Roosevelt
was also content with the quality of his officers. Many of them were veterans
of the Regular Army, who had fought against Apache, Ute, and Cheyenne. Some had
previously been federal marshals. One individual whom Roosevelt singled out for
praise was Bucky O’Neill, the current mayor of Prescott, Arizona. O’Neill had
taken a leave of absence from civic duties to command Troop “A.” Roosevelt
described him as “a famous sheriff throughout the West for his feats of
victorious warfare against the Apache, no less than against the white
road–agents and man–killers. His father had fought in Meagher’s Brigade in the
Civil War, and he himself was a born soldier, a born leader of men. He was a
wild, reckless fellow, soft spoken, and of dauntless courage and boundless
ambition; he was staunchly loyal to his friends, and cared for them in every
way.”<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Roosevelt
even evaluated himself. “I have been both astonished and pleased,” he wrote to
Lodge, “at my own ability in the line of tactics. I thoroughly en-joy handling
these men, and I get them on the jump so that they execute their movements at a
gallop.”<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Roosevelt
had harbored one concern in gathering such a group of individuals. How would
they tolerate the discipline that the Army would necessarily impose on them? In
this matter, however, he described himself as “agreeably disappointed.” By and
large, the men realized the difference between an army and a mob. But to keep
them in such a frame of mind, the leaders—meaning himself—had to be strong. He
and Wood quietly but firmly corrected infractions of protocol that would seem
trivial in the more relaxed Army of later years. For example, a man would be
corrected if he said, “Good evening, sir,” when saluting the colonel. The
salute was sufficient in itself. On one occasion, a mess sergeant, in calling
dinner, was corrected for referring to the officers as “you fellers.” All these
small admonitions were taken in good part.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">But
Roosevelt himself still had to absorb some of the ways of the military
hierarchy. One incident, which he chose not to describe to Lodge in his
letters, involved his natural generosity, exuberance, and love of applause. One
day, after finishing a drill with one of his units, he ordered the men to
dismount and then shouted, “The men can go in and drink all the beer they want,
which I will pay for.” This gesture elicited such a response that Roosevelt got
carried away. He joined them for a couple of hours.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Nearly
everyone in the camp thought well of Roosevelt’s boyish enthusiasm, but one who
did not was Leonard Wood. That evening Wood sent for his lieutenant colonel and
pointed out that, in the interests of discipline, officers did not drink with
enlisted men. Roosevelt accepted the chiding seriously and left Wood’s tent. In
a few seconds, however, his embarrassment overcame him. He returned to the
tent, stood rigidly at attention, saluted, and made a stiff speech that ended,
“Sir, I consider myself the damndest ass within ten miles of this camp! Good
night, sir!”<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Roosevelt’s
enthusiasm for his military activities was admirable for a soldier, but in
broader matters it beclouded his judgment. His obsession to see battle with the
Rough Riders, for example, caused him to forget that the purpose of an army is
to enforce the national will. In one letter, he exhorted Senator Lodge to do
everything possible to prevent any successful negotiations between Washington
and Madrid, even if such negotiations would grant the Americans everything—the
Philippines, Puerto Rico, Guam, and even Cuba—without a fight. He, Roosevelt,
must defeat the Spanish in battle for the sake of the battle itself.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">As is
always the case when a unit prepares to break camp, Wood was involved in so
many administrative matters that he was forced to turn over much of the
training to Roosevelt, who relished the activity. He began by drilling the men
on foot, which in itself is difficult enough. Then, when he was satisfied with
his men’s precision, he began practicing maneuvers on horseback. The fact that
many of the horses were not broken in caused very little problem; many of the
Rough Riders were sufficiently strong and adept that no horse could remain
unbroken. As for weapons, Wood had decided to rely on only the Krag carbine,
which he had successfully obtained, and the revolver. To the disapproval of
more formal Regular Army cavalry officers, the Rough Riders dispensed with the
saber. They were, after all, expecting to do a great deal of their fighting on
foot, with their mounts being held by horse holders in the rear.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Although
Wood and Roosevelt had trained hard during the month of May 1898, they were
still uncertain whether they would ever be employed in actual fighting. Their
worries dissipated, however, at the end of the month, when a cablegram arrived
at San Antonio, ordering the regiment to leave by train for Tampa, Florida, to
join a force being assembled, presumably for an invasion of Cuba. Wood, on
receiving the message, showed no emotion; he simply stood up, shook Roosevelt
by the hand, and disclosed its contents. Roosevelt showed no such restraint; he
whooped and hollered, and in no time the entire camp had the news. As the scene
was described, “hats, blankets, tin cups, even saddles, skyward and made a
bedlam of Colonel Wood’s decorous camp of subjugated wild men.”<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">They had
every cause to be proud. Among all the units scheduled for inclusion in the
expedition, the Rough Riders were the only volunteer regiment. The other two
volunteer cavalry regiments were not yet ready to go. The personality and
influence of Theodore Roosevelt may also have been a factor in its
selection—one suspects that it may have been critical.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">On
Sunday, May 29, the first three of seven sections, under the direct command of
Wood, left the camp at San Antonio for the railroad station. With all the
confusion, including the failure of trains to show up, Wood’s contingent was
forced to wait until midnight before pulling out. Roosevelt, in charge of the
other four sections, arrived at the station about the time that Wood left; they
were off by the next morning. Once under way, the sections spaced out. When one
section stopped to allow the troopers to water and feed their horses, it would
be the only one at that station.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Eventually,
both officers and men were exhausted from the heat and lack of sleep. As usual
the quartermaster seldom delivered enough water and for-age to any one station.
Wood therefore faced a continual battle. According to a letter he wrote home,
he was forced to take “armed possession” of one train not assigned to him,
though he did not specify details. Still, there were bright aspects. All along
the line, people were aware that the famed Rough Riders were coming through and
were out beside the tracks to greet them. In New Orleans, the crowds were
particularly enthusiastic, and the sight of the American flag on proud display
gave Wood a lift to realize that the hurts of the Civil War thirty years previously
had been largely healed.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">After
four grueling days of travel, the 1st United States Volunteer Cavalry Regiment
reached Tampa at midnight on June 3, only to find the camp in a state of
confusion. Veterans of the campaign later recalled their arrival as one of the
blackest moments in the history of the US Army. According to Roosevelt:<o:p></o:p></span></span></div>
<div style="margin-left: .5in; text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Tampa lay in the pine–covered sand–flats at the end of a one–track
railroad, and everything connected with both military and railroad matters was
in an almost inextricable tangle. There was no one to meet us or to tell us
where we were to camp, and no one to issue us food for the first twenty–four
hours; while the railroad people unloaded us wherever they pleased. . . . We had
to buy the men food out of our own pockets, and to seize wagons in order to get
our spare luggage taken to the camping ground which we at last found had been
allotted to us.<o:p></o:p></span></span></div>
<div style="text-indent: .5in;">
<span style="color: black;"><span style="font-family: inherit;">Soon,
however, Wood established a semblance of order. The area was soon cleaned up,
and drill had been instituted immediately. Wood arranged the camp in the
standard manner: a rectangle with the twelve troops lined along the long sides
with the officers’ tents located at one end of the rectangle and the mess tents
at the other. Everyone, especially the officers, worked hard and took no time
for leisure, even though the town of Tampa was full of generals, members of the
press, and fine ladies. Their industry was noticed, however, and attachés of
various countries—English, German, Russian, French, and even Japanese—came out
to visit them. Chapel services were held on the one Sunday the Rough Riders
were at Tampa. The regiment was outstanding, even among the regulars.<o:p></o:p></span></span></div>
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Anonymoushttp://www.blogger.com/profile/08926037744077776271noreply@blogger.com2tag:blogger.com,1999:blog-6100197071811815441.post-55500872567199099752014-08-30T08:00:00.000-05:002014-09-02T10:11:18.569-05:00Q & A: SKY PILOTS by Michael E. Shay<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9YkhEF9-9jw8dO8bpqE4T3X-Vztq8ZnuMcktJwlY75XH5A3HXx08m6HN7Idm5d485dupRzLGn38_U48K5ZiIQfaBMuYcrfHsMzLYXtogIAdzDUXTypHhhe3rwE1V76jii9KesGbB05_hR/s1600/Shay+web.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9YkhEF9-9jw8dO8bpqE4T3X-Vztq8ZnuMcktJwlY75XH5A3HXx08m6HN7Idm5d485dupRzLGn38_U48K5ZiIQfaBMuYcrfHsMzLYXtogIAdzDUXTypHhhe3rwE1V76jii9KesGbB05_hR/s1600/Shay+web.jpg" height="320" width="211" /></a><span style="font-size: small;"><i><b><a href="http://press.umsystem.edu/product/Sky-Pilots,2170.aspx"><span style="font-family: "Times New Roman","serif";">Sky
Pilots: </span></a></b></i><span style="font-family: "Times New Roman","serif";"><i><b><a href="http://press.umsystem.edu/product/Sky-Pilots,2170.aspx">The Yankee Division Chaplains in World War I</a></b></i> </span></span><b><i><span style="font-family: "Times New Roman","serif"; line-height: 115%;"></span></i></b><span style="font-family: "Times New Roman","serif"; line-height: 115%;">
by Michael E. Shay tells the story of nearly three dozen clergymen who
volunteered as chaplains during the First World War. Assigned to the 26th “Yankee” Division, the first fully assembled division in France, they
experienced all of the horrors of war, shared all of the privations of the
common soldier, and earned the love and affection of their “boys.” Two died,
several were gassed or wounded, and many of them were decorated by France and
the United States for their heroism.</span><br />
<br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: small;"><b>Why did you write about Army chaplains
in World War I, and those from the Yankee Division in particular?</b></span></div>
<span style="font-size: small;">
</span><br />
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: small;">This is my fourth book
about the 26th Division, a National Guard division, which was
nicknamed the “Yankee Division.” When it was formed during the summer of 1917,
its ranks were filled almost exclusively with men from New
England, hence the name (</span><span style="font-size: small;"><span style="font-size: small;">my paternal grandfather was one of them)</span>. In doing research
for my previous books, I kept coming across references to the names of
individual chaplains and their close connection to the men they served, whether
in combat, or in passing out cigarettes, or, sadly, in burial details. The
references were always positive, and the letters home by the soldiers
invariably told of their regimental chaplain’s bravery and compassion. Other
than as a passing reference, the limitations of the previous manuscripts always
prevented me from telling the whole story. However, that may well have been the
best thing in the end, since these brave and humble men now get a book all to
themselves.</span>
</div>
<span style="font-size: small;"></span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: small;"><b>Why is it important to tell the
story of the Army chaplain in the First World War?</b></span></div>
<br />
<span style="font-size: small;">Chaplains have served
with American armed forces from the time of the first militias in colonial
days. However, up to World War I their role was only loosely defined. In fact,
they were often referred to as “handy men,” responsible for recreation, or the
post school, morale, or whatever the regimental commander wanted them to do.
During World War I, the Army established a Chaplain School to give uniform
instruction and physical training to chaplains. The first school was
established at Fort Monroe, Virginia, but was soon transferred to Camp Zachary
Taylor, Kentucky. Another school was established in France close to AEF
Headquarters, and it was designed to polish the skills of the men already in
France, or those who had completed their training in the States. Army chaplains
were also given a uniform and the rank of 1st lieutenant. Some more
experienced ones were promoted to captain, and one or two to major. The lessons
learned during the war were instrumental in the establishment of the Army
Chaplain Corps, with a full colonel in command. The Army Chaplain School is now located at Fort Jackson, South Carolina. Army chaplains are now a
fully integrated and respected part of the military, with both men and women in
its ranks, serving all major faiths.</span><span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br />
<br />
<span style="font-size: small;"><b>What did you learn about the service
of these men during World War I?</b></span></div>
<span style="font-size: small;">
</span><br />
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span style="color: black; line-height: 115%;">Many chaplains were no older than the men they served (some fresh
out of divinity school), yet they almost always referred to the soldiers
as "my boys." Many of the older ones were used to prepared sermons
and routine parish duties, but for all chaplains, the battlefield was their
parish, and sermons were often extemporaneous and preached in the open air or
deep in a dark underground bunker. They went everywhere with the doughboys,
and shared the same hardships and terrors, which even they often found difficult
to explain to themselves, yet they were there to lend an ear, offer comfort,
and when necessary to see to a decent burial. I like to think of them as men
of the cloth, but salt of the earth.</span></span>
</div>
<span style="font-size: small;"></span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
</div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: small;"><b><span style="color: black; line-height: 115%;">Did
all American chap</span></b><b><span style="line-height: 115%;">lains
serve in the U. S. Army during World War I?</span></b><span style="line-height: 115%;"></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span style="line-height: 115%;"><br /></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-size: small;"><span style="line-height: 115%;">The short
answer is, no. There were simply not enough Army chaplains to begin with. The
goal was to have one chaplain for every 1,200 men, and beginning in March 1918,
the Army Chaplain School was only graduating about 150 new chaplains per month.
Given the rapid build-up of men to nearly 2,000,000 in France alone, it is easy
to see that there was a large shortfall. All told, about 2,500 men served as
Army chaplains during World War I. The Chief Chaplain for the AEF, Bishop
Charles Brent, looked to the various service organizations to fill the gap.
These included the YMCA, the Knights of Columbus, and the Jewish Welfare Board.
He referred to these organizations as the “saving element.” These men had the
added advantage of being able to make available to the soldiers amenities like
cigarettes, candy, soap, and writing materials, free or at a small cost, through
the auspices of the organizations that sponsored them. Many of these volunteers
were already clergymen, and by the end of the war, some, but not all, would
receive commissions as 1st lieutenants. Also, since there were not
enough chaplains to serve all faiths, the chaplains exhibited a remarkable
degree of cooperation and ecumenical spirit. For example, if a particular
unit had a Protestant chaplain, but had a large number of Catholic men in its
ranks, the Protestant chaplain saw to it that a Catholic chaplain was available
to hear confessions and to offer Mass on Sunday. For many, this newfound
spirit of ecumenism was carried home with them and played a prominent part in
their later ministries. The situation with Jewish chaplains was altogether
different. Whether due to a latent institutional bias or just plain shortsightedness,
there were never enough slots allocated for them, and it was mostly through the
efforts of “acting rabbis” among the rank and file, that the Jewish soldiers'
needs were addressed. It was only late in the war that this need gained
traction. The Yankee Division itself had only one Jewish chaplain, and he
arrived at division headquarters just after the Armistice. </span></span></div>
<span style="font-size: small;">
</span><br />
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<br />
<br />
Michael E. Shay is also the editor of <a href="http://upress.missouri.edu/product/A-Civilian-in-Lawtons-1899-Philippine-Campaign,2125.aspx">A Civilian in Lawton's 1899 Philippine Campaign: The Letters of Robert D. Carter</a> and the author of <a href="http://upress.missouri.edu/product/Revered-Commander-Maligned-General,1976.aspx">Revered Commander, Maligned General: The Life of Clarence Ransom Edwards, 1859-1931,</a> both available from the University of Missouri Press.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6100197071811815441.post-88829462363232395332014-08-23T06:00:00.000-05:002014-08-23T06:00:00.632-05:00Author Spotlight: J. Malcolm Garcia<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQC_iYgaOZVqQb4osaCEitr46zOfpbLP2lYCCp-C7f61dq5fEiqCJBcqtHsXukyKTNJTkgbYlbovHbHEO8oMn-LSC14WL8hYb1A7yqyaRjurt6uCHT15sKZIrN4gGcPfP9j-f2nJMRBYyB/s1600/Garcia+S14+web.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQC_iYgaOZVqQb4osaCEitr46zOfpbLP2lYCCp-C7f61dq5fEiqCJBcqtHsXukyKTNJTkgbYlbovHbHEO8oMn-LSC14WL8hYb1A7yqyaRjurt6uCHT15sKZIrN4gGcPfP9j-f2nJMRBYyB/s1600/Garcia+S14+web.jpg" height="320" width="211" /></a></div>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;">In <a href="http://press.umsystem.edu/product/What-Wars-Leave-Behind,2156.aspx"><i>What Wars Leave Behind</i></a>, journalist J. Malcolm Garcia reveals the stories of the people left behind in the war-ravaged countries of Afghanistan, Pakistan, Egypt, Kosovo, Chad, and Syria. Garcia gives readers the sort of gritty detail learned from immersing himself in other cultures. He eats the food, drinks the tea, and endures the oppressive heat. These are the stories of how a middle-class guy from the Midwest with a social work degree learned to experience and embrace the cultures of Third World countries in conflict—and lived to tell the tale.</span></span><br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><br /></span></span>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><b><span style="color: black;">Q: You wrote that you were “more than a little worried” when you
gave up your 14-year career in social work to become a reporter. What was the
turning point that pushed you into journalism?</span></b><span style="color: black;"> </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="color: black;">I worked at a social services agency for
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work for about 14 years and was ready for a change. We had published a monthly
newsletter that was more newspaper than newsletter in that we reported what was
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<br /></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><b><span style="color: black;">Q: War zones are obviously not the safest areas, to say the least.
What were the most memorable times in your travels when you felt concerned for
your well-being? </span></b></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="color: black;">During my first embed in Afghanistan I remember
sitting on the plane, a C-130, and the soldiers all started saying goodbye to
one another and me because they thought they could very well be killed by
Taliban fighters. Needless to say we weren’t, but it was an odd feeling.
Afghanistan, after the heady days of the first few years when Afghans loved us,
always had a current of threat. You knew if you wandered by yourself you could
be kidnapped. Westerners had prices on their head, $25,000 if I remember
correctly. Their translators too. So on the one hand no one was shooting at us
in Kabul, yet there was this invisible undercurrent of a threat, of a guy just
walking up to you and shooting you or a car screeching to a stop and throwing you
in. </span></span></span></div>
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<br /></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="color: black;">One time in Pakistan, I was in an area
of Peshawar that was controlled by the Taliban. The driver took a wrong turn. I
was dressed as a native. We were pulled aside by bearded men in black turbans,
the kind the Taliban wear. Whether they were Taliban or not, I don’t know. I
kept my mouth shut. The driver said I was sick and could not talk. But I was
watched closely. The driver said we were visiting family and they let us leave.
“You passed” he said, meaning I looked enough like a native. I must have.</span><span style="color: black;"></span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="background: none repeat scroll 0% 0% white;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><b><span style="color: black;">Q: You describe journalism as helping to “keep the world real” for
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="color: black;">The hunger and general deprivation of
people in all the countries I’ve visited, and then coming back to the US and
confronting malls and coffee shops and the pounds of discarded food that fast
food joints and restaurants throw away. The other reality check is that our
inner cities are little different than the impoverished neighborhoods in Third World countries. And I sometimes feel comforted in a ghetto because the waste
of the affluent neighborhoods I find so jarring.</span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="background: none repeat scroll 0% 0% white;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><b><span style="color: black;">Q: Your book does a great job of spotlighting the issues that wars
leave behind. What programs have you found to be particularly effective in
helping resolve these issues? </span></b></span></span></div>
<div class="MsoNormal" style="background: none repeat scroll 0% 0% white;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="color: black;">Support groups where people can talk
about the trauma in their lives so they know they are not alone. These people
don’t have post traumatic stress, they have ongoing traumatic stress. They
feel shamed and weak. Talking makes them feel not so alone.</span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="background: none repeat scroll 0% 0% white;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><b><span style="color: black;">Q: What kind of impact do you hope this book has on your readers? </span></b></span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="color: black;">That it allows them to envision a world
they may not have considered. That they see people are really all the same.
They want security and safety for their families. The people affected by
wars, including the soldiers, are too often collateral damage to the
mindlessness of their leaders.</span></span></span></div>
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<br /></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><b><span style="color: black;">Q: Are you working on any new projects? </span></b></span></span></div>
<div class="MsoNormal" style="background: none repeat scroll 0% 0% white;">
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span style="color: black;">A story about deported American veterans—they
were not citizens when they joined the army. They served honorably and, after
their discharge, were deported. </span><span style="color: black;"></span></span></span></div>
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<br /></div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6100197071811815441.post-78992017701036679592014-08-18T07:00:00.000-05:002014-08-18T07:00:08.277-05:00Lisle A. Rose: In an Age of Multiple Truths<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-ZgD-37mYaHQ/U-zQ8C4MDPI/AAAAAAAAAOM/JYGbUqBNmpw/s1600/978-0-8262-2029-5-frontcover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-ZgD-37mYaHQ/U-zQ8C4MDPI/AAAAAAAAAOM/JYGbUqBNmpw/s1600/978-0-8262-2029-5-frontcover.jpg" height="320" width="210" /></a><a href="http://upress.missouri.edu/product/Farewell-to-Prosperity,2167.aspx"> </a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b><i>Farewell to Prosperity: </i></b></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><b><i>Wealth, Identity, and Conflict in Postwar America </i></b>by Lisle A. Rose is a provocative, in-depth study of
the Liberal and Conservative forces that fought each other to shape
American political culture and character during the nation’s most
prosperous years. The work’s central theme is the bitter struggle to
fashion post–World War II society between a historic Protestant Ethic
that equated free-market economics and money-making with Godliness and a
new, secular Liberal temperament that emerged from the twin ordeals of
depression and world war to stress social justice and security. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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As the author explains here, <b><i>Farewell to Prosperity</i></b> is no
partisan screed enlisting recent history to support one side or another.
Although absurdity abounds, it knows no home, affecting Conservative
and Liberal actors and thinkers alike</div>
<br />
<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>The
audacity of writing the history of your own time is self-evident. Like many
such efforts, <i style="mso-bidi-font-style: normal;">Farewell to Prosperity</i>
contains more than a slight element of memoir. I was a young schoolboy when
World War II ended and with millions of others have lived through all the
storms, dramas, excitements, triumphs, tragedies, and follies that have marked
national life ever since. Age does bring a certain measure of detachment and
tranquility--an appreciation of experience for its own sake that, hopefully, can
transcend narrow partisanship. That such a perspective is badly needed today
hardly merits mention.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>Liberalism
and Conservatism, the two great movements that have lashed our postwar polity,
have each in its own way overreached; neither has been able to bring a lasting
measure of domestic peace and satisfaction to our always turbulent and
ever-changing society. Why and how this has happened has preoccupied me for
many decades and is the subject of the book.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>My
intellectual debt is clearly traceable. One rainy Berkeley evening in 1962, I
read Richard Hofstadter’s <i style="mso-bidi-font-style: normal;">The Age of
Reform</i> in one sitting. In setting forth his theory of reform politics as a
reaction to social displacement, Hofstadter grounded his story in a generous
consideration not only of traditional sources of explanation--economics and politics--but
also in the hitherto largely unexplored realms of sociology and literary
criticism. His aim was to understand, not advocate. Hofstadter’s approach was,
and remains, a heady mix, and it was taken up by a talented crew of acolytes
including Marvin Meyers and Leo Marx. Tragically, their promising line of
inquiry was soon steamrollered by a “New Left” school who returned to the ways
of crude and unimaginative Marxist economic determinism overlain with a patina
of equally crude social criticism based on the writings of Che Guevara and
Herbert Marcuse. While such partisan advocacy scholarship (Conservatives have
their own doctrinaire practitioners) may be personally and collectively comforting
to those who pursue it, it has done little to advance a sophisticated
understanding of our lives and times.</span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>We
have reached the point where the received academic wisdom demands reconsiderations that will enable us to escape from</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> the dead end of meaningful explanation.<span style="mso-spacerun: yes;"> </span>Now, as always, the central conflict in
national life has been the struggle to define what this country is and means. With
few interruptions, that conflict has been as fierce since 1945 as at any time
in our past.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>For
all its many faults and failures, the liberalism that has been in and out of
power since 1933 has successfully advanced an agenda of mass economic
well-being and social betterment through government action. The ways and means
have often been abrasive and in the late sixties and early seventies shaded
into an extremism that, coupled with new and divisive forms of cultural expression,
brought the entire enterprise into disrepute. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>The
conservative experience has been no less fascinating. Throughout American
history, those more or less excluded from power have been adept at expressing
their opposition in code words. <span style="mso-spacerun: yes;"> </span>Modern
conservatism has been no exception. <span style="mso-spacerun: yes;"> </span>Liberalism’s
steady empowerment in the early postwar years led to the virulent and
irrational anti-communism of the fifties and sixties; its later excesses in
pursuit of legitimate ends deflected conservative criticism into the realm of
“states’ rights,” “family values,” and a renewed defense of religion-sanctioned
“free market individualism” that had been the hallmark of conservative thought
and practice throughout our national past. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>Since
1933 and particularly throughout the postwar era, the great themes underlying
conservative thought and conversation have been those of dispossession and
loss. Despite the evident decline of liberalism over the past forty years and
the emergence of Reagan Republicanism, conservatives are united in the sense
that the country is no longer theirs. This perception--both right and wrong--charges
their policies and practices with a striking urgency. We need not mount a
mournful epitaph for Dixie or defend heterosexual male supremacy to add a dash
of pity to our cup of condemnation. Millions of Americans are hurting because
reality has passed them by.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>I
suspect many thinkers and scholars will dismiss such a view as un-progressive
and wimpish hand-wringing. Caring about the losers is, after all, un-American,
as Vince Lombardi and a host of college and professional coaches will tell you.
But contemporary conservatism continues to clog the gears of national life. If
we seek the wellsprings of its beliefs and practices, they can be found in the
discoveries of Robert and Helen Merrill Lynd eighty and ninety years ago when
they probed the social dynamics of one typical “Middletown.” The political
culture of Muncie, Indiana, which the two sociologists uncovered during visits
in 1925 and 1936 continues to resonate throughout Red State America, shaping
its response to the host of issues confronting the country today; race
relations, feminism, gay rights, immigration, national health care, and the
like.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 1;"> </span>But
seeking out the dynamics of conservatism and its often venomous interplay with
the liberal opposition does more than illuminate our current national paralysis
and malaise. It rounds out the picture of what this nation is and was--and how
the <i style="mso-bidi-font-style: normal;">was</i> has become the <i style="mso-bidi-font-style: normal;">is</i>. The search for answers to questions
such as these constitutes the real meaning and challenge of history, which now,
as ever, is practically preoccupied with the basic question: “What happened and
why?” </span></div>
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<!-- Blogger automated replacement: "https://1.bp.blogspot.com/-ZgD-37mYaHQ/U-zQ8C4MDPI/AAAAAAAAAOM/JYGbUqBNmpw/s1600/978-0-8262-2029-5-frontcover.jpg" with "https://1.bp.blogspot.com/-ZgD-37mYaHQ/U-zQ8C4MDPI/AAAAAAAAAOM/JYGbUqBNmpw/s1600/978-0-8262-2029-5-frontcover.jpg" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F1.bp.blogspot.com%2F-ZgD-37mYaHQ%2FU-zQ8C4MDPI%2FAAAAAAAAAOM%2FJYGbUqBNmpw%2Fs1600%2F978-0-8262-2029-5-frontcover.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://1.bp.blogspot.com/-ZgD-37mYaHQ/U-zQ8C4MDPI/AAAAAAAAAOM/JYGbUqBNmpw/s1600/978-0-8262-2029-5-frontcover.jpg" -->Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6100197071811815441.post-51770241301576424162014-08-11T07:00:00.000-05:002014-08-11T07:00:07.356-05:00Author Spotlight: Colum Kenny<!--[if gte mso 9]><xml>
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<a href="https://2.bp.blogspot.com/-vLWpWHf0w4s/U86_7p_wg0I/AAAAAAAAANo/uyC8Mo5NJjk/s1600/978-0-8262-2024-0-frontcover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-vLWpWHf0w4s/U86_7p_wg0I/AAAAAAAAANo/uyC8Mo5NJjk/s1600/978-0-8262-2024-0-frontcover.jpg" height="320" width="211" /></a><a href="http://upress.missouri.edu/product/An-Irish-American-Odyssey,2163.aspx"> </a></div>
<br />
<a href="http://upress.missouri.edu/product/An-Irish-American-Odyssey,2163.aspx"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">An Irish-American Odyssey: The Remarkable Riseof the O’Shaughnessy Brothers</span></i></a><span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">
provides an account of one Irish-American family’s contribution to U.S. life in
the twentieth century. It is set against a backdrop of cultural, political and
social developments. Its author, Colum Kenny of Dublin City University,
believes that his book’s themes of immigration and assimilation give it a sharp
contemporary relevance. Here he reflects on how he came to write the book.</span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">The
first Irish-American immigrant I met was by then an old woman living frugally in
South Boston. That was 1970, and Nellie Kenny, a distant relative, told me of
being rebuffed by “NO IRISH OR BLACKS NEED APPLY” signs when she first went
looking for work as a young emigrant from Ireland landed in Massachusetts.</span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In 1970 and again in 1972 I visited the USA on
a J-1 student visa, working as a waiter in an old New Hampshire resort hotel to
make money for college in Dublin. My friend and I bought a ’63 Rambler, paying
just $200 to a Rhode Island car dealer to get us motoring in America.</span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">These were the first of more than a dozen
visits to the United States between then and now, for both work and pleasure.
My trips have taken me from coast to coast, making good American friends but
also learning to appreciate the complexity of Irish-America. My new book for
the University of Missouri Press is a way of coming to terms with that
experience. In it, I tell a story about the trials and opportunities of immigration
that resonate beyond the Irish-American community. For immigration today is a
complex global phenomenon.</span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">So how did I stumble on the O’Shaughnessys from
Missouri? Well I had discovered that James O’Shaughnessy met my grandfather in
Dublin in the 1920s. Both were leading admen in their own countries, with <i style="mso-bidi-font-style: normal;">TIME</i> magazine describing James as “the
best in the business.” This whetted my appetite to learn more.</span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">How had James done so well for himself, given
his background as the son of an impoverished victim of famine in Ireland?
Before becoming an adman at the age of forty, he had been regarded as a “star
reporter” on the <i style="mso-bidi-font-style: normal;">Chicago Tribune</i>. His
brothers too made their marks. Thomas was the leading Gaelic Revival artist in
North America. Martin was captain of the first official basketball team at
Notre Dame. Lawyer Frank O’Shaughnessy was the first graduate of Notre Dame invited
back to give a commencement address there. Frank’s brother and legal partner
John successfully defended a young Irish Presbyterian girl accused of theft
when she made allegations in an infamous “white slavery” case. </span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In writing their story I</span><span style="color: black; font-family: "Times","serif"; line-height: 150%; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 11.5pt;"> have moved from individual events
to the collective and social contexts in order to locate the O’Shaughnessys and
their achievements in a broader landscape. This allows readers who have an
interest in art, advertising, journalism, Irish studies, or politics to assess
more fully than would be possible with a purely chronological approach the
significance of contributions made in those areas by any single O’Shaughnessy—while
not losing sight of the overarching familial and other networks. And it allows
people who are interested principally in the story of an immigrant family to
see its members in a wider way.</span></div>
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<span style="color: black; font-family: "Times","serif"; line-height: 150%; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 11.5pt;">While the life of each
O’Shaughnessy brother had unique and engaging characteristics, the rise
of the family as a whole—emerging into public view— reflects the broader
experiences of generations of immigrants.</span></div>
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<span style="color: black; font-family: "Times","serif"; line-height: 150%; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 11.5pt;">My personal knowledge or
experiences of Irish-American immigrants has been somewhat random, but also at
times poignant. </span><span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In Denver, for example, I
tried dialing nine numbers I found in the phone book opposite the married name
of my wife’s grand-aunt, last heard from fifty years earlier living in Colorado.
The final number led eventually to the aunt’s aging son, and renewed family
relationships.</span><span style="color: black; font-family: "Times","serif"; line-height: 150%; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 11.5pt;"></span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">On another occasion I was vacationing in rural
New York with my wife and children, staying at the house of a recently deceased
uncle of an Irish-American friend. Surrounded by his Irish books and Waterford
cut glass and other items from the old country, I was struck by the force of
objects that can speak eloquently of roots that connect people long after space
separates them.</span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">In 2010 I lived for a month with Trappist monks
at the Abbey of Gethsemani in rural Kentucky, completing a study of silence and
communications for a London publisher. I met Brother Alan, whose parents had
held him in their arms at the Eucharist Congress in Dublin in 1932, before
leaving for America. In a nonsilent interlude he told me stories that his
father had told him, and I could hear his father’s Mayo voice and immigrant
experiences echo in the way Alan spoke. </span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Two years ago my wife and I happened upon an
unfinished rail tunnel in the Blue Ridge Mountains. We were with one of our
sons, then working in South Carolina, who took us to the Isaqueena Falls on a
hot day. As we left the area, we saw a historic marker and stopped to
investigate. It told of 1,500 Irish itinerant miners who cut through the blue
granite with hand drills, hammers, and chisels. This was the unfinished
Stumphouse Tunnel, part of a railway project of the 1850s that ground to a halt
and never made it as far as Tennessee. So much hard work for so little. Not all
Irish immigrants rose high.</span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">James O’Shaughnessy, an impoverished orphan
emigrant from Galway and future father of the adman, married the daughter of a
railroad supervisor farther north, in Missouri. In my new book, I tell his story and that of his sons. </span></div>
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<span style="font-family: "Times","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Through its cultural, social, and political
contexts, the siblings’ story becomes the story of many first-generation
families. It is the fruit of my meetings with Irish-Americans across the USA
and of research sparked by those encounters. </span></div>
<span style="font-family: "Times","serif";"><i></i></span><br />
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<!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F2.bp.blogspot.com%2F-vLWpWHf0w4s%2FU86_7p_wg0I%2FAAAAAAAAANo%2FuyC8Mo5NJjk%2Fs1600%2F978-0-8262-2024-0-frontcover.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://2.bp.blogspot.com/-vLWpWHf0w4s/U86_7p_wg0I/AAAAAAAAANo/uyC8Mo5NJjk/s1600/978-0-8262-2024-0-frontcover.jpg" --><!-- Blogger automated replacement: "https://2.bp.blogspot.com/-vLWpWHf0w4s/U86_7p_wg0I/AAAAAAAAANo/uyC8Mo5NJjk/s1600/978-0-8262-2024-0-frontcover.jpg" with "https://2.bp.blogspot.com/-vLWpWHf0w4s/U86_7p_wg0I/AAAAAAAAANo/uyC8Mo5NJjk/s1600/978-0-8262-2024-0-frontcover.jpg" -->Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-6100197071811815441.post-18614991964800175982014-08-04T07:00:00.000-05:002014-08-04T07:00:01.122-05:00Author Spotlight: Earl J. Hess and Pratibha A. Dabholkar<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-DGKLKD03ibs/U8_XZVV6eqI/AAAAAAAAAN4/GOrUpYp16VM/s1600/978-0-8262-2022-6-frontcover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-DGKLKD03ibs/U8_XZVV6eqI/AAAAAAAAAN4/GOrUpYp16VM/s1600/978-0-8262-2022-6-frontcover.jpg" height="320" width="213" /></a><a href="http://upress.missouri.edu/product/The-Cinematic-Voyage-of-THE-PIRATE,2159.aspx"> </a></div>
<a href="http://upress.missouri.edu/product/The-Cinematic-Voyage-of-THE-PIRATE,2159.aspx"><i>The Cinematic Voyage of The Pirate: Kelly, Garland, and Minnelli at Work</i></a> follows the model of Hess and Dabholkar’s previous study of <i>Singin’ in the Rain</i>. Drawing on exhaustive research in archives, memoirs, interviews, and newspaper coverage, it takes the reader from the original conception of the story in the mind of a German playwright named Ludwig Fulda, through S. N. Behrman’s Broadway production starring Alfred Lunt and Lynn Fontanne, to the arduous task of crafting a suitable screenplay at MGM. Behind-the-scenes issues such as Garland’s personal problems during the making of the film and the shaping of the film by Minnelli and Kelly are among the many subjects detailed here.<br />
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Preface <br />
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<![endif]--><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">Among the many products of the
Arthur Freed Unit at M-G-M, <i>The Pirate </i>has garnered a great deal of
attention from viewers and critics<i> </i>alike as one of the most interesting
film musicals of all time. Although<i> </i>not as universally acclaimed as <i>Singin’
in the Rain</i>, <i>The Pirate </i>is an important film musical to study for a
number of reasons. It<i> </i>represents the start of Gene Kelly’s glory period
as actor, choreographer,<i> </i>and dancer. It is a highlight of Vincente
Minnelli’s directorial<i> </i>career, especially in the use of color, camera
angles, and vivid<i> </i>depictions of sets and people. It shows Judy Garland
at her best in<i> </i>a unique role that showcases her comedic talents. It is a
superb case<i> </i>study of the difficult process of creating a film from a
stage play and<i> </i>also a wonderful case study of the complexities involved
in making<i> </i>a film under difficult circumstances. It was the first film
musical to<i> </i>show a white man dancing with black men as equals and to show<i>
</i>ethnically mixed crowd scenes in a natural way.</span>
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">In addition, there are
secondary reasons to pick <i>The Pirate </i>over other popular musicals as a
subject deserving careful study. It is not merely a musical with an appealing
story and songs such as Minnelli and Garland’s <i>Meet Me in St. Louis </i>or
many of Garland’s other films, but it also has vibrant and superbly executed
dances. Moreover, whereas other film musicals with good stories and vibrant dances,
such as Kelly’s <i>On the Town</i>, have several weak segments that repeat
viewers tend to skip in order to focus on the better parts, there is no weak
segment in <i>The Pirate</i>—the entire film is delightfully watchable.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">It is not that scholars have
ignored <i>The Pirate</i>. It was a controversial film in several ways and has
attracted considerable commentary, negative as well as positive, over the
years. Arguments about its plot, acting, sets, and dances, as well as the place
it holds in the creative work of director Vincente Minnelli, and stars Gene Kelly
and Judy Garland, have raged since its initial release in 1948. Those arguments
continue today, more than sixty-five years later, with some scholars calling
the film a classic failure despite much merit and others extolling it as one of
M-G-M’s brightest accomplishments. Nevertheless, we believe <i>The Pirate </i>has
not received the acclaim it deserves in scholarly literature. The remarkable
ways in which the film helped the careers of Kelly, Minnelli, and Garland, its
pioneering depiction of race relations in musicals, and the mastery displayed
in the staging, filming, and choreography of Kelly’s dances lead us to conclude
that <i>The Pirate </i>is an underappreciated masterpiece.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">It is often said that <i>The
Pirate </i>became a cult classic soon after its release, rather than a general
favorite among fans of film musicals, but that is only partially true. <i>The
Pirate </i>did appeal to gay audiences soon after its release but it was
appreciated by mainstream audiences as well. The film has been a hit with many
college students since the 1970s, and a decade later, it began to be a popular
topic of analysis for scholars who deal with gay theory and the cinema. At the
same time, the film has won high praise from many viewers, critics, and
scholars who savor the particular aesthetics of dance on film, with
appreciation for the movie growing over the years. In fact, many fans of the
film musical rank it as their favorite. In addition, devotees of the more than
300 films that have been made about pirates have often included the
Kelly-Minnelli-Garland product among the top ten. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">The Pirate </span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">is consistently ranked as among the best products of the
Freed Unit, but there has not been an extensive study of the film to date. This
book, <i>The Cinematic Voyage of The Pirate: Kelly, Garland,</i> <i>and
Minnelli at Work</i>, provides a rich and detailed history of this highly acclaimed
motion picture. It is a follow-up to our book entitled <i>Singin’ in the Rain:
The Making of an American Masterpiece</i>, which is a comprehensive history of
the most famous film musical of all time. Following the model for that book, we
based our study of <i>The</i> <i>Pirate </i>on definitive research, including
extant interviews conducted with participants and archival material held in
repositories across the United States. Moreover, similar to our approach for <i>Singin’
in</i> <i>the Rain</i>, this study offers a comprehensive look at <i>The Pirate
</i>by discussing all aspects of the film’s history: from the development of the
initial idea for the movie through preproduction, filming, initial release, and
marketing to its legacy in the writings of film scholars and critics well into
the twenty-first century.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">Although many viewers enjoyed <i>The
Pirate </i>when it was first released, it was not universally appreciated by
audiences at that time. Actually, musicals made shortly after World War II that
emphasized fantasy and spectacle had a chance of doing very well. A likely reason
<i>The Pirate </i>did not live up to its merit, despite its emphasis on fantasy
and spectacle, is that audiences of the day simply did not get Minnelli and
Kelly’s tongue-in-cheek humor underlying Kelly’s role as Serafin.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">In contrast, critical reviews
on the film’s initial release were mostly positive. Contrary to much commentary
in books on the film musical, our extensive research in primary materials shows
that <i>The</i> <i>Pirate </i>was <i>not </i>panned by critics when released in
1948. In fact, most critics went into raptures about the film, while others
wrote negatively about only some aspects of it. Some reviewers since 1948, such
as David Vaughan and Douglas McVay, have gone so far as to proclaim <i>The
Pirate </i>the best film musical of all time. Nor was it a financial loss for
M-G-M, as scholars have claimed. The movie actually made a profit, although not
as great as it might have been.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">The majority of commentators
and critics between 1948 and 2010 have, at least, ranked it as a pivotal
project in the careers of Minnelli (in terms of his use of color, boom camera
work, and stylized setting) and Kelly (in terms of the development of his
athletic dance choreography and the creation of “star” qualities). It also was
the project where Minnelli and Kelly began their successful collaboration on
films, and in which Garland began to experience the full impact of years of
drug addiction and troubled relationships with her husband and mother. This
book highlights the film’s role in the careers of Kelly, Minnelli, and Garland.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">Kelly probably gained more than
any single individual from his experience in working on <i>The Pirate</i>. Not
only was the film the true beginning of his postwar fame as a dancer on the big
screen, but he worked more intimately on choreography in this movie than on any
previous film, and he played an important part in character development. His
acting in an unusual role received much praise despite some criticism from
those who missed or disliked the tongue-incheek quality of his portrayal. Kelly
also learned a good deal about camera work and direction from Minnelli that he
later employed very successfully in his own career as a director, starting with
<i>On</i> <i>the Town </i>(1949) and proceeding all the way to <i>Hello, Dolly!
</i>(1969).</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">For Minnelli, <i>The Pirate </i>was
a landmark film. It exemplified his fascination with colorful locale, exotic
costumes, and strongly defined characters, especially women. The director used
his trademark boom camera work to full effect as cinematographer Harry Stradling
shot a beautiful film. Minnelli also worked extensively to revise the final
screenplay, imprinting his own vision on it. He worked closely with the
Technicolor Corporation to create a richer product than the company had tended
to produce. <i>The Pirate </i>is one of Minnelli’s most effective creations,
displaying verve, irony, and a sardonic gusto that is unique among his films.
It is Minnelli at his best.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">Garland’s career hit a
watershed with <i>The Pirate</i>. Her personal problems with drugs and her
troubled relationship with her husband, Minnelli, came to a head during the
filming of this movie. She missed many days of production, costing M-G-M a good
deal of money and wasted time, but she turned in a stellar performance in a
role that was unusual for her. Our history of <i>The Pirate </i>discusses Garland’s
contributions as well as her problems.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">The Pirate </span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">became, among other things, a gay cult movie, and Garland’s
presence in the film helped to start that process. Gay audiences also
appreciated Minnelli’s aesthetics and Kelly’s virile dancing. The book explains
how <i>The Pirate </i>grew into an icon of gay studies scholarship.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">In offering readers many
opportunities to examine important aspects of filmmaking, this book starts with
the development of the plot and script. <i>The Pirate </i>was based on a
successful Broadway comedy of the same name that ran for 177 performances
beginning in November 1942. It was written by Samuel N. Behrman and starred the
famous Broadway actors Alfred Lunt and Lynn Fontanne. That production in turn
was based on the 1911 play by German author Ludwig Fulda. After M-G-M purchased
the rights to the Behrman play, the studio had some difficulty turning it into
a film. Eight writers worked on the screenplay from 1943 to 1946 before Frances
Goodrich and Albert Hackett were assigned to it and came up with a suitable script,
with help from Minnelli and Freed. But even this was not the final version of
the screenplay. Minnelli and Freed, with the help of three assistants, heavily
revised the screenplay during preproduction, making a total of thirteen
writers, not counting the director and producer. This complex genealogy of the
movie offers many opportunities to understand how film scripts evolved from
previous works during M-G-M’s golden era and who among the many people working
for the studio played a role in shaping the scripts. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">The topic of plot and character
development becomes even more complex when discussing a dance film, because the
numbers are the highlights of the screen experience and their development takes
place in the studio or in the mind of the choreographer, rather than on paper. The
dance numbers may appear in places other than where the screenplay indicates,
and the way the dances develop characters or plot can significantly modify the
script. Although scholars tend to think of <i>The Pirate </i>as Minnelli’s
project, Kelly played a huge role in planning and executing the film. As
mentioned earlier, this was the start of their wonderful collaboration, and in
his memoirs, Minnelli gave full credit to Kelly for his contributions. <i>The
Pirate </i>was anything but an example of the auteur in action; it was a highly
collaborative project, not only for Minnelli and Kelly but stretching from
Ludwig Fulda to the most obscure technician on the sound</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">stage of M-G-M.</span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">Another contribution of this
study to film history involves a detailed analysis of the movie’s “film
ballet,” an extended dance number with balletic aspects. <i>The Pirate </i>contains
one of the most elaborate and impressive examples of film ballet in the genre.
The purpose of this ballet was to represent important emotions and character
developments portrayed thus far in the film. Dance director Robert Alton
initially proposed a pedantic, literal scheme for the ballet in an extensive
scenario that we found in the Vincente Minnelli Collection. But Minnelli and
Kelly preferred a psychologically charged, surrealistic framework for the
ballet that worked much better than Alton’s idea in extending the storyline and
the characterizations. Ballets had become all the rage in dance films by the
later 1940s, and both Minnelli and Kelly worked hard on this one. It involved
impressive pyrotechnic displays and feats of dancing by Kelly that are noted by
even those who do not particularly like the overall film. In subsequent movies,
Kelly elaborated on the ballet concept, building on his work in <i>The Pirate </i>to
produce classic examples of this type of dance in <i>On the Town </i>(1949), <i>An
American in Paris </i>(1951), and <i>Singin’</i> <i>in the Rain </i>(1952).</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">The creation of the songs in
this musical and Cole Porter’s contributions are also discussed in detail.
However, Porter took little interest in the film itself and did not work to
shape the movie. Arthur Freed, however, did play a prominent role as producer,
not just in casting but in authorizing complex sets and costumes as well as in working
with Minnelli to guide script revision and editing. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">Our book also discusses the
role of <i>The Pirate </i>in depicting race relations on film. Minnelli staged
crowd scenes that were ethnically and racially mixed in ways that were unusual
for the time. Kelly insisted on dancing with the Nicholas Brothers, a black
dancing team, in a spectacular number. This is something no other film musical
had done to date. Dances in films were segregated by race, and many musicals of
that era even showed white dancers in blackface. Kelly’s dancing with the
Nicholas Brothers as equals was a daring challenge to the segregated world of
America in the late 1940s. Theater managers in many southern cities refused to
show the film or requested the deletion of “Be a Clown,” the brothers’ dance
number with Kelly, from the release prints. The Lunt-Fontanne stage version of <i>The
Pirate </i>also included racial mixing, but it had no dancing in it, and the play
was booked only in northern cities.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">As a study in filmmaking, this
book deals with the many goofs and gaffes to be seen in the release print of <i>The
Pirate</i>, which the movie’s fans tend to find endearing rather than targets
for criticism. We also discuss the censorship issues involving the script and
lyrics in <i>The Pirate</i>, explaining why they arose and how they were
resolved. Thematic, stylistic, and other types of links between this film and
others are highlighted, so the reader can appreciate such connections.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">As in <i>Singin’ in the Rain:
The Making of an American Masterpiece</i>, we draw on a wide range of primary
and secondary research sources. Archival and published primary materials are at
the heart of our study. Reactions to <i>The Pirate </i>in the secondary literature
are used to offer insights about the film’s long-range reception. We recognize that
many online sources might not be fully reliable. Therefore, we use information
from online sites in a sparing and critical way, and if no other source is
available. For example, factual information from the Internet Movie Data Base
(IMDB) is used in compiling the list of technical crew members who worked on
the film. For that matter, we have critically evaluated the reliability of <i>all
</i>material used in the preparation of this study, including archival and scholarly
sources. Having studied the film and its history in great detail, we include
our own analysis and scholarly opinions wherever relevant.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">Although movie audiences were
less enthusiastic than film critics when <i>The Pirate </i>was first released,
enthusiasm for the film certainly grew with the passage of time. Freed may well
have been right when he said this motion picture was at least twenty years ahead
of its time when it was released in 1948. Our book includes a full discussion
of critical and scholarly commentary over the years (including commentary by
gay studies scholars) to help readers appreciate diverse views about the film
as well as how perspectives changed over time.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">British commentator John Cutts
called <i>The Pirate </i>“a masterpiece of extravagant entertainment, a
boisterous rococo romp” that continued to grow in stature as “a rich and rare
musical experiment.” “There is no denying that this is a weird movie,” Victoria
Large wrote nearly sixty years after its release, “one that comes by its status
as a cult classic honestly. It’s loopy, knowingly camp, brightly colored,
ambitious, and absolutely unique.” Adherents of the cult built around the film
had all along proclaimed it a masterpiece, but the appeal of <i>The Pirate </i>extends
beyond cult boundaries. David Vaughan thought the movie had come “very near to
achieving one’s ideal of a dance film—that is, a film which dances <i>all </i>the
time, and not merely in its spectacular set-pieces.” As Douglas McVay put it, bringing
all the elements together accounted for Minnelli’s success in <i>The Pirate</i>.
“If one is going to try to blend words, music, movement, dance sets, costumes,
props, color photography and camera fluency into a total, effortless harmony,
then this, surely, is the way to do it.” And yet, as film historians John
Russell Taylor and Arthur Jackson have bemoaned, <i>The Pirate </i>“has never
really had its due.”</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: PalatinoLinotype-Roman;">Our book sets out to correct
this situation and give this classic film its full credit. In addition to discussing
all the issues mentioned in this preface, Appendix A includes our synopses and
analyses of all the discarded screenplays so that interested readers can follow
the twists and turns in creating the perfect screenplay for <i>The Pirate</i>.
Appendix B catalogs something that scholars have missed in consistently praising
the Goodrich-Hackett script over Behrman’s—namely, the huge number of lines
from Behrman’s stage play that appear in the Goodrich-Hackett screenplay.
Finally, we include short biographies of the major players wherever relevant in
the book and also include Appendix C, which contains mini-biographies of
everyone involved in the making of <i>The Pirate</i>—in order to give some
credit to all the people who were part of this underappreciated masterpiece.</span></div>
<!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F2.bp.blogspot.com%2F-DGKLKD03ibs%2FU8_XZVV6eqI%2FAAAAAAAAAN4%2FGOrUpYp16VM%2Fs1600%2F978-0-8262-2022-6-frontcover.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://2.bp.blogspot.com/-DGKLKD03ibs/U8_XZVV6eqI/AAAAAAAAAN4/GOrUpYp16VM/s1600/978-0-8262-2022-6-frontcover.jpg" --><!-- Blogger automated replacement: "https://2.bp.blogspot.com/-DGKLKD03ibs/U8_XZVV6eqI/AAAAAAAAAN4/GOrUpYp16VM/s1600/978-0-8262-2022-6-frontcover.jpg" with "https://2.bp.blogspot.com/-DGKLKD03ibs/U8_XZVV6eqI/AAAAAAAAAN4/GOrUpYp16VM/s1600/978-0-8262-2022-6-frontcover.jpg" -->Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6100197071811815441.post-26739036475829847872014-07-28T06:00:00.000-05:002014-07-28T06:00:08.529-05:00Author Spotlight: Dennis Okerstrom<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-qfHrkb3vDXY/U8bQIywN5SI/AAAAAAAAANY/dngjiZuXq8s/s1600/978-0-8262-2027-1-frontcover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-qfHrkb3vDXY/U8bQIywN5SI/AAAAAAAAANY/dngjiZuXq8s/s1600/978-0-8262-2027-1-frontcover.jpg" height="320" width="210" /></a><a href="http://press.umsystem.edu/product/Project-9,2165.aspx"> </a></div>
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<![endif]--><a href="http://press.umsystem.edu/product/Project-9,2165.aspx"><em><span style="color: black;">Project 9: The Birth of the Air Commandos in World War II</span></em></a><span style="color: black;"> by Dennis R. Okerstrom </span><br />
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="color: black;"><i>Project 9 </i>is a thoroughly researched
narrative of the Allied joint project to invade Burma by air. Beginning with
its inception at the Quebec Conference of 1943 and continuing through Operation
Thursday until the death of the brilliant British General Orde Wingate in March
1944, less than a month after the successful invasion of Burma, <em>Project 9</em>
details all aspects of this covert mission, including the selection of the
American airmen, the procurement of the aircraft, the joint training with British
troops, and the dangerous nighttime assault behind Japanese lines by
glider. </span></div>
<br />
The release of the book coincides with the 70th
anniversary of the invasion of Burma. In a presentation at the Eisenhower Library in Abilene, Kansas, Okerstrom shared the story of Project 9 with the assistance of World
War II veteran Dick Cole, age 98. Cole was with the 1st Air Commando
Group, a forerunner to modern special operations units such as SEAL Team
Six and Delta Force. Dick Cole served as Jimmy Doolittle's copilot during the Tokyo Raid and is one of only four surviving Doolittle Tokyo Raiders. Cole and Okerstrom are also joined by two other Air Commandos, Patt Meara and Bill Cartwright.<br />
<div class="separator" style="clear: both; text-align: center;">
<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Z3wSZGEuGB0?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
Dennis Okerstrom's <a href="http://press.umsystem.edu/product/The-Final-Mission-of-Bottoms-Up,1990.aspx"><i>The Final Mission of Bottoms Up: A World War II Pilot's Story</i></a> is also published by the University of Missouri Press<i>.</i><br />
<br />
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<a href="https://4.bp.blogspot.com/-m1MYHh-mOvo/U8bCAaGIJNI/AAAAAAAAANI/rsQeRuRsBDM/s1600/978-0-8262-2030-1-frontcover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-m1MYHh-mOvo/U8bCAaGIJNI/AAAAAAAAANI/rsQeRuRsBDM/s1600/978-0-8262-2030-1-frontcover.jpg" height="320" width="213" /></a><a href="http://press.umsystem.edu/product/The-Moon-in-Your-Sky,2169.aspx"> </a></div>
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<span style="font-family: inherit;"><b><i><a href="http://press.umsystem.edu/product/The-Moon-in-Your-Sky,2169.aspx">The Moon in Your Sky: An Immigrant’s Journey Home</a> </i></b>by Kate Saller</span><br />
<br />
<span style="font-family: inherit;"><i><span style="color: black;">The Moon in Your Sky: An
Immigrant’s Journey Home </span></i><span style="color: black;">brings to life the
remarkable story of Annah Emuge. Growing up in Uganda under the rule of Idi
Amin, Annah and her peers faced hardships few of us can imagine. As a young
woman, Annah escaped to the United States, only to face more devastating
challenges. How Annah overcame the trials she endured in the land she had
thought would hold only promise for her and her family is a riveting story of
perseverance that will inspire any reader. Annah’s sorrows give depth to the
great joys she experiences as she not only survives but triumphs, devoting her
life to</span><span style="background: white; color: black; mso-fareast-font-family: "Times New Roman";"> the suffering of orphans left by the
ravages of war in her homeland. </span><span style="color: black;"></span>
</span><br />
<br />
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<b>Preface</b><span style="color: black; font-family: "Times New Roman","serif";"> </span><br />
<br />
<span style="color: black; font-family: "Times New Roman","serif";">I
had just finished speaking to the Rotary Club of St. Charles, Missouri, about
my humanitarian work in Africa when a beautiful, statuesque black woman
approached me. Without prelude she asked me, “Do you know how to get mosquito
nets for fifty-four children in Uganda?” This was my introduction to Annah
Frances Acam Emuge, the determined and courageous woman who is the subject of
this book.</span>
<br />
<div class="Pa6" style="text-indent: 17.0pt;">
<span style="color: black; font-family: "Times New Roman","serif";">As I came to know Annah, I was amazed to learn about the joys and
tribulations of her life. It seemed as if, every time she told me a story from
her past, I was incredulous that one human being could have survived it, and
yet that was just one part of her story. Annah was the third daughter born to a
poor family in rural Uganda in 1959. I wrote her life entirely through her
eyes, to give readers a full sense of growing up as a village child in a
country being systematically decimated by its maniacal dictator, Idi Amin Dada.
As a child and teenager, this remarkable young woman matured and set the course
of her life while enduring the kinds of devastations and threats that we have
read about in many such accounts of life in twentieth-century rural Africa. What
set Annah’s story apart for me was that it is not about an individual
overcoming such an existence, coming to the United States, and finding a clear
path back to her roots to improve the lives of those left behind; rather, it is
the story of a woman who was faced with even tougher challenges here, and of
her extraordinary and largely solitary triumph over all of them.</span></div>
<div class="Pa6" style="text-indent: 17.0pt;">
<span style="color: black; font-family: "Times New Roman","serif";">Entwined in Annah’s tale of grace and strength is the sadder story
of her husband, who came to this country filled with hopes and ambitions, only
to find that they were all beyond his reach. The loss of his dreams, along with
the realities of the life he found here, proved to be more than this talented
and brilliant man could withstand.</span></div>
<div class="Pa6" style="text-indent: 17.0pt;">
<span style="color: black; font-family: "Times New Roman","serif";">To accurately portray Annah’s life, I created an outline of the
book and then had her tape-record her recollections from each period of her
life, one section at a time. I took notes from each recording and then
interviewed her to fill out my knowledge of that part of her life. After
writing each chapter from my notes, I went over the material with Annah to
ensure that she felt it was an accurate and complete picture of her life at
that time. As this process progressed, Annah and I realized that I am unusual
among her American acquaintances in that I understand and have observed
firsthand the life she led in Uganda, sleeping in mud huts and working on the
family’s subsistence farm to survive. Through my affiliation with the service
organization Rotary International, I have been to five African countries, traveling
to and staying in rural areas to immunize children, distribute mosquito nets to
orphans, and coordinate the placement of filtered wells in poor communities
with no access to clean water. In spite of the unbelievable hardships suffered
by the people I encountered there, all of them were warm and welcoming,
finding joy in things like the simple act of offering me a crude, handmade
stool to rest on in the shade as I worked. It was this same spirit that drew me
to Annah when I met her.</span></div>
<div class="Pa6" style="text-indent: 17.0pt;">
<span style="color: black; font-family: "Times New Roman","serif";">Annah did get her fifty-four mosquito nets through Rotary connections,
and St. Louis-area Rotarians donated the money needed to purchase them. She has
now created a 501(c)(3) organization, the Atai Orphanage Fund
(<a href="http://www.ataiorphanage.org/">www.ataiorphanage.org</a>), which collects donations to help support the
children who live in the orphanage created by her mother. I am a member of the
AOF’s board, and we are proud to say that we were able to raise the funds to
place a 240-foot bore-hole well on the orphanage’s land in 2010. Although the
children sleep in mud huts and live a simple, poor life that differs very
little from Annah’s childhood there, they proudly tell anyone who asks that
they have a mama in America who loves them. </span></div>
<div class="Pa6" style="text-indent: 17.0pt;">
<br /></div>
<div class="Pa6" style="text-indent: 17.0pt;">
<span style="color: black; font-family: "Times New Roman","serif";">All of the author's proceeds from sales of
this book will be used to support Annah and the orphans of Atai. </span></div>
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<!-- Blogger automated replacement: "https://4.bp.blogspot.com/-m1MYHh-mOvo/U8bCAaGIJNI/AAAAAAAAANI/rsQeRuRsBDM/s1600/978-0-8262-2030-1-frontcover.jpg" with "https://4.bp.blogspot.com/-m1MYHh-mOvo/U8bCAaGIJNI/AAAAAAAAANI/rsQeRuRsBDM/s1600/978-0-8262-2030-1-frontcover.jpg" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F4.bp.blogspot.com%2F-m1MYHh-mOvo%2FU8bCAaGIJNI%2FAAAAAAAAANI%2FrsQeRuRsBDM%2Fs1600%2F978-0-8262-2030-1-frontcover.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://4.bp.blogspot.com/-m1MYHh-mOvo/U8bCAaGIJNI/AAAAAAAAANI/rsQeRuRsBDM/s1600/978-0-8262-2030-1-frontcover.jpg" -->Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6100197071811815441.post-24503416347914124052014-07-16T12:05:00.000-05:002014-07-16T12:09:42.184-05:00Author Spotlight: Sam Pickering<br />
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<a href="https://2.bp.blogspot.com/-2zcyWOb8eDM/U8avS1FgiMI/AAAAAAAAAM4/RL34I7g8z4A/s1600/978-0-8262-2028-8-frontcover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-2zcyWOb8eDM/U8avS1FgiMI/AAAAAAAAAM4/RL34I7g8z4A/s1600/978-0-8262-2028-8-frontcover.jpg" height="320" width="213" /></a><a href="http://press.umsystem.edu/product/All-My-Days-Are-Saturdays,2166.aspx"> </a></div>
The University of Missouri Press has three books in print by Sam Pickering, who some years ago gained fame as one of the inspirations for the character of Mr. Keating, played by Robin Williams in the film <i>Dead Poets Society</i>. In his most recent book, <a href="http://press.umsystem.edu/product/All-My-Days-Are-Saturdays,2166.aspx"><i><span style="color: blue;">All My Days Are Saturdays</span></i></a>, he writes about teaching and his recent retirement, visits to various locales, and, as he tell us, "the many people I meet . . . who tell me their stories, small tales that make one laugh and sigh." Also by Sam Pickering from the University of Missouri Press are <a href="http://press.umsystem.edu/product/Indian-Summer,1748.aspx"><i><span style="color: blue;">Indian Summer: Musings on the Gift of Life</span></i></a> and <i><span style="color: blue;"><a href="http://press.umsystem.edu/product/Walkabout-Year,1484.aspx"><span style="color: blue;">Walkabout Year: Twelve Months in Australia</span><span style="font-style: normal;">.</span></a></span></i> Here he ruminates about a life of writing essays about life.<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">Vicki’s father bought an old farmhouse in Nova Scotia in 1947, and since marrying Vicki, I have spent summer months in Canada. Last week I watched an old woman with a blue cane shopping for strawberries in Sobey’s grocery in Yarmouth. Flats of strawberries lay displayed on a counter. Atop the flats were wooden boxes, each containing a quart of berries. The woman hobbled slowly past the counter sampling berries. From each of the first three boxes she selected a single berry, eating it slowly and then shaking her head and spitting the green topknot into a scrap of tissue paper. The taste of the berry she removed from the fourth box, however, met with her approval. As she chewed, she nodded. Reaching into the flat, she picked up the box and placed it in her grocery cart. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">“Personally,” H. G. Wells wrote, “I have no use at all for life as it is, except as raw material. It bothers me to look at things unless there is also the idea of doing something with them. I should find a holiday, doing nothing amidst beautiful scenery, not a holiday, but a torture. The contemplative ecstasy of the saints would be hell to me.” </span><br />
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A long time ago, I might have agreed with Wells. Nowadays, observing not only seems good enough but mete and right. Once upon a time I dreamed of legendary faraway places with unpronounceable names. Now I stay at home or, when I travel, wander familiar paths. Yesterday I jogged eight miles along backcountry dirt roads. A haze of bloodthirsty buccaneering deerflies sailed about me, all ready to board my head and shoulders. In past years I studied my shadow on the road and plucked the flies from the air before they unsheathed their sabers. I always bettered the record of the tailor of nursery fame who swatted seven flies in a single blow. During a run I never failed to make at least two of the piratical flies walk the plank every mile, often finishing a run having deep-sixed at least thirty of the one-eyed and peg-legged. Yesterday I ignored the flies and let the boldest settle on my neck and arms. Instead of letting the insects bother me, I looked at the flowers growing on the shoulders of the road, which included flags of blue vetch, sunny two-flowered Cynthia, and woodbine, its blossoms jeweled crowns set with white, pink, and yellow. While constellations of water lilies flickered like stars on the surface of still ponds, balls of bullhead lilies rolled in the currents eddying through slow streams. </div>
</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">A wag recently remarked that the lives of essayists are so dull that in order to enliven their days they eventually start sending themselves e-mails and telephoning their homes and leaving messages for themselves. Some even go bankrupt ordering items they don’t want just so Fed Ex or UPS will rap on the door and disrupt the humdrummery of fitting verbs to nouns and paragraphs to pages. Virginia Woolf once wrote that “a writer’s country is a territory within his own brain.” My country doesn’t fill the atlas. Rarely do I forsake the dirt road for the asphalt highway. Yet my country seems a wondrous place rich with domesticity and good humor—hokey stories that keep me smiling. After a time the lively person slips too easily into the cold grasp of good sense. Nonsense quickens, but it is harder to write. I jog and write in part because I don’t want to settle into an armchair and become one of those rancorous old boys who is not happy unless he is recollecting an aged grievance. Laurence Sterne argued that digressions are the sunshine, the life, and “the soul of reading.” For my part I am a rambler and think digressions are the heart of essays. Yesterday I broke my run to search for snakes, turning over bits of wood and broken fish boxes lying beside the road. I found six red-bellied snakes, small necklaces gleaming with life and, more important, bright with the capacity to make passersby appreciate the beauty of living.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 200%;">I have written a couple of shelves of books. In them I described the appointments of my days: years when children trod the stage of my life, decades in classrooms, the stacks of many libraries, a few faraway places, and always a lively variety of people. Have I been successful? In my terms, you bet I have been successful. I have enjoyed a rich life and had great fun. Moreover, I’ve perfected the art of writing the unread, and I am now working on writing the unwritten. Last week I received a letter in which my correspondent called me “America’s Most Neglected Literary Treasure.” Of course I immediately carried the letter into the kitchen and read it to Vicki. “It’s always nice to hear from a friend,” Vicki said as she stirred the pea soup she was making. “How did you know the letter was from one of my friends?” I asked. “Oh, come on, Sam. What are friends for if not to praise and exaggerate wildly?” Vicki said. “Now leave me alone. Can’t you see I’m busy with this soup?”</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://press.umsystem.edu/product/In-Search-of-the-Triune-God,2137.aspx" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="http://press.umsystem.edu/product/In-Search-of-the-Triune-God,2137.aspx" border="0" src="http://2.bp.blogspot.com/-2dfRQve3EyA/UZ91VICszrI/AAAAAAAAAEc/0FUOH0VdXzE/s1600/webb+F13.jpg" height="320" width="208" /></a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"></span></b><a href="http://press.umsystem.edu/product/In-Search-of-the-Triune-God,2137.aspx"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><i>In Search of the Triune God: The Christian Paths of East and West</i>, by Eugene Webb </span></a>
</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Under
the broad umbrella of the Christian religion, there exists a great
divide between two fundamentally different ways of thinking about key
aspects of the Christian faith. Eugene Webb explores the sources of that
divide, looking at how the Eastern and Western Christian worlds drifted
apart due both to the different ways they interpreted their symbols and
to the different roles political power played in their histories.
Previous studies have focused on historical events or on the history of
theological ideas. </span></span></span><i><span style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">In Search of the Triune God</span></span></span></i><span style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> delves deeper by
exploring how the Christian East and the Christian West have conceived
the relation between symbol and experience. </span></span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Q.
What prompted you to write this book?</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A.
There were several stages in the development of my interest in this topic.<span style="mso-spacerun: yes;"> </span>I first came to Christianity myself as an
adult with no prior attachment to any religious tradition.<span style="mso-spacerun: yes;"> </span>At the time I found the doctrine of the
Trinity perplexing, especially because the explanations I was given seemed both
abstract and arbitrary.<span style="mso-spacerun: yes;"> </span>I subsequently
found that many Christians felt similarly.<span style="mso-spacerun: yes;">
</span>Later, I decided it would be good to create a course on Eastern
Christian traditions for the programs on Comparative Religion and European
Studies that I had organized and taught in at my university.<span style="mso-spacerun: yes;"> </span>Teaching the histories of both Western and
Eastern Christianity I became increasingly aware of differences between them,
and I found that most of these were connected in some way with their different ways
of understanding this fundamental doctrine.<span style="mso-spacerun: yes;">
</span>Since I also found that this was mostly unknown territory to both
Christians and non-Christians, I decided a book explaining the differences
could be helpful.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Q.
What is the Triune God? </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A.
The Christian doctrine of God as triune--i.e., both one and three--was formulated
in the fourth century CE in the Nicene Creed as a way of understanding the
relation between God as the source of all that is and God as encountered in the
personhood of Jesus of Nazareth and in the life of those who follow him and are
incorporated into his life.<span style="mso-spacerun: yes;"> </span>The development
of that way of thinking about the relation between God and humanity goes back well
before the Christian era, however, to early Hebrew biblical images of God
breathing life into creation (the root meaning of the word <i style="mso-bidi-font-style: normal;">spirit</i>, in Hebrew, Greek, and Latin, is <i style="mso-bidi-font-style: normal;">breath</i> or <i style="mso-bidi-font-style: normal;">wind</i>) and of
God calling Israel into a relation of sonship.<span style="mso-spacerun: yes;">
</span>The early Christians interpreted Jesus as the one in whom that calling
was truly fulfilled, and they believed the animating breath of God, the Spirit,
was also uniting them with Jesus in his filial relation to God.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Over
time, the Eastern and Western Christian patterns of thinking about this
diverged, with the West following Saint Augustine’s speculation about what there
might be three of in the one God, while the East’s pattern of interpretation
tended to be based on the story of Jesus’s baptism, with the Spirit descending
to “rest upon” Jesus as a voice from heaven proclaims him “my beloved son.”<span style="mso-spacerun: yes;"> </span>Few modern Christians in the West realize
that the trinitarian creed they call the Nicene Creed is not the original one
formulated and affirmed by the ancient ecumenical councils but an altered
version imposed in his domain by Charlemagne (to conform the creed to
Augustine’s speculations as well as to serve Charlemagne’s own political
purposes in his rivalry with the Roman emperors in Constantinople) and that it
was at first resisted by the papacy, which did not itself adopt the new version
of the creed in Rome until the eleventh century.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Q.
How do the Christian East and the Christian West differ in their conceptions of
the relation between symbol and experience?</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A.
In the pattern of thinking that developed among Eastern Christian thinkers, the
symbols of Father, Son, and Spirit expressed their experience of living, as
they put it, “in Christ”—knowing the Son of God from within and knowing the
Spirit as the breath of God moving them from within and raising them into
participation in the Son’s life, a process Eastern Christians call “deification”
(<i style="mso-bidi-font-style: normal;">theosis</i>).<span style="mso-spacerun: yes;"> </span>In this way of interpreting them, <i style="mso-bidi-font-style: normal;">Father</i>, <i style="mso-bidi-font-style: normal;">Son</i>, and <i style="mso-bidi-font-style: normal;">Spirit</i> were
experiential symbols that articulated in consciousness the three essential
dimensions of the mystery Christians found themselves caught up in. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Augustine,
on the other hand, in his book <i style="mso-bidi-font-style: normal;">On the
Trinity</i>, began with the assumption that the doctrine of the Trinity must
refer to three “somethings” (<i style="mso-bidi-font-style: normal;">aliquid</i>)
inside God, and he tried to work out how to connect the biblical images of
Father, Son, and Spirit with those.<span style="mso-spacerun: yes;"> </span>In his
interpretation the biblical images became speculative symbols used to identify
a triad of objective components of the one God; they could have no experiential
meanings because Augustine believed the experience of fallen human beings in
this life could have no direct relation to the inner being of God.<span style="mso-spacerun: yes;"> </span>After trying numerous triads to assess their
fit, he concluded that <i style="mso-bidi-font-style: normal;">Father</i> must
name God’s memory, <i style="mso-bidi-font-style: normal;">Son</i> God’s
intellect or reason, and <i style="mso-bidi-font-style: normal;">Spirit</i> God’s
will and that, since a will that did not proceed from intelligence or reason
would be irrational and therefore defective, this implied that the Spirit must “proceed
from the Father <i style="mso-bidi-font-style: normal;">and the Son</i>.”<span style="mso-spacerun: yes;"> </span>(“And the Son” [<i style="mso-bidi-font-style: normal;">Filioque</i>] was the crucial phrase that Charlemagne added to the
Nicene Creed to conform it to Augustine’s interpretation.)</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Q.
What are some other basic differences between Eastern Christianity and Western
Christianity?</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A.
One is that the West adopted Augustine’s doctrine of Original Sin, which was a
particular theory of human fallenness that involved both universal inherited
guilt and a disposition to sin that is inexorable in this life (which ruled out
the Eastern belief in the Christian life as a process of deification).<span style="mso-spacerun: yes;"> </span>A further development growing out of that
same theory is that “atonement” (which originally meant becoming “at one” with
God), came to be thought of in the West as referring to Christ’s crucifixion as
payment of the penalty due for sin, whereas in the East Christ’s atonement has been
associated with the union of humanity and divinity in the Incarnation, in
which, as St. Paul put it, Christ came as a son in order that he might be the
first of many brothers (and sisters). </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Still
another difference was that in the West, after Charlemagne’s empire became
broken up among his heirs and their rivals, the Church entered as an
independent political power into the ensuing competition to claim the kind of
authority Charlemagne had held, whereas in the East, where the Roman empire
continued intact until 1453 CE and was succeeded by the Ottoman and Russian
empires, the Church was never in a position to strive for such power.<span style="mso-spacerun: yes;"> </span>This preoccupation with power has gone hand
in hand with a tendency in the West to imagine the relation between God and humanity
in terms of a command system entailing rewards and punishments, with Christ at
the top of a chain of command in which he is represented on earth either by a
ruler like Charlemagne or by popes or by an inerrant scripture.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Q.
How have the differences between them manifested themselves in the lives of
Christians?</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A.
It is important to recognize, to begin with, that there is diversity within
both Eastern and Western Christianity and that due to influences passing back
and forth over the centuries, individual Christians don’t conform consistently
to the basic patterns of one or the other.<span style="mso-spacerun: yes;">
</span>That being said, the frequently commented tendency of Eastern
Christianity toward the mystical and of Western toward the juridical is not inaccurate
as a broad description.<span style="mso-spacerun: yes;"> </span>Eastern
Christians often say that “theology is lived” and tend to look for examples of
this in their monastic tradition (Dostoevsky’s portrait of the Elder Zossima in
<i style="mso-bidi-font-style: normal;">The Brothers Karamazov</i> would be an
example).<span style="mso-spacerun: yes;"> </span>The Western tradition’s
preoccupation with institutional power and its concern with knowing what to do
to gain reward and avoid punishment has led to both inquisitions and rigid
scriptural fundamentalisms.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">On
the other hand, the struggles, both ideological and political, within the
Western tradition of Christianity have stimulated valuable intellectual
development in recent centuries, whereas that aspect of the Eastern tradition’s
life flourished mainly before 1453.<span style="mso-spacerun: yes;"> </span>I
think both Western and Eastern Christians can recognize that there have been
saints (and saintly lives even among people not formally recognized as saints) in
both traditions during the whole course of their histories—both before and
after they split apart.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Q.
How did you first become interested in studying religion?</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A.
Growing up without a religious tradition but surrounded by a great variety of
forms of religion, I first became interested in them because they seemed
efforts to address the most searching existential questions: where do we come
from, what are we here for, what are the best possibilities for human
life?<span style="mso-spacerun: yes;"> </span>As an academic study, however, my
involvement with religion began rather indirectly.<span style="mso-spacerun: yes;"> </span>My degrees were in philosophy and comparative
literature, both of which I was also drawn to as ways of exploring such
existential questions.<span style="mso-spacerun: yes;"> </span>As it happened,
after writing a book on religion and literature, <i style="mso-bidi-font-style: normal;">The Dark Dove: The Sacred and Secular in Modern Literature</i>, I found
myself asked to organize a program on the study of religions in the Jackson
School of International Studies at the University of Washington, and I
subsequently headed that program and shifted the larger part of my teaching to
it. </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">My
reason for being willing to undertake that role was that having studied the way
possible visions of life could be explored through logical analysis and through
metaphor and narrative, I became interested in the way they could also be
concretely embodied and lived, which is what religions try to do.<span style="mso-spacerun: yes;"> </span>The reason I have continued to find that a
compelling study is that in the history of religions I found both the best and
the worst of human possibilities expressing themselves.<span style="mso-spacerun: yes;"> </span>I am convinced personally that religion has
been and will always remain a powerful force in human life, but that shining as
much light as possible on religious traditions may help to prevent their
striving toward self-transcending love from being subverted, as so often
happens, by the lust for power that Saint Augustine called <i style="mso-bidi-font-style: normal;">libido dominandi</i>.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><a href="http://umissouripress.blogspot.com/2013/08/author-spotlight-eugene-webb.html">See also the Author Spotlight for Eugene Webb's <i>Worldview and Mind.</i></a></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6100197071811815441.post-52977696969983120832014-06-11T06:00:00.000-05:002014-06-11T06:00:06.757-05:00Author Spotlight: Patricia Dunlavy Valenti <i></i><br />
<a href="http://press.umsystem.edu/product/Sophia-Peabody-Hawthorne,819.aspx" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="http://press.umsystem.edu/product/Sophia-Peabody-Hawthorne,819.aspx" border="0" src="http://4.bp.blogspot.com/-QDDVStXJak4/U491GWCHwjI/AAAAAAAAAMA/cULWb3WfKOI/s1600/0826215289.jpg" height="320" width="204" /></a><i><a href="http://press.umsystem.edu/product/Sophia-Peabody-Hawthorne,819.aspx">Sophia Peabody Hawthorne: A Life, Volume I, 1809-1847</a>, </i>by Patricia Dunlavy Valenti<br />
<br />
<br />
Q<i>.</i> What prompted you to write a biography of Sophia Peabody Hawthorne?<br />
<br />
A. I first encountered her when I wrote my dissertation on the fiction of Nathaniel Hawthorne. I was intrigued by his pictorial technique; that made me curious about his artist wife, Sophia, and I wondered how she might have influenced his writing. I discovered that she was a professional artist in the first half of the nineteenth century when a woman artist was a rarity in America. She exhibited her work at the Boston Athenaeum. Her mentors were some of the most important artists of her day: Washington Allston, Chester Harding, and Thomas Doughty. She was, in fact, very different from the person described in biographies of Nathaniel Hawthorne. Her life deserved to be presented on its own terms, in her own biography. <br />
<br />
Q. How was she portrayed in Nathaniel Hawthorne’s biographies? <br />
<br />
A. Nathaniel’s biographies presented Sophia as an amateur, dilettante painter when in fact she possessed the hallmarks of a professional artist. But in terms of her character, the misrepresentation was even more profound, thanks to her husband. Nathaniel had invented a persona for Sophia: the timid, frail “Dove.” This image stuck with his biographers, but in reality she was more practical, worldly-wise, and daring than he. <br />
<br />
Q. How so?<br />
<br />
A. For example, before they met, she traveled to Cuba--another uncommon activity for young women at that time. There she kept a three-volume, eight-hundred-page journal. This <i>Cuba Journal</i> is an ecstatic, transcendental response to nature, but it also reads like a novel of manners with lively narratives about her experiences, including those with a handsome suitor. Sophia rode horses during the day and waltzed at night, something strictly forbidden to proper young women. Her sister Mary called her a “tinderbox.” This was Sophia as she presented herself in her <i>Cuba Journal</i>, which Nathaniel read before he met her in person. Sophia’s life was radically different from his. He had traveled only as far Niagara Falls; he had been living in a room in his mother’s house for nearly a decade. So though he was attracted to Sophia, she was also a bit threatening. It seems as if he wanted to tame her by referring to her as his “Dove.”<br />
<br />
Q. The <i>Cuba Journal</i> must be a fascinating piece of writing if it captivated one of the most prominent writers in American literature. Has it been published?<br />
<br />
A. Not on paper, but now it can be read online at the digital archives of the New York Public Library, where it is housed in the Berg Collection. Isaac Gewirtz, curator of that collection, determined that the <i>Cuba Journal</i> should be digitized in order to conserve it and to make it widely available. It had become very fragile, and scholars increasingly want to read it. I was fortunate enough to read the actual <i>Cuba Journal</i>. Sophia really knew how to draw a reader into life on a plantation in Cuba in the early 1830s, so much so that I recall feeling somewhat disoriented when I would leave the library to take a break. It somehow felt wrong that I was really in the middle of the noise and bustle of Manhattan and not in a tropical coffee plantation.<br />
<br />
Q. You mention Sophia’s discussion of nature and social life. You don’t mention that she wrote about Cuban politics or slavery on the island. Did she?<br />
<br />
A. Sophia believed that Providence would right all wrongs, and she was disquietingly oblivious to the moral evil of slavery. She was certainly on the wrong side of history in that regard. But her sisters and most of her friends were committed abolitionists. Her arguments with them illuminate a painful moment in American history. <br />
<br />
Q. Let’s return to the question of Sophia’s influence upon her husband’s writing. Can you say exactly what that was?<br />
<br />
A. Nathaniel used his pet names for Sophia—Dove and Phoebe—for characters in two of his novels. That’s an exact, but trivial, example of her presence in his writing. Her more significant influences are far more pervasive and subtle. For example, Nathaniel’s female characters became more sensuous and complex after Sophia entered his life. Where he saw darkness and shadows, she saw light. The tension between their worldviews filtered into his fiction. One of his most famous stories, “Rappaccini’s Daughter,” was written shortly after they married and should be read against the<i> Cuba Journal</i> because that story absorbs the tone of Cuba’s brilliant, lush tropical scenery. I examine this story’s debt to the <i>Cuba Journal</i> in Chapter 20, “More Poison in Thy Nature.”<br />
<br />
Q. One reviewer of your book called it a hybrid. Why?<br />
<br />
A. Volume I has, and Volume II will have, more literary analysis than most biographies. But literary analysis is essential when dealing with a subject such as Sophia because writing was tantamount to living for her. I mentioned the holdings of the Berg Collection earlier. No author has a greater number of items in the Berg Collection than Sophia, and her manuscripts are found in major collections or in private hands all over the country. The scope of her writing is enormous; it’s not just a source for her biography but a major topic in it.<br />
<br />
Q. What else can you hint about the upcoming Volume II?<br />
<br />
A. I think there will be some surprises for scholars and general readers alike. After Sophia’s marriage, Nathaniel squelched her artistic career, and she turned her creative energies into raising her children at a moment when the notions of mothering were in flux. The Hawthornes’ storied marital love did not confine Sophia’s passionate affections. She formed deep attachments to men other than her husband and to one woman. Sophia continued to be an interesting travel writer, and she documented her life in the British Isles, Italy, Portugal, and Germany. Sophia’s perspective of her husband during his declining years reveals him as he has never before been seen. Much of the second volume is set during the Civil War and its aftermath. Volume II will be of interest to anyone who wants an insight into that period of national crisis. Sophia’s story could not be confined to a single volume.<br />
<br />
<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6100197071811815441.post-34902043996201970752014-06-04T13:24:00.002-05:002014-06-04T13:24:15.959-05:00BookTV Author Event: William Least Heat-Moon<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgP4_6O5XmtJUAbsID3brNUnL2bY_xARBGaa54xJ3nuwCg1LTmozwwFxpKLq3eG7g2RxncVC73XMlnNPNwCK9xWGn1zahoZzUqf-_Dpik4SQHMGkHGdWq6cycPRHp3l4AbCoetWFLsR1EA/s1600/Writing+Blue+Highways+Cover.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgP4_6O5XmtJUAbsID3brNUnL2bY_xARBGaa54xJ3nuwCg1LTmozwwFxpKLq3eG7g2RxncVC73XMlnNPNwCK9xWGn1zahoZzUqf-_Dpik4SQHMGkHGdWq6cycPRHp3l4AbCoetWFLsR1EA/s1600/Writing+Blue+Highways+Cover.png" /></a></div>
Tomorrow night, June 5th, at 7:00pm in the Daniel Boone Regional Library, William Least Heat-Moon will be doing an author event with C-Span's BookTV focusing on his latest work, <a href="http://press.umsystem.edu/product/Writing-BLUE-HIGHWAYS,2172.aspx"><i>Writing </i>Blue Highways<i>: The Story of How a Book Happened</i></a>.<br />
<br />
Yesterday, Heat-Moon <a href="http://kbia.org/post/thinking-out-loud-william-least-heat-moon">stopped by KBIA</a> to share his views on the process of creating and to give readers an idea of how he goes about his writing. Heat-Moon also talked about one of his major influences, Jack Lezebnik, and how helpful he was to helping Heat-Moon become a better writer.<br />
<br />
He also appeared at the Kansas City Public Library on May 28th for a presentation about <i>Writing Blue Highways</i>, which can be seen <a href="https://www.youtube.com/watch?v=wbfr3TuZgOI&feature=youtu.be">here</a>.<br />
<br />
Whether you're a fan of Heat-Moon's original <i>Blue Highways</i>, curious about what goes into the process of creating a book, or simply want to hear more from a talented wordsmith, you won't want to miss this!<br />
<br />
Be sure to mark your calendars, and come out to join us tomorrow night at the <a href="http://www.dbrl.org/">Daniel Boone Regional Library</a>!Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-6100197071811815441.post-4292901087412289542014-05-30T10:30:00.000-05:002014-05-30T10:30:07.373-05:00Short Story Friday! 5/30<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3iR3N4daCeXn1oCieG3xWqwiY-93YUGSglK0_2Zq1YEUIMWnG1y01GNIrYlGdTe4FAGUtjZHj7K9zdAeIa8oB1wCdJgRlbQYoaQLzhxIrxTISz7pkW3ZQz2tQ9dF2z3tMNqnxfCGF_7Qh/s1600/shortstorymonth320x320.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3iR3N4daCeXn1oCieG3xWqwiY-93YUGSglK0_2Zq1YEUIMWnG1y01GNIrYlGdTe4FAGUtjZHj7K9zdAeIa8oB1wCdJgRlbQYoaQLzhxIrxTISz7pkW3ZQz2tQ9dF2z3tMNqnxfCGF_7Qh/s1600/shortstorymonth320x320.jpg" width="200" /></a></div>
Happy <a href="http://shortstorymonth.com/">Short Story Month</a> everyone!<br />
<br />
In honor of this wonderful month-long celebration, the University of
Missouri Press has been posting lists every Friday of our favorite short story collections from here at UMP. We hope you've enjoyed Short Story Month as much as we have, and thanks for being here with us for it!<br />
<br />
So kick back, take a little time (really, you only need a little - they are <i>short</i> stories, after all) and indulge in some great reading as we wrap up Short Story Month in style.<br />
<br />
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<a href="http://press.umsystem.edu/product/Later-Simple-Stories-LH8,663.aspx"><b>The Later Simple Stories</b></a><br />
by Langston Hughes, ed. Donna Akiba Sullivan Harper<br />
<br />
In Volume 8 of <i>The Collected Works of Langston Hughes,</i> the genial
Harlem everyman, Jesse B. Semple returns with his more cosmopolitan bar
buddy, Ananias Boyd. Social climber Joyce Lane is now Mrs. Jesse B.
Semple, and Simple has minimized his flirtatious contacts with other
women. Despite these ongoing characters, the later Simple stories are
very different from the earlier Simple tales. The later stories evoke
the historical and social context within which they were written, a
politically dangerous time for the fictional adventures and fantasies of
the main characters.<br />
<br />
<i>The Later Simple Stories</i> rounds out Hughes's presentation of
Jesse B. Semple and the various people of his world. Simple and his foil
still make us chuckle, but more important, they make us think. While
these episodes often focus on particularities of the times, they also
articulate broader truths that remain valuable. <br />
<br />
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<a href="http://press.umsystem.edu/product/Joe-Baker-Is-Dead,1564.aspx"><b>Joe Baker is Dead</b></a><br />
by Mary Troy<b> </b><br />
<br />
"He seemed empty, a tube of toothpaste squeezed dry, a flattened and shriveled pod with no peas." Meet Joe Baker.<br />
<br />
In this lively and appealing debut work, Troy explores life in all its
offbeat and often tragic moments. She presents characters who are
searching for solutions to dilemmas only partly of their own making.
They are connected to others by weaker bonds than they want or need and,
though intelligent, are often guided by attitudes of acceptance and
fear. Yet instead of leaving the reader with pathos, <i>Joe Baker Is Dead</i> finds humor in a world with little hope, proving that "all was as it should be. It was possible to go on."<br />
<br />
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<a href="http://press.umsystem.edu/product/Lost-Women-Banished-Souls,1498.aspx"><b>Lost Women, Banished Souls</b></a><br />
by Garnett Kilberg Cohen<br />
<br />
In <i>Lost Women, Banished Souls,</i> Garnett Kilberg Cohen captures the
voices of a variety of women who share one main characteristic<!--[if gte mso 9]><xml>
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sense of loss. Although most of these women are like the ones we see
every day without giving much thought to the undercurrents of their
lives, Cohen shows us how women who appear ordinary on the surface often
live extraordinary private lives. With the activities and relationships
of her stories' characters, Cohen demonstrates how fragile life is, how
everyday decisions can change the direction of one's life, and how much
more painful our failures of ourselves can be than our failures to meet
others' expectations. <br />
<br />
These stories also explore such social issues as domestic violence,
teenage pregnancy, and child-rearing after divorce. Cohen's language
ranges from lyrical evocations of the past to the informal,
conversational style of folk tradition.<br />
<br />
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<a href="http://press.umsystem.edu/product/Marked-Men,1629.aspx"><b>Marked Men</b></a><br />
by Michael C. White<br />
<br />
From Michael C. White, the author of the critically acclaimed novels <i>A Brother's Blood</i> and <i>The Blind Side of the Heart,</i> comes a new book, <i>Marked Men.</i>
It is a gripping collection of twelve wide-ranging stories about those
unexpected moments in our lives when the layers of our defenses are
peeled away, one by one, and we are left with the harsh inevitability of
our fates. Touching on themes of loneliness and isolation, <i>Marked Men</i>
deals with characters who have been alienated from society, from family
and friends, from their past, and sometimes from their own feelings.<br />
<br />
These are powerful and moving stories told in White's distinctive style. Engaging the reader from the first line, White provides a suspenseful
and surprise-filled journey as his characters face and resolve their
conflicts.<br />
<br />
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<a href="http://press.umsystem.edu/product/Quake,1510.aspx"><b>Quake</b></a><br />
by Nance Van Winckel<br />
<br />
Unforeseen and unavoidable shocks not only alter our lives but send
tremors into the futures of many others. In this intriguing collection
of five individual yet interconnected stories, Nance Van Winckel
chronicles the ripple effects that one life or action can have on the
lives of many seemingly unrelated people.<br />
<br />
A tapestry of interwoven destinies, of loves lost and lives rediscovered, <i>Quake</i> will pull the reader deep into the intensity of Van Winckel's fictive world. <br />
<br />
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<a href="http://press.umsystem.edu/product/Walking-on-Ice,81.aspx"><b>Walking on Ice</b></a><br />
by Susan Hubbard<br />
<br />
A mother hires a sinister baby-sitter. An Irish innocent embraces
the ambiguities of Belfast. A university professor welcomes a
houseguest and finds himself a stranger in his own home. Two young
women seek romance along the Canadian border. . . <br />
<br />
Winner of the Associated Writing Programs' Award in Short Fiction, <i>Walking on Ice </i>depicts
a world in which human relationships grow ever more fragile and trust
is tentative at best. In these stories men and women confront the
unexpected risks of everday life in Boston, Northern Ireland,
Connecticut, the Scottish Highlands, and upstate New York. With
subtlety and wit, Susan Hubbard explores the tensions of our times.<br />
<br />
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<a href="http://press.umsystem.edu/product/Stone-Child,1699.aspx"><b>The Stone Child</b></a><br />
by Gary Fincke<b> </b> <br />
<br />
A university maintenance worker and his wife decide to give birth to
their anencephalic baby and to accept all the consequences that will
follow. During summer vacation, a journalism student trysts with his
girlfriend at her suspicious father’s house and soon witnesses the
ultimate in paternal vengeance. A schoolboy faces peer violence while
his mother struggles with cancer, each relying upon a hopelessly
misplaced faith. In <i>The Stone Child,</i> Gary Fincke presents
characters at turning points, where the effects of their decisions will
ripple throughout the rest of their lives.<br />
<br />
Fincke brings great humanity to his characters and displays a sharp and
wry sense of humor; his sense of place is strong, his stories richly
textured, and his prose a joy to read. Primarily meditating on the
viewpoints of male characters, Fincke gives us stories with beginnings
that pull us right in and endings that won’t let us leave the world of
the story until long after we have finished reading. <br />
<br />
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<a href="http://press.umsystem.edu/product/Boys-Keep-Being-Born,1642.aspx"><b>Boys Keep Being Born</b></a><br />
by Joan Frank<br />
<b> </b><br />
<b></b><i>Lately, time seems to have taken on an amusing eternal
quality. Outer-space time, quick-and-never; a slow wheeling of which
Melinda, moving at whatever speed, is more and more aware she has been
accorded the briefest, briefest slice. She finds herself now moonwalking
through the strange region of not young, not a mother, not married,
unlikely to marry. She will have to work until she dies. She will have
good friends who'll keep an eye on her, of course; some of them women
much like her. She will float toward and finally past the margins of
sexual viability, and never have enough money for a facelift.</i><br />
<div>
<br />
In <i>Boys Keep Being Born,</i>
Joan Frank's subject matter is stark; her style, wry and lyrical. Her
characters ask point-blank questions of the lives in which, willingly or
not, they find themselves. The answers they devise—or settle for—may
surprise you.<br />
<br />
<br />
Thank you all for joining us during Short Story Month! </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6100197071811815441.post-17992163028534821772014-05-23T10:30:00.000-05:002014-05-23T10:30:00.243-05:00Short Story Friday! 5/23<div class="separator" style="clear: both; text-align: center;">
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Happy <a href="http://shortstorymonth.com/">Short Story Month</a> everyone!<br />
<br />
In honor of this wonderful month-long celebration, the University of
Missouri Press is proud to introduce Short Story Fridays: every Friday,
all May long, we will be posting lists of some of our favorite short
story collections from here at UMP.<br />
<br />
So kick back, take a little time (really, you only need a little - they are <i>short</i> stories, after all) and indulge in some great reading.<br />
<br />
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<a href="http://press.umsystem.edu/product/They-Were-Just-People,1312.aspx"><b>They Were Just People: Stories of Rescue in Poland During the Holocaust</b></a><br />
by Bill Tammeus & Rabbi Jacques Cukierkorn<br />
<b> </b><br />
<b> </b>This book tells the stories of Polish Holocaust survivors and their
rescuers. The authors traveled extensively in the United States and
Poland to interview some of the few remaining participants before their
generation is gone. Tammeus and Cukierkorn unfold many stories that have
never before been made public: gripping narratives of Jews who survived
against all odds and courageous non-Jews who risked their own lives to
provide shelter.<br />
<br />
Through some twenty stories like these, Tammeus and Cukierkorn show that
even in an atmosphere of unimaginable malevolence, individuals can
decide to act in civilized ways. Some rescuers had antisemitic feelings
but acted because they knew and liked individual Jews. In many cases,
the rescuers were simply helping friends or business associates. The
accounts include the perspectives of men and women, city and rural
residents, clergy and laypersons—even children who witnessed their
parents’ efforts. <br />
<br />
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<a href="http://press.umsystem.edu/product/Our-Secrets-Out,174.aspx"><b>Our Secret's Out</b></a><br />
by Darrell Spencer<br />
<b> </b><br />
<b> </b>From Las Vegas casinos to the boomtowns of Utah and Nevada, these
stories tell about lust, about living together, about the perils of
everyday life. A convenience store clerk confronts a deranged customer
and a far more frightening girlfriend in "Let Me Tell You What Ward
DiPino Tells Me at Work." In the fast-paced, powerful "Union Business,"
union boss Dick Handy teaches his son what women really want, and a
son learns a profound lesson on his own: even fathers lie.<br />
<br />
In <i>Our Secret's Out</i>, Darrell Spencer will introduce you to a
marvelous assortment of quirky characters as they face threats to their
safety or sanity and endure life's outrageous surprises. <br />
<br />
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<a href="http://press.umsystem.edu/product/Spies-in-the-Blue-Smoke,113.aspx"><b>Spies in the Blue Smoke</b></a><br />
by G.W. Hawkes<br />
<b> </b><br />
<b> </b>A ditch-digger and his supervisor transcend their ethnic differences and make their way to the edge of a friendship in. A husband lusts after the surrogate mother who will bear his child. A divorced couple finds a rare moment of communion. Besieged by fear, racism, lust, and even UFOs, the characters in G.W. Hawkes's collection struggle<!--[if gte mso 9]><xml>
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<br />
In powerfully evocative settings that range from the American Southwest
to the islands of the South Pacific, Hawkes displays an unerring
eye for detail as he maps the intricate geometry of the human heart.<br />
<br />
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<a href="http://press.umsystem.edu/product/Place-between-Stations,1676.aspx"><b>A Place between Stations</b></a><br />
by Stephanie Allen<i> </i><br />
<br />
<i>A Place between Stations </i>explores the lives of African
American characters against the ever-present backdrop of race, but with
the myriad complexities of individual minds and souls in the foreground.<br />
<div>
Two
college students, bound by an intense but uneasy friendship, take an
increasingly dangerous road trip through Florida. A widow faces her
doubts about her long-dead husband by reliving an odd series of train
rides she took along the Hudson River shoreline in the 1950s. An angry,
fatherless girl roams a city at night, searching for an escape from the
ambiguities of childhood. George Mattie, loner and reluctant guide,
leads a misfit nineteenth-century circus caravan on an ill-fated journey
through the northern Connecticut woods. In her stories,
Stephanie Allen enlarges contemporary notions of what African American
lives can be. Varied, to the point, and beautifully composed, this
collection will appeal to all audiences.</div>
<div>
</div>
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<div>
<a href="http://press.umsystem.edu/product/In-the-Funny-Papers,1478.aspx"><b>In the Funny Papers</b></a></div>
<div>
by Heather Ross Miller</div>
<div>
</div>
<div>
Situated in small-town North Carolina, Miller's tales, cautionary in
tone, usually depict blue-collar family life and yet almost resemble old
fairy tales. Her stories center around southern families and the
dynamics, both loving and hostile, that move families together, separate
them, threaten them, and then finally protect them. </div>
<div>
<br /></div>
<div>
All of the stories manifest a genuine love for southern families and the
people who are caught, confused, and eventually encouraged and
sustained within them. As Thomas Hardy once observed, "Our personal
griefs and triumphs are often absurd to other people." But rather than
making fun of her characters, Heather Ross Miller is sympathizing as
deeply as she can imagine: "These things are only manageable with a bit
of humor, even with a caustic flavor. So, as in the funny papers, things
can work out, with humor, with plain sense, and, if we are lucky, a bit
of magic."</div>
<div>
</div>
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<div>
<a href="http://press.umsystem.edu/product/Long-Odds,1625.aspx"><b>Long Odds</b></a></div>
<div>
by Gordon Weaver<b> </b> </div>
<div>
<br /></div>
<div>
In <i>Long Odds,</i> Gordon Weaver's latest collection, each male
protagonist struggles for moral and emotional strength to cope with a
universe gone awry. Each of the eleven stories centers around a
circumstance that is both ordinary and shockingly unpredictable.</div>
<div>
</div>
<div>
Lauded by <i>Publishers Weekly</i> as presenting "characters whose cries
are so human, raw and mordant, the reader forgets the fiction and is
delivered inside the experience," Weaver skillfully introduces a level
of depth and intensity to situations that may appear commonplace at
first glance. This inventive collection offers a gallery of men who,
outwardly ordinary, are revealed as complex in their humanity, defined
as much by their sensibilities as by their actions—or their failures to
act. </div>
<div>
<br /></div>
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<div>
<a href="http://press.umsystem.edu/product/Angel-of-the-Garden,1585.aspx"><b>The Angel of the Garden</b></a></div>
<div>
by Scott Ely</div>
<div>
<b> </b></div>
<div>
<b> </b><div>
Loners of one sort or another populate Ely's fiction, from a
young man discharged from the marines and working as a solitary
gamekeeper to a Vietnam veteran turned professor who exchanges favorable
grades for sexual favors from his students. Whatever their situations,
these characters all feel a deep sense of loss and alienation from the
world around them.<br />
<br />
Ely's penetrating perceptions about the desire
to find security as well as the rhythms of his prose, his vivid detail,
and the fullness of his characters make <i>The Angel of the Garden</i> a compelling collection of short fiction.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRCv38BCRi5MHCShKy-b-oR99iqsY6jN5w8wFhwQACUKuAtkOYsGn4E6XvdhK7kHBjo2i4uLJNKmyYCIgWy6DwC4laTieyTMLjVjlFix7dPaAOZ4Py1Zc5UDiL-CXI9tfuphmvGGiWvh_O/s1600/Palencia-Brier+Country.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRCv38BCRi5MHCShKy-b-oR99iqsY6jN5w8wFhwQACUKuAtkOYsGn4E6XvdhK7kHBjo2i4uLJNKmyYCIgWy6DwC4laTieyTMLjVjlFix7dPaAOZ4Py1Zc5UDiL-CXI9tfuphmvGGiWvh_O/s1600/Palencia-Brier+Country.png" /></a></div>
<a href="http://press.umsystem.edu/product/Brier-Country,1618.aspx"><b>Brier Country: Stories from Blue Valley</b></a><br />
by Elaine Fowler Palencia<br />
<br />
Elaine Fowler Palencia returns to Blue Valley,
the fictional locale in the Appalachian foothills of eastern Kentucky
that is the focus of her highly acclaimed <i>Small Caucasian Woman.</i>
Blue Valley is a small community—a town where little goes on "except
what is left out of history books"—and most of its residents are
"brierhoppers," as folks from Appalachia are sometimes known north of
the Ohio River. Palencia continues to map her uniquely poignant territory in
these sixteen new stories.<br />
<br />
Praised by James McConkey as "unique and yet part of an American
tradition that includes . . . the fiction of Eudora Welty and Flannery
O'Connor, and reaches back to Mark Twain," Palencia is known for her
trademark wit, ear for dialogue, and sense of place—all of which make <i>Brier Country</i> a welcome addition to the folklore of Blue Valley. <br />
<br />
Be sure to check back next week for our last Short Story Friday!</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6100197071811815441.post-63825234825745027482014-05-16T10:30:00.000-05:002014-05-16T10:30:01.181-05:00Short Story Friday! 5/16<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3iR3N4daCeXn1oCieG3xWqwiY-93YUGSglK0_2Zq1YEUIMWnG1y01GNIrYlGdTe4FAGUtjZHj7K9zdAeIa8oB1wCdJgRlbQYoaQLzhxIrxTISz7pkW3ZQz2tQ9dF2z3tMNqnxfCGF_7Qh/s1600/shortstorymonth320x320.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3iR3N4daCeXn1oCieG3xWqwiY-93YUGSglK0_2Zq1YEUIMWnG1y01GNIrYlGdTe4FAGUtjZHj7K9zdAeIa8oB1wCdJgRlbQYoaQLzhxIrxTISz7pkW3ZQz2tQ9dF2z3tMNqnxfCGF_7Qh/s1600/shortstorymonth320x320.jpg" height="200" width="200" /></a></div>
Happy <a href="http://shortstorymonth.com/">Short Story Month</a> everyone!<br />
<br />
In honor of this wonderful month-long celebration, the University of
Missouri Press is proud to introduce Short Story Fridays: every Friday,
all May long, we will be posting lists of some of our favorite short
story collections from here at UMP.<br />
<br />
So kick back, take a little time (really, you only need a little - they are <i>short</i> stories, after all) and indulge in some great reading.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie_1JwMtsxCsKYKqCVZdxIpmede9reNoP3f7bx9-o7qNBdoNFqinkCWVVsUxYqt6spiDHaw-1POJ_sx33dUZfaxOqdZus4lG3efepYd-xNAiYEe_Yx39A3i9Z3FVBbeDIwQBtkHTYHhyphenhyphenbn/s1600/Hughes-The+Short+Stories.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie_1JwMtsxCsKYKqCVZdxIpmede9reNoP3f7bx9-o7qNBdoNFqinkCWVVsUxYqt6spiDHaw-1POJ_sx33dUZfaxOqdZus4lG3efepYd-xNAiYEe_Yx39A3i9Z3FVBbeDIwQBtkHTYHhyphenhyphenbn/s1600/Hughes-The+Short+Stories.png" /></a></div>
<a href="http://press.umsystem.edu/product/Short-Stories-LH15,667.aspx"><b>The Short Stories</b></a><br />
by Langston Hughes, ed. Baxter Miller & Introduction by Arnold Rampersad<b> </b><br />
<br />
For the first time in many years, Langston Hughes's published
collections of stories are now available in a single book. Included in
this volume are: <i>Ways of White Folks,</i> originally published in 1934; <i>Laughing to Keep from Crying,</i> originally published in 1952; and additional stories from <i>Something in Common and Other Stories,</i> originally published in 1963; as well as previously uncollected stories.<br />
<br />
These
fictions, carefully crafted in the language Hughes loved, manifest the
many themes for which he is best known. We meet and come to know many
characters—black and white, young and old, men and women—all as
believable as our own families, friends, and acquaintances. Hughes's
stories portray people as they actually are: a mixture of good, bad, and
much in-between.<br />
<br />
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<a href="http://press.umsystem.edu/product/Other-Door,1482.aspx"><b>The Other Door</b></a><br />
by Karen Heuler<br />
<br />
Although many of the stories in <i>The Other Door</i> have qualities
reminiscent of traditional fables, they are perhaps more fabulous than
fabular. They are contemporary folktales, at times venturing into
fantasy while retaining the details of everyday experience and
psychological authenticity. As in the best folktales and fables, symbols
and suggestions come to life and are often linked to the powers of
imagination and memory as a means of reconciling the characters to
cycles of life and death.<br />
<br />
Marvelously crafted, slyly sidestepping the reader's expectations, the characters in Karen Heuler's stories
respond to the unexpected events in their lives, accepting and then
rising to the challenges, no matter how strange. For them, reality
requires invention. <br />
<br />
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<a href="http://press.umsystem.edu/product/No-Visible-Means-of-Support,1634.aspx"><b>No Visible Means of Support</b></a><br />
by Dabney Stuart<br />
<b> </b><br />
<b> </b>In <i>No Visible Means of Support,</i> Dabney Stuart's stories turn
within themselves like trapeze artists passing each other in midair.
Stuart works without a net, using anagrams, iconographic details, and
dreams to imply connections and resolutions, only to shift focus and
veer off into new configurations. This collection is complex yet direct,
funny yet profound, emotional yet clever. Despite all their narrative
sophistication, these stories always concern themselves with basic human
predicaments: the sorrow of loss, the mysteries of creation, the
persistence and resilience of the spirit.<br />
<br />
While each story connects on different levels with the others, none of
them presents an easy way out of the difficulties that compose these
fictional worlds. A storytelling master, Dabney Stuart threads the
implicit sources of help for his characters into their intriguing,
earthbound lives. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
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<a href="http://press.umsystem.edu/product/Visit-to-Strangers,1489.aspx"><b>A Visit to Strangers</b></a><br />
by Gladys Swan<br />
<br />
In A Visit to Strangers, Gladys Swan's characters inhabit slightly
alien, off-center worlds as they struggle to achieve some sort of
permanence or stability. Strangeness of situation, environment, and
relationship prevents them from taking refuge in worn-out pieties and
false values.<br />
<br />
There are no easy solutions. Several stories
portray disenchanted people who have failed to commit themselves at key
moments and end up abandoning their lives to "the stream . . . in which
lost things lie." But in others, direct interaction with strangers
offers enlightenment to the characters, who are often strangers to
themselves.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBbPghH5qCeohynZRyXtvZh2smEqDuYvNGGJyIxZTIpe5jUpTc2o5QijNuNpfy0R45hjMC0CO-TrJodBeV8lZ9GfU-PGWSL7ZAtlF8Jxa46m8GyyFYaOuoCbG911fQBzIQxPvKS1cx-yS1/s1600/Bernthal-Perfection+in+Bad+Axe.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBbPghH5qCeohynZRyXtvZh2smEqDuYvNGGJyIxZTIpe5jUpTc2o5QijNuNpfy0R45hjMC0CO-TrJodBeV8lZ9GfU-PGWSL7ZAtlF8Jxa46m8GyyFYaOuoCbG911fQBzIQxPvKS1cx-yS1/s1600/Bernthal-Perfection+in+Bad+Axe.png" /></a></div>
<a href="http://press.umsystem.edu/product/Perfection-in-Bad-Axe,1694.aspx"><b>Perfection in Bad Axe</b></a><br />
by Craig Bernthal<b> </b> <br />
<br />
Set mainly in the Midwest, these tales are inhabited by ordinary, decent
people who, often to their surprise, find joy and meaning under
difficult circumstances. Many of the stories depict isolated moments of
perfection in a world that routinely forces its imperfections on us. A
teenager wrestles with guilt over an accident he caused in “Perfection
in Bad Axe.” In “A Knight Pursued,” a young prosecuting attorney
confronts on the same day his first autopsy and his wife’s unexpected
desire to have a baby. A devout, hardworking business owner is drawn
into a lawsuit that threatens his marriage and leads him to question his
most deeply felt principles. “Center of Gravity” finds a middle-aged
law professor overcome by his chaotic life and searching for a degree of
peace. These are the finely developed characters of Bernthal’s
stories—people we recognize, but who never seem overly familiar.<br />
<br />
Interesting, substantial, and utterly engrossing, each one could be just
like any one of us, an ordinary Jane or Joe, trying to maintain or find
order in a life sometimes filled with disorder.<br />
<br />
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<a href="http://press.umsystem.edu/product/Four-Decades,1519.aspx"><b>Four Decades: New and Selected Stories</b></a><br />
by Gordon Weaver<br />
<b> </b><br />
Gordon Weaver has long been admired as a fiction writer. This collection
of new and selected short fiction provides a retrospective of Weaver's
illustrious literary career, which has spanned four decades and earned
him many awards.<br />
<br />
Beginning with his first published story, "When Times Sit In," vivid, authentic characters enliven this collection of a dozen of Weaver's stories, including three previously uncollected works. With the compilation of these stories in one volume, the reader is treated to some of the best writing available today.<br />
<br />
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<a href="http://press.umsystem.edu/product/Limited-Lifetime-Warranty,172.aspx"><b>Limited Lifetime Warranty</b></a><br />
by Nance Van Winckel<br />
<b> </b><br />
<b> </b>When a boat carrying two passengers capsizes in a logjam on Lake Coeur d'Alene, it is Martha, the narrator and central character of the interrelated stories of <i>Limited Lifetime Warranty</i>, who hears the strangers' cries for help from the bow of her family's own boat. In the aftermath of the rescue, she and her father, mother, and older sister retell the story again and again. It is an evening that forever defines the constellation of their family. "So I became the heroine of hearing," Martha says. "I hear tragedy coming, and I point the way to rescue." Her mother became the bearer of light, and her father, who steered around the treacherous logs, became "the one who kept us afloat."<br />
<br />
Filled with unforgettable characters and language as true as life, Nance Van Winckel paints a stirring portrait of one remarkable woman.<br />
<br />
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<a href="http://press.umsystem.edu/product/Bedquilt-and-Other-Stories,1546.aspx"><b>The Bedquilt and Other Stories</b></a><br />
by Dorothy Canfield Fisher, ed. Mark J. Madigan<br />
<b> </b><br />
<b> </b>Dorothy Canfield Fisher, the prolific author of more than forty books,
including translations, juveniles, and nonfiction, as well as novels and
short-story collections, was one of the most popular and engaging
American writers of the first half of the twentieth century. Although
her work has been unduly neglected for several decades, it is currently
enjoying a revival of critical attention. This colorful collection
ranges in subject from New Englanders to the Basques of France to the
struggles of African Americans to gain equal rights. Through her
stories, many of which received literary awards, Fisher examined the
complexities of modern life in the United States and abroad.<br />
<br />
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<a href="http://press.umsystem.edu/product/Costly-Habits,1679.aspx"><b>Costly Habits</b></a><br />
by Peter Makuck<br />
<br />
A father on vacation nearly loses his eye on an ocean fishing pier while
trying to escape the demands of his family. A systems analyst,
embittered by the loss of his job and resentful of a seemingly carefree
neighbor whom his estranged wife admires, becomes obsessed with catching
squirrels in a box trap. A woman married to a former police detective
festers with anger and plots revenge after a confrontation with a
restaurant owner. A recent widower tries scuba diving with his difficult
teenage children as a way to galvanize the family and regain control of
his life. These are some of the people who inhabit the richly textured
worlds of Peter Makuck’s <i>Costly Habits.</i> In many of his stories,
individuals find themselves in situations where moments of clarity
arrive, moments that disclose perspectives of possible change or ways to
accept things as they are.<br />
<br />
<br />
Be sure to keep checking back every Friday during Short Story Month for a new list! Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6100197071811815441.post-3300022733913877192014-05-09T10:30:00.000-05:002014-05-09T10:30:00.915-05:00Short Story Friday! 5/9<div class="separator" style="clear: both; text-align: center;">
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Happy <a href="http://shortstorymonth.com/">Short Story Month</a> everyone!<br />
<br />
In honor of this wonderful month-long celebration, the University of
Missouri Press is proud to introduce Short Story Fridays: every Friday,
all May long, we will be posting lists of some of our favorite short
story collections from here at UMP.<br />
<br />
So kick back, take a little time (really, you only need a little - they are <i>short</i> stories, after all) and indulge in some great reading.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
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<a href="http://press.umsystem.edu/product/The-City-of-Refuge-New-and-Expanded-Edition,1801.aspx"><b>The City of Refuge: The Collected Stories of Rudolph Fisher</b></a><br />
ed. John McCluskey, Jr.<br />
<br />
One of the premier writers of the Harlem Renaissance, Rudolph Fisher
wrote short stories depicting the multifaceted black urban experience
that are still acclaimed today for their humor, grace, and objective
view of Harlem life. Through his words, wrote the <i>New York Times Book Review</i>, “one feels, smells, and tastes his Harlem; its people come alive and one cares about them.”<br />
<br />
A definitive collection of Fisher’s short stories, <i>The</i> <i>City of Refuge</i>
offers vibrant tales that deal with the problems faced by newcomers to
the city, ancestor figures who struggle to instill a sense of integrity
in the young, problems of violence and vengeance, and tensions of caste
and class.<br />
<br />
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<a href="http://press.umsystem.edu/product/Palace-of-Wasted-Footsteps,1574.aspx"><b>The Palace of Wasted Footsteps</b></a><br />
by Cary Holladay<br />
<br />
Images of dancing and the theme of survival connect the stories in Cary Holladay's latest fiction collection, <i>The Palace of Wasted Footsteps.</i>
These images may be explicit, or understated, as in "Mayflies," which
suggests the glorious yet frantic dance of brief, intense lives. Yet
each story depicts men, women, and children partnered with death, love,
or strange, wonderful chance.<br />
<br />
The rituals, struggles, and triumphs that the various characters experience are personal yet universal. At the same time, they capture
the subtle echoes of the American South and its literary tradition. Like
glorious mayflies, Holladay's characters are forever enthralled in the
frantic dance of life—their passions are strong, their fates inevitable.<br />
<br />
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<a href="http://press.umsystem.edu/product/News-from-the-Volcano,1630.aspx"><b>News from the Volcano</b></a><br />
by Gladys Swan<br />
<br />
<i>News from the Volcano</i> is a collection of five poignant stories
about wanderers and outsiders, people searching for an unnamed something
that is missing from their lives. Set in the Southwest, a landscape of
vivid contrasts and powerful forces, the stories unravel the struggles
of these who find themselves in extreme situations, looking and
listening desperately for whatever might save them from
self-destruction.<br />
<br />
All of the characters are crafted with the remarkable realism readers
have come to expect from Gladys Swan. The stories are gripping and their
resolutions powerful. Taking the reader on tough journeys through rough
country, both physically and psychologically, this is a masterful collection by an exceptional writer. <br />
<br />
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<a href="http://press.umsystem.edu/product/Night-Blooming-Cereus,1663.aspx"><b>Night-Blooming Cereus</b></a><br />
by K.A. Longstreet<br />
<b> </b><br />
<b> </b>A small Jewish boy’s life during the Nazi era grows rich with the sounds
and sights of the Arabian Desert when he finds an aged copy of <i>Travels in Arabia Deserta</i>
in an Amsterdam cellar. An effete and scholarly collector begins to
imitate Van Gogh, the painter he worships. An old woman’s life is shaped
by remembrance as she lies in her hospital bed and recounts a voyage
through the Greek Islands during World War II. A reporter remembers his
part in a college rape as he interviews a Serbian general being held for
war crimes in a Dutch prison. A housekeeper embroiders her deepest
yearnings into the laundry of the residents of a rooming house.<br />
<br />
Each of the stories in <i>Night-Blooming Cereus</i> is set in a
different place and time, yet they all deal with the same underlying
theme: how the imagination, in its infinite variety, seeks to transcend
external events. <br />
<br />
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<a href="http://press.umsystem.edu/product/Pale-Morning-Dun,1705.aspx"><b>Pale Morning Dun</b></a><br />
by Richard Dokey<b> </b><br />
<br />
In the thirteen stories of <i>Pale Morning Dun, </i>Richard Dokey
endeavors to suggest common truths that uncover the human reality any
time, in any place. He explores the ephemeral nature of life through an
assemblage of characters as diverse as the settings they inhabit: from a
beggar on the streets of San Francisco, “The West Coast Coliseum of
Consumption,” to a boy and his brother fly-fishing in a peaceful
mountain stream, unaware that they have stumbled upon the threshold of a
horrific crime; from a desperate husband pursuing his estranged wife
into the bloody arena of a bullfight, to a lakeside cottage where two
lovers reveal perhaps too much of themselves. Each uniquely rendered
character faces a dilemma that leads him beyond what he knows of
himself, forcing him to new insights. The characters’ struggles, though
distinctively their own, reveal universal truths about human nature and
the transient quality of life. Employing an inspired blend of humor,
irony, and imagination in seamless narration, Dokey allows one to enter
readily into these idiosyncratic lives, inviting the reader to explore
his own capacity to be human, to empathize and respond.<br />
<br />
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<a href="http://press.umsystem.edu/product/From-Hunger,134.aspx"><b>From Hunger</b></a><br />
by Gerald Shapiro<br />
<br />
<i>To say that this past year had been a bad one would be to insult all the other bad years of Levidow's long life. As he was apt to tell anyone who would listen, every day fresh misery poured on his head. Fruit spoiled as he carried it home from the market. Cars splashed mud and slush on him, even on the sunniest afternoons. . .</i><br />
<br />
<i>"What are you doing to me?" he moaned toward heaven. "You've got the wrong man."</i><br />
<br />
When God tells Levidow to buy a big blue car and get out of town, he dares to think that his suffering might be over. Instead he begins a journey that will put him out on the open highway with a reincarnation of himself as a much younger man, a hideous woman, and an oversupply of Dr. Brown's soda. His is just one of the journeys undertaken by the characters of <i>From Hunger</i>. With wit and irony, Gerald Shapiro leads us from a London park to the streets of Chicago, from the Vietnam War Memorial to a New York art gallery, as his characters search for sustenance in a world full of hunger.<br />
<br />
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<a href="http://press.umsystem.edu/product/Last-Stands,1709.aspx"><b>Last Stands</b></a><br />
by Gordon Weaver<br />
<b> </b><br />
<i>Last Stands</i> presents people at crucial moments in their
lives, the moments in which ultimate challenges are confronted,
ultimate questions are asked, and definitive judgments are made.
Weaver’s characters may flounder, and fail, but they are redeemed by
their courage and their honesty.<br />
<div>
</div>
<div>
A hired assassin ponders his
self-worth, a bartender takes his only chance for worldly success, a man
buries his mother, another talks with the dead, yet another attends his
high school reunion determined on vindication, and a war-weary Vietnam
vet finds a place he can call home. These are stories that do not shun
the darker side of Weaver’s characters, but seek the illumination of the
insights needed to make their lives meaningful, if only to themselves.</div>
<div>
</div>
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<div>
<a href="http://press.umsystem.edu/product/Blue-Money,1583.aspx"><b>Blue Money</b></a></div>
<div>
by Susan Hubbard<b> </b> </div>
<div>
<br /></div>
<div>
A union organizer returns to her hometown and her high school
sweetheart, only to discover unexpected peril. A middle-aged man walks
to meet his wife at work one day and loses her forever. A young writer's
stage fright destroys her work and her marriage but offers her a new
life. Susan Hubbard creates a world in which the
most ordinary things can be magical, and the most ordinary people can be
extraordinary.</div>
<div>
</div>
<div>
Strangers appear and disappear in <i>Blue Money.</i> Shoes charm and
cure. A soiled shirt conjures conscience, and a clean one promises new
identity. Hubbard brilliantly weaves these fantastic elements into the
fabric of her fiction. </div>
<div>
<br /></div>
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<div>
<a href="http://press.umsystem.edu/product/Emergency-Calls,1500.aspx"><b>Emergency Calls</b></a></div>
<div>
by Gary Fincke<b> </b></div>
<div>
<br /></div>
<div>
Troubled relationships between parents and children, most of them adults
or at least in their late teens, provide the framework for many stories
in this collection. In "Faculty X," a middle-aged son witnesses his mother's fixation with death and her attempt to cope with senility. Both "Callback" and the moving title story, "Emergency Calls," explore
the anxieties of parents trying to balance the need to protect their
teenage children with the task of making them accountable for their own
often self-destructive actions. "Darwin in the City" centers on a man's
paranoia and anxiety attacks over everything from hearing his wife
gurgle her last breath into her pillow to the impending blindness that
he knows will be his fate.</div>
<div>
</div>
<div>
With vivid description and compelling dialogue, Gary Fincke pulls the
reader deep into these stories and into the lives of these unforgettable
characters.</div>
<div>
</div>
<div>
</div>
<div>
Be sure to keep checking back every Friday during Short Story Month for a new list! </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6100197071811815441.post-8841342135016302772014-05-02T10:38:00.001-05:002014-05-02T11:55:11.319-05:00Short Story Friday! 5/2<div class="separator" style="clear: both; text-align: center;">
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Happy <a href="http://shortstorymonth.com/">Short Story Month</a> everyone!<br />
<br />
In honor of this wonderful month-long celebration, the University of Missouri Press is proud to introduce Short Story Fridays: every Friday, all May long, we will be posting lists of some of our favorite short story collections from here at UMP.<br />
<br />
So kick back, take a little time (really, you only need a little - they are <i>short</i> stories, after all) and indulge in some great reading.<br />
<br />
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<a href="http://press.umsystem.edu/product/Early-Simple-Stories-LH7,608.aspx"><b>The Early Simple Stories</b></a><br />
by Langston Hughes, ed. Donna Akiba Sullivan Harper<br />
<br />
Jesse B. Semple first sprang to life in Langston Hughes's weekly <i>Chicago Defender</i>
column in 1943. Almost immediately, the "Simple stories," as they were
routinely called, had a large and ever-increasing audience. Simple soon
became Harlem's Everyman—an ordinary black workingman, representative of
the masses of black folks in the 1940s.<br />
<div>
<br />
Simple had migrated to
Harlem, like many other blacks, seeking to escape the racism of the
South, and he celebrated his new freedoms despite the economic struggles
he still confronted. Simple's bar buddy and foil in the stories is the
better-educated, more articulate Boyd, who has never lived in the South.
Their conversations permit Simple to speak the wisdom of the working
class.<br />
<br />
Countless
exchanges between Simple and his companion offer wit and wisdom that
remind contemporary readers why Langston Hughes is so special.<br />
<br />
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<a href="http://press.umsystem.edu/product/What-We-Come-in-For,1615.aspx"><b>What We Come in For</b></a><br />
by Richard Lundquist<br />
<br />
<div>
Down there, in the heartland, lies Paradise—the fictional town that forms the heart of Richard Lundquist's collection <i>What We Come in For.</i>
Like the sturdy quilt or linoleum floor, these stories are individually
remarkable yet intimately connected: a fatherless boy whose affection
for an unsavory hired hand is at odds with his own sense of rectitude; a
woman who leaves her empty house only to find a greater emptiness in
the arms of the town minister; a vagabond son who returns for his
mother's funeral and begins to salvage his own life and hers by
transgressing the laws and customs of Paradise. All of the stories share
the same landscapes and landmarks—the M & P Café, the Greener
Pasture, and Turk's Bluff—and all convey the sense of loss, fear, and
helplessness that characterizes this heartland.<br />
<br />
Lundquist's
characters share a history that is portrayed in vignettes between
stories. These vignettes are like dimly remembered dreams—of locust
plagues, windsickness, flood, and fire—that fade against the pulse of
the day. Yet they are the thread that connects each separate patch of
the quilt, unifying Lundquist's vision.<br />
<br />
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<a href="http://press.umsystem.edu/product/Way-to-Cobbs-Creek,1548.aspx"><b>The Way to Cobbs Creek</b></a><br />
by Dabney Stuart<b> </b> <br />
<br />
<div>
In the title story of Dabney Stuart's second collection of short
fiction, Mark Random—grown from the childhood and adolescent
complexities of <i>Sweet Lucy Wine</i> into his own fatherhood—seeks both to remember and to create <i>his</i>
father, Seth. His search moves backward and forward in time, weaving
memories of his own children toward the focusing experience with Seth
that concludes the story. "[There seemed] in the uniformity of their
routines something established long before they were born to their parts
in it, a compromise, almost instinctive, with forces too immense and
subtly intertwined to be faced head on." Stuart uses a sequence of
scenes--fishing trips, gathering for meals, moments of solitary
musing--to give context to and complement formally these tentative
evocations.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy1fLPSM1RDwo-v3uXQVNErE_vZTB3pb1mA8rrXX_sfml7GdFOUogtEuc7gDAW8fyhQxu7_sxGqxUPYQ1euRCOFNGlmRcfgCu0U0JkuJfAmbRWmbB6mA44KmbaAcuUf08SNwzn9J-RisGw/s1600/Coggswell-Stories+from+the+Heart.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy1fLPSM1RDwo-v3uXQVNErE_vZTB3pb1mA8rrXX_sfml7GdFOUogtEuc7gDAW8fyhQxu7_sxGqxUPYQ1euRCOFNGlmRcfgCu0U0JkuJfAmbRWmbB6mA44KmbaAcuUf08SNwzn9J-RisGw/s1600/Coggswell-Stories+from+the+Heart.png" /></a></div>
<a href="http://press.umsystem.edu/product/Stories-from-the-Heart,1810.aspx"><b>Stories from the Heart: Missouri's African American Heritage</b></a><br />
Compiled by Gladys Caines Coggswell<b> </b> <br />
<br />
<div>
<div>
All along the river, from the front porches of Hannibal to the
neighborhoods of St. Louis to the cotton fields of the Bootheel and
west to Kansas City, stories are being told.</div>
<div>
</div>
<div>
This collection of family stories and traditional tales brings to
print down-home stories about all walks of African American life. Passed
down from grandparents and great-grandparents, they have been lovingly
gathered by Gladys Caines Coggswell as she visited Missouri communities
and participated in storytelling events over the last two decades. These
stories bring to life characters with uncommon courage, strength, will,
and wit as they offer insight into African American experiences
throughout the state’s history.</div>
<div>
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGxFgKi115MP8FAi1yQBW-l2lXjbDoA3B-no0dOmv_oae0sT-ae2XqbgH0rPlO98oNDwrSKxOEFrIs9tlRhgbty6wd75E2HKIhAPpYXwFOffKLM1ECn8oXEaEfZzrxwkjqBuUOWRQQTCML/s1600/Hamel-My+Favorite+Lies.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGxFgKi115MP8FAi1yQBW-l2lXjbDoA3B-no0dOmv_oae0sT-ae2XqbgH0rPlO98oNDwrSKxOEFrIs9tlRhgbty6wd75E2HKIhAPpYXwFOffKLM1ECn8oXEaEfZzrxwkjqBuUOWRQQTCML/s1600/Hamel-My+Favorite+Lies.png" /></a></div>
<div>
<a href="http://press.umsystem.edu/product/My-Favorite-Lies,1644.aspx"><b>My Favorite Lies</b></a></div>
<div>
by Ruth Hamel<b> </b> </div>
<div>
<br /></div>
<div>
<div>
<i>There's one thing I know: Lies hold people together.</i><br />
<br />
So
says the narrator of the title story, a furniture refinisher who prides
herself on her talent for sidestepping the facts. If only she weren't
continually frustrated by her truth-telling older sister. If only the
past would keep its distance.<br />
<br />
In <i>My Favorite Lies,</i> Ruth
Hamel uses a unique blend of humor, irony, and sharp detail to explore
the lies people tell each other—not just the fibs, prevarications, and
exaggerations, but the deceptions that spring from deliberate silence.
These stories also examine the lies we tell ourselves as we struggle to
bridge the gap between who we are and who we'd rather be.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCXneou-BXQFaS3HHsKVw-x0vu6ER-hEHcycfPtWjnF_G1ZbhwrPzVGNrBQb-5ORHQoDVBjdi_IHYoWURH1zqL9huH-LNN1zi26aJnnPhULiOvw0qaPKDwUpxE_bgd_um3H0WOtBZIvPFc/s1600/Davidson-Field+Observations.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCXneou-BXQFaS3HHsKVw-x0vu6ER-hEHcycfPtWjnF_G1ZbhwrPzVGNrBQb-5ORHQoDVBjdi_IHYoWURH1zqL9huH-LNN1zi26aJnnPhULiOvw0qaPKDwUpxE_bgd_um3H0WOtBZIvPFc/s1600/Davidson-Field+Observations.png" /></a></div>
<a href="http://press.umsystem.edu/product/Field-Observations,1638.aspx"><b>Field Observations</b></a><br />
by Rob Davidson<i> </i><br />
<br />
<i>Field Observations,</i> the debut fiction collection from Rob
Davidson, contains stories about people who find themselves at
difficult turning points in their lives—times when they are faced with
hard choices, broken promises, and the fear of self-destruction.
Davidson's characters are diverse: a retired math teacher, an auto
repair worker, a technical writer, a nurse living overseas. What
connects them is the way Davidson renders each character with essential
human dignity, regardless of his or her flaws. This collection addresses
such contemporary concerns as love relationships, cultural interaction,
divorce, aging, and alcoholism in a lively, sometimes offbeat way.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgchXNNq7kROkMZhnAHONZri5Rmfu-SE5zdN12xDkHFVHdn74zr1cSHTWkYnBi4YHoX9fIpOdTIVo5lHgv1bHyPpP8509Sb0SqomYJzlfFzEgrefITeVG1YmJ5Tn1Isp9MuvZNxI8akhJww/s1600/Jackson-What+I+Cannot+Say+to+You.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgchXNNq7kROkMZhnAHONZri5Rmfu-SE5zdN12xDkHFVHdn74zr1cSHTWkYnBi4YHoX9fIpOdTIVo5lHgv1bHyPpP8509Sb0SqomYJzlfFzEgrefITeVG1YmJ5Tn1Isp9MuvZNxI8akhJww/s1600/Jackson-What+I+Cannot+Say+to+You.png" /></a></div>
<a href="http://press.umsystem.edu/product/What-I-Cannot-Say-to-You,1687.aspx"><b>What I Cannot Say to You</b></a><br />
by Vanessa Furse Jackson<b> </b> <br />
<br />
<i>You are still there in everything I do, watching over me, looking
down on me. Sitting beside you on the drawing-room sofa, with Edie on
your other side, I hear your deep clear voice above us, your breath
ruffling the hair on the top of my head if you turn towards me, and I
watch your long hands turn the pages, your rings sparkling in the yellow
light.</i><br />
<br />
Set in England, these are stories that explore the
basic nature of friendship: how friendships are formed and deepened, how
they can be betrayed and lost. There are friendships between children,
married couples, sisters, women, and between grandparents and
grandchildren. Throughout, these friendships are tested, coming up
against outside forces and internal conflicts that alter or destroy
them.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqWFyfCBKnZRI5KA1v9fqG4ocm1EadU3nQdWTM54cRhSao5xS-xLYG3-s87pwMMOTm6eNXQwg8JT0xdLRcu5fkqZ5nwMbY4nOCzhj-p4K0byYVNocQqhX2vt7HyI3VrtZ4w0IUewcMPt2Y/s1600/Hoffman-Doors.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqWFyfCBKnZRI5KA1v9fqG4ocm1EadU3nQdWTM54cRhSao5xS-xLYG3-s87pwMMOTm6eNXQwg8JT0xdLRcu5fkqZ5nwMbY4nOCzhj-p4K0byYVNocQqhX2vt7HyI3VrtZ4w0IUewcMPt2Y/s1600/Hoffman-Doors.png" /></a></div>
<a href="http://press.umsystem.edu/product/Doors,1595.aspx"><b>Doors</b></a><br />
by William Hoffman<b> </b> <br />
<br />
The southern landscape that pervades William Hoffman's latest collection of short stories, <i>Doors,</i>
is at once familiar and unsettling. Returning to the people and locales
that define Hoffman's fiction—ranging from the rednecks and the
white-collar elite of Virginia's tobacco country to the families that
work its Tidewater shores—<i>Doors</i> is a brilliant and moving exploration of individuals continually at odds with their circumstances.<br />
<br />
Primarily
set in Tobaccoton, a fictional town in southside Virginia, the stories
in this collection open doors on a multifaceted humanity, men and women
often in search of obsessive identities or ideals—cross-class marriages
and romances, adultery within class and outside it, and the inevitable
consequences of behavior. At times Hoffman's characters face such
challenges with nobility and grace; at other times they run from all
hope of ever truly understanding the situations laid before them. In
short, they abide.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRsAETzlyQJxK8cNLQYws8W1mjzdLOLQQDKqJ096eltceDxOctMqqmFVOHXKYG4tNyJZh0h4fMQAh2V8Su5nVUPdKZ-dNfzyI9q4sdGNyN2TIag2lHn_EatinntCuupOLz6iq5TwkmPXxh/s1600/Garrett-Empty+Bed+Blues.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRsAETzlyQJxK8cNLQYws8W1mjzdLOLQQDKqJ096eltceDxOctMqqmFVOHXKYG4tNyJZh0h4fMQAh2V8Su5nVUPdKZ-dNfzyI9q4sdGNyN2TIag2lHn_EatinntCuupOLz6iq5TwkmPXxh/s1600/Garrett-Empty+Bed+Blues.png" /></a></div>
<a href="http://press.umsystem.edu/product/Empty-Bed-Blues,1758.aspx"><b>Empty Bed Blues</b></a><br />
by George Garrett<b> </b> <br />
<br />
The fifteen stories of George Garrett’s <i>Empty Bed Blues </i>(his
eighth book-length collection) are vintage Garrett—no two alike—with
each moving, one way and another, in new and daring directions. His
stories are deeply concerned with the old verities of love and death and
filled with the joys and woes of characters who come to life and
command our attention.<br />
<br />
In the marriage of fact and fiction, of comedy and pathos, and the music of many voices, the stories of <i>Empty Bed Blues</i>
reconfirm the judgment of novelist and story writer Richard Bausch, who
said in 1998: “There is no writer on the American scene with a more
versatile, more eclectic, or more restless talent than George Garrett."<br />
<br />
<br />
Be sure to keep checking back every Friday during Short Story Month for a new list! </div>
</div>
</div>
</div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6100197071811815441.post-78125885227995448062014-04-29T11:49:00.001-05:002014-04-29T11:49:07.672-05:00New E-Books of Old Favorites<span style="font-size: small;"><span style="font-family: inherit;">We are continuing to make more of our best-selling books available as e-books. Here are a few to add to your summertime reading list. </span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><a href="http://press.umsystem.edu/product/Becoming-Laura-Ingalls-Wilder,1768.aspx" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt=" " border="0" src="http://2.bp.blogspot.com/-ab8uE12AaO0/U1-nZkc9r2I/AAAAAAAAAKc/tRWoiWcrx9E/s1600/978-0-8262-1648-9-frontcover.jpg" height="320" width="211" /></a><a href="http://press.umsystem.edu/product/Becoming-Laura-Ingalls-Wilder,1768.aspx"> </a></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">Although generations of readers of the Little House books
are familiar with Laura Ingalls Wilder’s early life up through her first years
of marriage to Almanzo Wilder, few know about her adult years. Going beyond
previous studies, <i><a href="http://press.umsystem.edu/product/Becoming-Laura-Ingalls-Wilder,1768.aspx">Becoming
Laura Ingalls Wilder</a></i> focuses upon Wilder’s years in Missouri from 1894
to 1957. Utilizing her unpublished autobiography, letters, newspaper stories, and
other documentary evidence, John E. Miller describes her sixty-three years of living in
Mansfield, Missouri.</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><a href="http://press.umsystem.edu/product/Indians-and-Archaeology-of-Missouri-Revised-Editi,1397.aspx" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt=" " border="0" src="http://4.bp.blogspot.com/-OguuLeTV6Wo/U1-oe5EUMEI/AAAAAAAAAKs/Zok5WPX9ovc/s1600/978-0-8262-0401-1-frontcover.jpg" height="320" width="213" /></a><i> </i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i><a href="http://press.umsystem.edu/product/Indians-and-Archaeology-of-Missouri-Revised-Editi,1397.aspx">Indians
and Archaeology of Missouri</a> </i>by Carl H. and Eleanor F. Chapman has been recognized in Missouri and
nationally as one of the best books of its kind. The <i>Missouri Historical
Review </i>called it “simply indispensable.” The <i>Plains Anthropologist </i>added
similar praise: “Clearly written and exceptionally well illustrated…it is the
answer to the amateur’s prayers.” <i>Archaeology</i> described it as “a boon to
Missouri’s many amateur archaeologists, a useful source of information for
professionals and interesting reading for the layman.”</span></span><br />
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<span style="font-size: small;"><span style="font-family: inherit;"><a href="http://press.umsystem.edu/product/Women-in-Missouri-History,1714.aspx" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt=" " border="0" src="http://2.bp.blogspot.com/-ngmat6XoQt4/U1-pydUz52I/AAAAAAAAAK4/i-mktQ6D-0I/s1600/978-0-8262-1526-0-frontcover.jpg" height="320" width="211" /></a><i> </i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i><a href="http://press.umsystem.edu/product/Women-in-Missouri-History,1714.aspx">Women
in Missouri History</a></i>, edited by <span id="ctl00_MainContent_ProductInfo1_ctl00_lblAuthorName"> LeeAnn Whites, Mary C. Neth, and Gary R. Kremer,</span> surveys
the history of women in Missouri from colonial
settlement through the mid-twentieth century. The women featured in these
essays come from various ethnic, economic, and racial groups, from both urban
and rural areas, and from all over the state. Their stories are told through biographies and through techniques of social
history, allowing us to learn not only about the women’s lives
individually, but also about how groups of “ordinary” women shaped the history
of the state.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><a href="http://press.umsystem.edu/product/A-Creed-for-My-Profession,380.aspx" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt=" " border="0" src="http://4.bp.blogspot.com/-GEPK8Ra-pvU/U1-rCWPUvjI/AAAAAAAAALE/TX1mTchZFiE/s1600/978-0-8262-1188-0-frontcover.jpg" height="320" width="210" /></a></span></span></div>
<br />
<span style="font-size: small;"><span style="font-family: inherit;">In <i><a href="http://press.umsystem.edu/product/A-Creed-for-My-Profession,380.aspx">A
Creed for My Profession</a>, </i>Ronald T. Farrar provides for the first time a candid look at
the remarkable life of Walter Williams, the man who founded the world's first
school of journalism at the University of Missouri and perhaps contributed more toward the promotion of
professional journalism than any other person of his time. Williams's <i>Journalist's
Creed</i> is one of the most widely circulated codes of professional ethics, still in use by journalists today.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span id="goog_1134347269"><a href="http://press.umsystem.edu/product/Journalism-1908,1212.aspx"> </a></span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><a href="http://press.umsystem.edu/product/Journalism-1908,1212.aspx" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="http://press.umsystem.edu/product/Journalism-1908,1212.aspx" border="0" src="http://4.bp.blogspot.com/-8f8fuLNgU-U/U1--iBY5CGI/AAAAAAAAALY/nwlOxGcvsOg/s1600/978-0-8262-1811-7-frontcover.jpg" height="320" width="222" /></a><i> </i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i><a href="http://press.umsystem.edu/product/Journalism-1908,1212.aspx">Journalism
1908</a>, </i>edited by <span id="ctl00_MainContent_ProductInfo1_ctl00_lblAuthorName">Betty Houchin Winfield,</span><i> </i>opens a window on mass communication more than a century ago. It tells
how the news media in the United States were fundamentally changed by the
creation of academic departments and schools of journalism, by the founding of
the National Press Club, and by exciting advances that included early
newsreels, the introduction of halftones to print, and even changes in
newspaper design.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><a href="http://press.umsystem.edu/product/A-Fatherless-Child,1227.aspx" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="http://press.umsystem.edu/product/A-Fatherless-Child,1227.aspx" border="0" src="http://4.bp.blogspot.com/-JIbhQI2c2Aw/U1--iFYOUBI/AAAAAAAAALU/byl-9pW9OqM/s1600/978-0-8262-1821-6-frontcover.jpg" height="320" width="213" /></a> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">In <i><a href="http://press.umsystem.edu/product/A-Fatherless-Child,1227.aspx">
A Fatherless Child</a></i>, Tara T. Green examines the impact of fatherlessness on racial and
gender identity formation as seen in black men’s autobiographies and in other
constructions of black fatherhood in fiction. Closely examining four
works—Langston Hughes’s <i>The Big Sea</i>, Richard Wright’s <i>Black Boy</i>,
Malcolm X’s <i>The Autobiography of Malcolm X</i>, and Barack Obama’s <i>Dreams
from My Father</i>—Green portrays the intersecting experiences of generations
of black men during the twentieth century both before and after the Civil
Rights movement.</span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6100197071811815441.post-61129577108237082642014-04-17T09:06:00.002-05:002014-04-17T09:09:50.404-05:00Author Spotlight: W. Scott Olsen<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-9VVlEp-YEsBLtMl8xahmfLbRtZcwXoHLTL4Q5EFAGplDwqLDdgMSOqN26xCvPypQDR4jqn_oCQGvjwpqYifxA9Yn05wGxtnXEkaDpCf6NNfW8xo6_EGQtrmrKXwn1zMxUB7hE24TcdqA/s1600/Prairie+Sky.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-9VVlEp-YEsBLtMl8xahmfLbRtZcwXoHLTL4Q5EFAGplDwqLDdgMSOqN26xCvPypQDR4jqn_oCQGvjwpqYifxA9Yn05wGxtnXEkaDpCf6NNfW8xo6_EGQtrmrKXwn1zMxUB7hE24TcdqA/s1600/Prairie+Sky.png" /></a></div>
<i>Prairie Sky: A Pilot's Reflections on Flying and the Grace of Altitude</i><br />
By W. Scott Olsen<i> </i><br />
<br />
<i><a href="http://press.umsystem.edu/product/Prairie-Sky,2130.aspx">Prairie Sky</a> </i>is a celebration of curiosity and a book for
explorers. In this collection of contemplative essays, Scott Olsen
invites readers to view the world from a pilot’s seat, demonstrating
how, with just a little bit of altitude, the world changes, new
relationships become visible, and new questions seem to rise up from the
ground.<br />
<br />
<br />
<br />
<b>Q: What first drew you to flying?</b><br />
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<![endif]--></b>I have always been interested in
flight and flying. Both my mother and father have some background in
aviation and their stories were classic inspirations. My mistake was not
taking flying lessons when I was very young. I knew I was not going to be
a professional pilot, and flying can be expensive, so I avoided the lessons
under the guise of being practical and responsible. When I started work
on a book about some pilots, however, I knew I had to take a lesson or two just
to gain an insight into their world, and I was hooked right then.</div>
<br />
<b>Q: Where are you most looking forward to exploring that you haven't yet?</b><br />
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</xml><![endif]-->I look forward to exploring
almost everything. There is a sense of unfolding and purpose in a life
led by curiosity and I find that very attractive.</div>
<br />
<b>Q: Your <a href="http://wscottolsen.com/">new website</a> has a collection of beautiful photographs that you've taken during your travels. What do you try to capture when you're taking these pictures?</b><br />
<br />
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</xml><![endif]-->I am not a photographer by any real
sense of that word, but I think I do have some ability to frame a shot, to see
what in a landscape might be interesting to focus on. This is very much
the same insight a writer seeks—to find that or those details that speak louder
than others. I am interested in clouds and weather photographs because
those things are so transient, so changing. Sometimes what I am doing is
preserving a moment’s theater or beauty. With my other shots, what I am
looking for is either a moment of insight, or a perspective that reveals
something new.</div>
<br />
<b>Q: Do you plan to write about places before you visit them, or do you wait for a place that sparks up an inspiration during your visit?</b><br />
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<![endif]-->There are a thousand places I
want to visit, and I am a writer, so at one level I plan to write about every
place I visit. It could be my kitchen. It could be Rannoch
Moor. Sometimes I do get inspiration when I’m on a trip, but more often
than not my role during a trip is just detail and impression collecting. When I get home and I begin to sort through the stories and photographs—that’s
when I understand what shape the writing might take.
<br />
<br />
<b>Q: What is your most memorable flying experience?</b><br />
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<![endif]-->I own a national and world speed
record. Seriously. I did not break a record, I set one. I
discovered there was no official record for the fastest flight across North
Dakota in the type of airplane I fly (in those days a Cessna 152), so I decided
to set that record. It did not matter how fast I flew—no one had done
this before. A Cessna 152 is not a fast airplane. I was often
passed by trucks and cars on the highways below me. But I set the
record. It was a beautiful day for flying.
<br />
<br />
<b>Q: Have you already decided on your next adventure? </b><br />
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<![endif]--></b>There are always small
adventures and trips coming up, but my current hope for the next book is to
return to road-trip stories. I want to make one grand road trip that
touches the westernmost, then northernmost, then easternmost, then southernmost
points of the North American road system. I will probably do this in my
Jeep, but there is a small voice in my work that says take a motorcycle.
Who knows. The working title is <i>The Last Great Ride</i>.<br />
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<br /></div>
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Be sure to check out W. Scott Olsen's <a href="http://wscottolsen.com/">new website</a>, and check back here frequently for more UMP blog posts!</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6100197071811815441.post-80060767461280832242014-03-17T06:00:00.000-05:002014-03-17T06:00:02.998-05:00University of Missouri Press Staff Favorites<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPkGB4IGBCYp1ZTKLxNOwFkEGEfXaPEG7-QDwjUzYR4m3cvNNsaXxumhSW5bcUcJRvxsBMuVy1WRyXY81SQfb5uOc00L20v2xqWORG3S5kt_po57euYzTEKcJMBlZYkrnpXz9MJ2ALOel/s1600/Rose+jkts1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPkGB4IGBCYp1ZTKLxNOwFkEGEfXaPEG7-QDwjUzYR4m3cvNNsaXxumhSW5bcUcJRvxsBMuVy1WRyXY81SQfb5uOc00L20v2xqWORG3S5kt_po57euYzTEKcJMBlZYkrnpXz9MJ2ALOel/s1600/Rose+jkts1.jpg" height="200" width="131" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">Clair
Willcox </span></b><span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;"></span></div>
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<i><span style="color: black; font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;"><a href="http://press.umsystem.edu/Catalog/ProductSearch.aspx?search=power+at+sea">Power at Sea</a> </span></i><span style="color: black; font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">by Lisle A. Rose</span></div>
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<span style="color: black; font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">Among the dozens of books from our list
that I claim as favorites, there is a special place for those that endure a
protracted, difficult birth but ultimately thrive. When Lisle Rose first
sent me a draft of more than 1,200 pages for what eventually became <i>Power at
Sea</i>, the author and I faced the problem of how to reshape such an ungainly
manuscript into separate volumes so that each would appeal to a particular
readership. That daunting task not only required substantial
restructuring, it also meant extending the narrative beyond the Cold War into
the last decade. Fortunately, the author was willing and capable,
and the result was worth all the trouble. Perhaps the most comprehensive
recounting of naval power during the twentieth century, <i>Power at Sea </i>won
the prestigious John Lyman Book Award of the North American Society for Oceanic
History and was a main selection of the History Book Club.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjWgBcbwx1xCFE_dmBqGHy3XXIK0ACilnjkXRKCOxKYzg93gZhk1QvBrq1acVJAd4gTPIMMjJA4ShngKe8XWCiTbw5Mf6j10oDjpBUhJKwjlL1D5SQk7FUTRfMJW3QtU8di4v_OEjG4FBy/s1600/gerhardt+F13.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjWgBcbwx1xCFE_dmBqGHy3XXIK0ACilnjkXRKCOxKYzg93gZhk1QvBrq1acVJAd4gTPIMMjJA4ShngKe8XWCiTbw5Mf6j10oDjpBUhJKwjlL1D5SQk7FUTRfMJW3QtU8di4v_OEjG4FBy/s1600/gerhardt+F13.jpg" height="200" width="132" /></a></div>
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Haefner</span></b></div>
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<a href="http://press.umsystem.edu/product/Lucky-That-Way,2128.aspx"><i><span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">Lucky That Way: Rediscovering My Father’s World</span></i></a><span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;"> by Pamela Gerhardt</span></div>
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<i><span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">Lucky That Way</span></i><span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">
offers a compelling and well-written account of one family’s experience dealing
with the illness and death of a loved one. Readers will find unparalleled
emotional transparency and power in Pamela Gerhardt’s writing, drawing them
into her story as if it were their own.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzNgZD2GuJb7u4YxJYG06vtxF12gnJpQhWwc-u167xEtgdmcmg3BitSr7yCvC-lQ8dpk92nQQHcXFw73cxAhfflcXvOoZ4gi7M_NK0GaEShG3wlII7JRJtx1sSfQQ-z_PVmDhsZ-362A3a/s1600/vance.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzNgZD2GuJb7u4YxJYG06vtxF12gnJpQhWwc-u167xEtgdmcmg3BitSr7yCvC-lQ8dpk92nQQHcXFw73cxAhfflcXvOoZ4gi7M_NK0GaEShG3wlII7JRJtx1sSfQQ-z_PVmDhsZ-362A3a/s1600/vance.png" height="200" width="118" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Tracy
Tritschler</span></b></div>
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<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><a href="http://press.umsystem.edu/product/Down-Home-Missouri,523.aspx">Down Home Missouri: When Girls Were Scary and Basketball Was King</a> </span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> by Joel M. Vance</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">I enjoyed reading about the childhood experiences of
someone that grew up in similar circumstances as my grandparents, in a small
town not too far away from where they lived. I gave a copy to my grandparents
who took turns reading it aloud to each other, reminiscing about their pasts
the whole while. It gave them great joy to share those remembrances with each
other while reading the book which is what a good book is all about. Not only
can you learn from a book but you can relate to the material in a personal way
as well.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLP2tTnBW5jEJlFDQjeUvINAyQnO8uWvua-4RXoBXuhKmfLtwFsnMptLUXInsBaHWz-W5hvvDd4nUK3p-8hQzvD5n7_K9OJRtBAakeettcxez5-CeMTI3ViVNnymRPIkCSQUcif6RC4n6k/s1600/pipkin+sporting+lives.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLP2tTnBW5jEJlFDQjeUvINAyQnO8uWvua-4RXoBXuhKmfLtwFsnMptLUXInsBaHWz-W5hvvDd4nUK3p-8hQzvD5n7_K9OJRtBAakeettcxez5-CeMTI3ViVNnymRPIkCSQUcif6RC4n6k/s1600/pipkin+sporting+lives.jpg" height="200" width="131" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Lyn
Smith</span></b></div>
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<br /></div>
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<a href="http://press.umsystem.edu/product/Sporting-Lives,1168.aspx"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Sporting Lives: Metaphor and Myth in American Sports Autobiographies</span></i></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">
by James W. Pipkin</span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Sporting
Lives</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> is fascinating and well written. It gives an
interesting look at the autobiographies of some famous athletes and then
analyzes common themes and patterns in their lives and sporting experiences.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6H7MdFnwRq9XQDr_BlwjoQzOLgJuAsi7FjMc7Kj9JH6DoFgepL24hOSyQUhUM-t4H5UARoscCy3ghBwfiaqagISlaF2Fo3_WCBuGBSDIjPMFI5PiUOXaol3NEhjcBFLYJ3eIAVfrYpbQ7/s1600/Epstein.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6H7MdFnwRq9XQDr_BlwjoQzOLgJuAsi7FjMc7Kj9JH6DoFgepL24hOSyQUhUM-t4H5UARoscCy3ghBwfiaqagISlaF2Fo3_WCBuGBSDIjPMFI5PiUOXaol3NEhjcBFLYJ3eIAVfrYpbQ7/s1600/Epstein.jpg" height="200" width="133" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Gary
Kass</span></b></div>
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</div>
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<br /></div>
<div class="MsoNormal">
<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><a href="http://press.umsystem.edu/product/Abraham-Epstein,1008.aspx">Abraham Epstein: The Forgotten Father of Social Security</a> </span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">by Pierre Epstein </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The author of this unclassifiable book--part
history, part memoir--tells how his immigrant Russian father became one of the
main architects of the Social Security program. Abe Epstein--journalist,
author, and organizer--worked tirelessly to see Social Security enacted and
then perfected, even as he himself was cast aside by FDR for political reasons.
At the same time, the author describes the joys and disappointments of growing
into adulthood with a work-obsessed father and eccentric mother, Henriette, who
in her nineties was still fighting for recognition of Abe’s accomplishment.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Jane
Lago</span></b></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><a href="http://press.umsystem.edu/product/Gathering-the-Family,338.aspx">Gathering the Family</a> </span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">by William Holtz</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">In the thirty-plus years I’ve worked at the Press,
there are many books that I consider favorites. But there is only one case in
which I purchased 20 copies upon publication in order to give a book to family
and friends: William Holtz’s <i style="mso-bidi-font-style: normal;">Gathering
the Family,</i> a wonderfully lyrical exploration of the meaning of family and
identity<i style="mso-bidi-font-style: normal;">.</i> </span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOJHXnBzz6-koDlKBxA0iNrvTkSYQ6wnnA65hANoHCTAx2Tvc_RJI2ykw-Ldl8pZYD4D9nzDJ8wC7sb86-yVz4hgGizEG43l2WJS_DIBd79TkVpPmJWTXsbmaszCHrzvfpgDsGkA28qQxW/s1600/Priddy+comp_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOJHXnBzz6-koDlKBxA0iNrvTkSYQ6wnnA65hANoHCTAx2Tvc_RJI2ykw-Ldl8pZYD4D9nzDJ8wC7sb86-yVz4hgGizEG43l2WJS_DIBd79TkVpPmJWTXsbmaszCHrzvfpgDsGkA28qQxW/s1600/Priddy+comp_1.jpg" height="181" width="200" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">Kirk
Hinkelman</span></b></div>
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<br /></div>
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<a href="http://press.umsystem.edu/product/The-Art-of-the-Missouri-Capitol,1974.aspx"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">The Art of the Missouri Capitol: History in Canvas, Bronze, and Stone</span></i></a><span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">
by Bob Priddy and Jeffrey Ball</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">Firstly, I must echo Jane’s pick <i style="mso-bidi-font-style: normal;">Gathering the Family</i>. <span style="mso-spacerun: yes;"> </span>My second pick is <i style="mso-bidi-font-style: normal;">The Art of the Missouri Capitol</i> by Bob Priddy and Jeffrey
Ball.<span style="mso-spacerun: yes;"> </span>It is one of the first books that
I began to spend time with at the Press and it is truly magnificent in size and
content.<span style="mso-spacerun: yes;"> </span>Priddy and Ball give a very
thorough examination of the art and sculpture of our Capital building inside
and out.<span style="mso-spacerun: yes;"> </span>Nothing escapes their
inspection and study—even the sculpted flagpole bases.</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Ym4Gap7uL3uYgO_SRk-xf8FRk8umiXqhi3ruEgO23EGkqSdfHqu07fEekcx8nTUeQWucs1TUACp67H_OXlz6hPLZIv4BKLgBCN7NN2ouzASjN-wUUmXg8KRz6XXY7zKy8m5gg8E7hEOZ/s1600/Schwartz.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Ym4Gap7uL3uYgO_SRk-xf8FRk8umiXqhi3ruEgO23EGkqSdfHqu07fEekcx8nTUeQWucs1TUACp67H_OXlz6hPLZIv4BKLgBCN7NN2ouzASjN-wUUmXg8KRz6XXY7zKy8m5gg8E7hEOZ/s1600/Schwartz.png" height="200" width="154" /></a></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Kristi
Henson</span></b></div>
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<br /></div>
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<a href="http://press.umsystem.edu/product/Wild-Mammals-of-Missouri,1647.aspx"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The Wild Mammals of Missouri</span></i></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> by Charles W. Schwartz and
Elizabeth R. Schwartz</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">Groucho Marx once quipped, “<span style="background: white;">Outside of a dog, a book is a man’s best friend. Inside of a dog, it’s
too dark to read.” While I’m sure it would be too dark to read <i>The Wild
Mammals of Missouri</i> inside any of the animals featured in the book, this
fabulous volume features beautiful drawings of the outsides and, yes, insides
of the animals collected therein. Plus, it’s just really cool. If you’ve read
this recommendation and would like a copy of <i>The Wild Mammals of Missouri</i>
to call your very own, email me at HensonK@Missouri.edu with the name of your
favorite wild mammal in the subject line for your chance to win a copy.
Seriously.</span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Sara
Davis</span></b></div>
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<br /></div>
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<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Mississippi History</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">
by Steve Yarbrough</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif"; font-size: 13.0pt; line-height: 115%;">An occupational hazard of editing is acquiring more
books than I will ever be able to shelve, stack, or store. And so I’ve
learned to reject, to donate, to lend, to—in the helpful words of a museum
curator—<i>deaccession items from my collection.</i> Steve Yarbrough’s <i>Mississippi
History</i> has traveled in a front-of-the-U-Haul “KEEP” box through four moves
and survived countless reorganizations. Yarbrough is funny, wise, and
generous to both his characters and his readers. If you’ve not read his
work, and you’re thinking of buying one of his books, I’ll warn you now,
you’re going to need to clear some shelf space in the KEEP section. </span></div>
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