Early one morning in November 2019, Carter Heyward awoke to a voice she figured was hers, but then again, maybe it wasn't exactly her own. Grief-stricken, because her horse Feather had just been diagnosed with a rare equine cancer; in pain with a freshly broken arm of her own; and horrified by the morally bankrupt state of the nation under Donald Trump, Carter begins a conversation with "someone." Herself? Her higher power? Friends who have passed on? The persistent voice names herself (or themselves) "Christepona." Thus begins Carter Heyward's mystical presentation of her ever-deepening passion for justice-love at every level of our life together, from the very personal to the larger social and political contexts. Moving into her grief, Carter wrestles with the problem of evil. She dives into her own anger and hatred, and that of others, and surfaces in enthusiastic bursts of gratitude, joy, and hope.
She Flies On is not really a critique of organized religion, but rather Carter Heyward’s effort to think theologically, politically, socially, and autobiographically about the world and the church in which she has lived and worked. A Christian feminist “theologian of liberation,” Episcopal priest, lesbian, Southerner, and socialist Democrat, Heyward writes about the church, but more about the people—and creatures—of God going about their lives and attempting to love one another.
Carter Heyward is one of the most influential and controversial theologians of our time. Under the headings 'Speaking Truth to Power', 'Remembering Who We Are' and 'Celebrating Our Friends' she reflects on how movements for gender and sexual justice reverberate globally. In this volume of occasional pieces, lesbian feminist liberation theologian Carter Heyward bears witnesses to the sacred struggles to topple oppressive power. These pieces illustrate feminist theology's bold and transformative engagement of its cultural, political, social, and theological contexts.Carter Heyward's voice will be instructive to students and teachers of feminist, queer, and other liberation theologians as well as to those interested in the Christian thought being forged at the edges of the church in the company of those who traditionally have been kept out. This book will interest feminists, gay men, lesbians, and other queer advocates, anti-racist activists, liberal Christians and post-ChristiansA" as well as women and men of other progressive spiritual or religious traditions.
Hear the call to overcome today’s culture of hate and bring healing and hope into our life together. While right-wing conservatives dare to call themselves Christians as they tear down equality and justice, commit horrific acts of violence, and fan the flames of fascism in America, Carter Heyward issues a call to action for Christians to truly hear God’s message of peace and love. Heyward shows how American Christians have played a major role in building and securing structures of injustice in American life. Rising tides of white supremacy, threats to women’s reproductive freedoms and to basic human rights for gender and sexual minorities, the widening divide between rich and poor, and increasing natural disasters and the extinction of Earth’s species--all point to a world crying out for God’s wisdom. Followers of Jesus must first call out these ingrained and sinful attitudes for what they are, acknowledging what the culture of white Christian nationalism is doing to our country and our world, and commit ourselves ever more fully to generating justice-love, whoever and wherever we are.
Carter Heyward is one of the most influential and controversial theologians of our time. Under headings “Speaking Truth to Power,” Remembering Who We Are,” and “Celebrating Our Friends,” she reflects on how movements for gender and sexual justice reverberate globally. In this volume of occasional pieces, the lesbian feminist theologian bears witness to the sacred struggles to topple oppressive power. These pieces illustrate feminist theology’s bold and transformative engagement of its cultural, political, social, and theological contexts. “Now forty years later, while not as naïve and utopian in my politics, I am still enthusiastically committed, as a Christian, to struggles dedicated to building a world in which every person is entitled, by law, to basic human rights. I have come to realize, as I move along into my mid-sixties, that what justice-loving people most need in these times, and in all times, is courage to speak and act on behalf of this world. My desire in this book is to spark such courage and stir imagination.” —from the Foreword.
An up close and personal portrait of a legendary filmmaker, theater director, and comedian, drawing on candid conversations with his closest friends in show business and the arts—from Dustin Hoffman and Meryl Streep to Natalie Portman and Lorne Michaels. The work of Mike Nichols pervades American cultural consciousness—from The Graduate and Who's Afraid of Virginia Woolf? to Angels in America, The Birdcage, Working Girl, and Primary Colors, not to mention his string of hit plays, including Barefoot in the Park and The Odd Couple. If that weren’t enough, he was also one half of the timelessly funny duo Nichols & May, as well as a founding member of the original improv troupe. Over a career that spanned half a century, Mike Nichols changed Hollywood, Broadway, and comedy forever. Most fans, however, know very little of the person behind it all. Since he never wrote his memoirs, and seldom appeared on television, they have very little sense of his searching intellect or his devastating wit. They don't know that Nichols, the great American director, was born Mikail Igor Peschkowsky, in Berlin, and came to this country, speaking no English, to escape the Nazis. They don't know that Nichols was at one time a solitary psychology student, or that a childhood illness caused permanent, life-altering side effects. They don't know that he withdrew into a debilitating depression before he "finally got it right," in his words, by marrying Diane Sawyer. Here, for the first time, Ash Carter and Sam Kashner offer an intimate look behind the scenes of Nichols' life, as told by the stars, moguls, playwrights, producers, comics and crewmembers who stayed loyal to Nichols for years. Life Isn't Everything is a mosaic portrait of a brilliant and original director known for his uncommon charm, wit, vitality, and genius for friendship, this volume is also a snapshot of what it meant to be living, loving, and making art in the 20th century.
First published in 2007, "Oklahoma!" The Making of an American Musical tells the full story of the beloved Rodgers and Hammerstein musical. Author Tim Carter examines archival materials, manuscripts, and journalism, and the lofty aspirations and mythmaking that surrounded the musical from its very inception. The book made for a watershed moment in the study of the American musical: the first well-researched, serious musical analysis of this landmark show by a musicologist, it was also one of the first biographies of a musical, transforming a field that had previously tended to orient itself around creators rather than creations. In this new and fully revised edition, Carter draws further on recently released sources, including the Rouben Mamoulian Papers at the Library of Congress, with additional correspondence, contracts, and even new versions of the working script used - and annotated - throughout the show's rehearsal process. Carter also focuses on the key players and concepts behind the musical, including the original play on which it was based (Lynn Riggs's Green Grow the Lilacs) and the Theatre Guild's Theresa Helburn and Lawrence Langner, who fatefully brought Rodgers and Hammerstein together for their first collaboration. The crucial new perspectives these revisions and additions provide make this edition of Carter's seminal work a compulsory purchase for all teachers, students, and lovers of musical theater.
Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnár, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnár to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.
During the second half of the twentieth century, the forest industry removed more than 300 billion cubic feet of timber from southern forests. Yet at the same time, partnerships between public and private entities improved the inventory, health, and productivity of this vast and resilient resource. A comprehensive and multilayered history, Forestry in the U.S. South explores the remarkable commercial and environmental gains made possible through the collaboration of industry, universities, and other agencies. This authoritative assessment starts by discussing the motives and practices of early lumber companies, which, having exhausted the forests of the Northeast by the turn of the twentieth century, aggressively began to harvest the virgin pine of the South, with production peaking by 1909. The rapidly declining supply of old-growth southern pine triggered a threat of timber famine and inspired efforts to regulate the industry. By mid-century, however, industrial forestry had its own profit incentive to replenish harvested timber. This set the stage for a unique alliance between public and private sectors, which conducted cooperative research on tree improvement, fertilization, seedling production, and other practices germane to sustainable forest management. By the close of the 1990s, concerns about an inadequate timber supply gave way to questions about how to utilize millions of acres of pine plantations approaching maturity. No longer concerned with the future supply of raw material and facing mounting global competition the U.S. pulp and paper industry consolidated, restructured, and sold nearly 20 million acres of forests to Timber Investment Management Organizations (TIMOs) and Real Estate Investment Trusts (REITs), resulting in an entirely new dynamic for private forestry in the South. Incomparable in scope, Forestry in the U.S. South spotlights the people and organizations responsible for empowering individual forest owners across the region, tripling the production of pine stands and bolstering the livelihoods of thousands of men and women across the South.
This book is a critical edition of six lectures by Alain Leroy Locke, the intellectual progenitor of the Harlem Renaissance. In them, Locke offers an Inter-American philosophical account of important contributions made by Afrodescendant peoples to the art, literature, and culture of various American societies. Locke offers a prescient vision of the intersection of the three Americas: Latin (South) America, the Caribbean, and North America. The book has two main parts: First, are the lectures, which all relate to the themes of black cultural contributions throughout the Americas, minority representation and marginalization in democratic contexts, the ethics of racial representation, the notion of cultural transformation and transparency, and the ethical issues involved in cross-cultural exchanges. The second portion of the book is a critical interpretive essay that elucidates the Inter-American philosophical significance of the lectures and their relevance to current philosophical discussions.
Australian Books and Authors in the American Marketplace 1840s–1940s explores how Australian writers and their works were present in the United States before the mid twentieth century to a much greater degree than previously acknowledged. Drawing on fresh archival research and combining the approaches of literary criticism, print culture studies and book history, David Carter and Roger Osborne demonstrate that Australian writing was transnational long before the contemporary period. In mapping Australian literature’s connections to British and US markets, their research challenges established understandings of national, imperial and world literatures. Carter and Osborne examine how Australian authors, editors and publishers engaged productively with their American counterparts, and how American readers and reviewers responded to Australian works. They consider the role played by British publishers and agents in taking Australian writing to America, and how the international circulation of new literary genres created new opportunities for novelists to move between markets. Some of these writers, such as Christina Stead and Patrick White, remain household names; others who once enjoyed international fame, such as Dale Collins and Alice Grant Rosman, have been largely forgotten. The story of their books in America reveals how culture, commerce and copyright law interacted to create both opportunities and obstacles for Australian writers.
Onetime seemingly unstoppable boxing champion, victim of a false conviction for a triple homicide, and spokesperson for the wrongfully incarcerated, Rubin “Hurricane” Carter is a controversial twentieth century icon. In this moving narrative, Dr. Carter tells of the metaphoric and physical prisons he has survived: his poverty-stricken childhood, his troubled adolescence and early adulthood, his 19-year imprisonment with 10 years in solitary confinement, and the knowledge that his life was forever altered by injustice. A spiritual as well as factual autobiography, his is not a comfortable story or a comfortable philosophy, but he offers hope for those who have none, and his words are a call to action for those who abhor injustice. Eye of the Hurricane may well change the way we view crime and punishment in the twenty-first century.
Places Made After Their Stories shows how the emotional geographies we carry inside us and the ecstatic desire at the heart of democratic community-making can come together to inform contemporary landscape and urban design. Using Australian case studies of public space design from Alice Springs to Perth and Melbourne. Paul Carter describes a new approach to place-making in which topography and choreography fuse. He counters the symbolic neglect of functionalist design with a brilliant account of poetic and graphic techniques developed to materialize ambience. Carter describes a practice of sense-making and form-making that embodies fundamental gestures of welcome, arrangement, and exchange in the built setting.
Understanding and Dealing with Violence: A Multicultural Approach situates violence within a social, cultural, and historical context. Edited by distinguished scholars Barbara C. Wallace and Robert T. Carter, this unique volume explores historical factors, socialization influences, and the historical and contemporary dynamics between the oppressed and the oppressor. State-of-the-art research guides a diverse group of psychologists, educators, policy-makers, religious leaders, community members, victims, and perpetrators in finding viable solutions to violence.
Remembering Enslavement explores plantation museums as sites for contesting and reforming public interpretations of slavery in the American South. Emerging out of a three-year National Science Foundation grant (2014–17), the book turns a critical eye toward the growing inclusion of the formerly enslaved within these museums, specifically examining advances but also continuing inequalities in how they narrate and memorialize the formerly enslaved. Using assemblage theory as a framework, Remembering Enslavement offers an innovative approach for studying heritage sites, retelling and remapping the ways that slavery and the enslaved are included in southern plantation museums. It examines multiple plantation sites across geographic areas, considering the experiences of a diversity of actors: tourists, museum managers/owners, and tour guides/interpreters. This approach allows for an understanding of regional variations among plantation museums, narratives, and performances, as well as more in-depth study of the plantation tour experience and public interpretations. The authors conclude the book with a set of questions designed to help professionals reassemble plantation museum narratives and landscapes to more justly position the formerly enslaved at their center.
In the executive offices of the four major networks, sweeping changes are taking place and billions of dollars are at stake. Now Bill Carter, bestselling author of The Late Shift, goes behind the scenes to reveal the inner workings of the television industry, capturing the true portraits of the larger-than-life moguls and stars who make it such a cutthroat business. In a time of sweeping media change, the four major networks struggle for the attention of American viewers increasingly distracted by cable, video games, and the Internet. Behind boardroom doors, tempers flare in the search for hit shows, which often get on the air purely by accident. The fierce competition creates a pressure-cooker environment where anything can happen . . . NBC’s fall from grace—Once the undisputed king of prime time, NBC plunged from first place to last place in the ratings in the course of a single season. What will be the price of that collapse—and who will pay it? CBS’s slow and steady race to the top—Unlike NBC, CBS, under the leadership of CEO, Leslie Moonves, engineered one of the most spectacular turnarounds in television history. But in this ruthless world, you’re only as good as last week’s ratings . . . . ABC’s surprising resurrection—Lost and Desperate Housewives—have brought ABC the kind of success it could only dream of in the past. So why don’t the executives responsible for those hits work there any more? The End of the News As We Know It—In a stunningly short period of time, all three of the major network news anchors—Dan Rather, Tom Brokaw, and Peter Jennings—signed off, leaving executives scrambling for a way to keep network news relevant in an era of 24/7 information. Crazy Like Fox—They’re outrageous, unconventional, and occasionally off-putting, but more and more people are watching Fox shows. Most of all they keep watching American Idol. How did Simon Cowell snooker himself into a huge payday? Stay tuned . . .
The American idea," a blend of the Idea of Progress and a belief in the essential goodness of man, has determined the form of much of our significant literature. Carter treats the response to this idea in most of the major and many of the minor writers of the nineteenth century, including Longfellow, Lowell, Holmes, Emerson, Thoreau, Whitman, Hawthorne, Melville, Poe, William and Henry James, Mark Twain, Howells, and Henry Adams, and sees the persistence of the idea in the novels of Saul Bellow. " Originally published in 1977. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
The life of Clarence Day, beloved author of Life With Father, Life With Mother, God and My Father, and This Simian World, is revealed for the first time in Clarence Day: An American Writer. Using her father's diaries and family letters, Day's daughter, Wilhelmine Day Blower, creates a lively portrait of her father's Victorian boyhood, escapades at Yale, and naval experiences in the Spanish-American War-until he was struck down with rheumatoid arthritis. Forced to abandon an active life on Wall Street at the age of twenty-five, Day struggled to make a career as a writer and illustrator. His life with his hot-tempered father, energetic mother, and three redheaded brothers is the background to his best-known book, Life With Father, which was later produced as a play and a Hollywood film. Blower also shares with the reader other aspects of her father's life, including his unusual marriage and his contribution to the success of a new magazine called The New Yorker. Clarence Day: An American Writer brilliantly captures the dedication of one of America's favorite authors.
The authors Linda Carter Smith, Peggy Easterling Miller, Steven Craig Smith and John Woodrow Weathers have researched and compiled facts, stories and photos about the colorful history of the Bowman area. Using archival documents and photographs, the authors have assembled a history of the area that gives the reader a glimpse into the early days of Bowman and the nearby communities.
Heyward directly addresses our vulnerability to terror, especially its religious and political aspects. Examining six images of God--God of War, God of Peace, God as Father, God as Spirit. God in us, and God in all--the author locates an authentic religious response in a healthy balancing of God-images, while religiously motivated violence stems from absolutist theories that fix on only one image of an inexhaustible deity. Stressing mutuality and openness, Heyward sketches a creative Christian response to violence, terror, and war.
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