Scribners tells the inside story of five generations—over 150 years—at the legendary publishing house of Charles Scribner's Sons, beginning with its founding in an unused chapel in downtown New York, continuing through its golden era on Fifth Avenue above the famous landmark bookstore and down to the present day. The author, the fifth of the Charleses to work at that house of celebrated authors, provides here an inside view—"between the covers" of illustrious and notorious books—of the family members, editors, and authors of this colorful literary history. Among the writers who illuminate this story, we find in the early years Robert Louis Stevenson, Rudyard Kipling, Henry James, Edith Wharton, Teddy Roosevelt, Winston Churchill, John Galsworthy, and the artists Charles Dana Gibson, N. C. Wyeth, and Maxfield Parrish, who illustrated Scribner's Magazine as well as Scribner books. Then with the arrival of "editor of genius" Max Perkins, the story takes off into the heights of twentieth-century fiction with Scott Fitzgerald, Thomas Wolfe, Marjorie Kinnan Rawlings, Marcia Davenport, Alan Paton, James Jones and—above all—Ernest Hemingway, that most loyal and enduring author whose works were published by four generations of Scribners. Famous children's classics The Wind in the Willows, Peter Pan, and The Yearling also take their place of honor in the firm's contribution to new generations of readers. This engaging personal account of family history—both in and out of the office—includes the most colorful controversies: from Mussolini and Trotsky to Lindbergh and C. P. Snow, as well as behind-the-scenes adventures of the author's father as he navigated the seas with industry storms and publishing corsairs before finding a safe harbor at Macmillan and finally, after the demise of tycoon Robert Maxwell, Simon & Schuster. The author, an art historian, found himself for thirty years in the company of writers by "an accident of birth." But it proved an adventure beyond his reckoning, here told with the candor and informality of a family gathering, as well as with humor and affection for his father, P. D. James, Louis Auchincloss, Andrew Greeley, and other authors with whom he worked personally. As Scott Fitzgerald wrote, "If it wasn't life, it was magnificent.
Charles Scribner, Jr.’s thoughts and essays on publishing, his fascinating career, and the love of ideas. A must-read for anyone interested in the history of publishing.
It was “the golden age” of American literature. Max Perkins edited Hemingway and Fitzgerald, royalties were still calculated by hand, and business was usually based on personal ties between publisher and author. It was into this world that Charles Scribner, Jr. was born, his career predetermined at the time of his christening. He grew up in publishing and cut his editorial teeth on giants like Edmund Wilson, C.P. Snow, P.D. James and Charles Lindbergh. But towering above them all was Ernest Hemingway, whose friendship Scribner recalls with affection. “An elegant memoir of a publishing prince’s lifelong devotion to great books.” —A.Scott Berg
The Shadow of God is part memoir, part spiritual autobiography, and part tour of great works of art, literature, and music. In the form of a journal written over the course of a year, Charles Scribner shares childhood recollections of a household where figures like Ernest Hemingway and F. Scott Fitzgerald were family friends. He tells stories from his own noteworthy publishing career, from his journey toward faith, and from his deep knowledge of Baroque art. Born an Episcopalian, he charts the story of his interior life and the importance of the arts in helping him choose the spiritual, emotional, and intellectual paths he would follow, including his Catholic conversion. He asks himself questions like “How far back can we trace the roots of faith?” Scribner writes with contagious enthusiasm about the pivotal truths he discovered in the novels of Graham Greene and Evelyn Waugh and the inspiration he found in art, music, opera, and the Bible. The Shadow of God is a journey through memory, art, and faith that shaped Scribner’s year as it passed through the seasons, from Epiphany to Epiphany. It is a moving portrait of a man who has devoted his life to words and the Word and a work of rare power by a writer whose grace, humor, and candor will touch readers.
This small book provides an introduction to the rich and variegated subject of Christian currents through art and music down the ages, from Early Christian art to the present. It is personal and selective in its focus on favorite major artists and their subjects as exemplars of a wide range of sacred themes. The author’s lifelong professional focus on the Baroque giants Rubens and Bernini, along with the revolutionary Caravaggio, is evident in the central place they claim as he places them in the context of the broader tradition: medieval art, Michelangelo, Titian, Bellini, Rembrandt, Tiepolo, and other giants of the Renaissance and Baroque. Scribner’s focus is decidedly European—not global. The masters of music will be equally familiar to readers and listeners: from Palestrina and Vivaldi to Bach, Handel, Haydn, Mozart, and Verdi down to the 20th century. It is intended to be protreptic, something that will encourage and spur on the reader—teacher, student, amateur alike—to pursue her or his own explorations in periods and artists that likewise hold special appeal. Includes 45 color and b&w illustrations.
It was “the golden age” of American literature. Max Perkins edited Hemingway and Fitzgerald, royalties were still calculated by hand, and business was usually based on personal ties between publisher and author. It was into this world that Charles Scribner, Jr. was born, his career predetermined at the time of his christening. He grew up in publishing and cut his editorial teeth on giants like Edmund Wilson, C.P. Snow, P.D. James and Charles Lindbergh. But towering above them all was Ernest Hemingway, whose friendship Scribner recalls with affection. “An elegant memoir of a publishing prince’s lifelong devotion to great books.” —A.Scott Berg
Art, with its finite means, cannot hope to record the infinite variety and com-plexity of Nature, and so contents itself with a partial statement, addressing this to the imagination for the full and perfect meaning. This inadequation, and the artificial ad-justments which it involves, are tolerated by right of what is known as artistic convention; and as each art has its own particular limitations, so each has its own particular conventions. Sculpture reproduces the forms of Nature, but discards the color without any shock to our ideas of verity; Painting gives us the color, but not the third dimension, and we are satisfied; and Architecture ispurely conventional, since it does not even aim at the imitation of natural form. The Conventions of Line Drawing, Of the kindred arts which group themselves under the head of Painting, none is based on such broad conventions as that with which we are immediately concerned—the art of Pen Drawing. In this medium, Nature's variety of color, when not positively ignored, is suggested by means of sharp black lines, of varying thickness, placed more or less closely together upon white paper; while natural form depends primarily for its representation upon arbitrary boundary lines. There is, of course, no authority in Na-ture for a positive outline: We see objects only by the difference in color of the other objects behind and around them. The technical capacity of the pen and ink medium, however, does not provide a value corresponding to every natural one, so that a broad interpretation has to be adopted which eliminates the less positive values; and, that form may not likewise be sacrificed, the outline becomes necessary, that light objects may stand relieved against light. This outline is the most characteristic, as it is the most indispensable, of the conventions of line drawing. To seek to abolish it only involves a resort to expedients no less artificial, and the results of all such attempts, dependent as they necessarily are upon elaboration of color, and a general indirectness of method, lack some of the best characteristics of pen drawing. More frequently, however, an elaborate color-scheme is merely a straining at the technical limitations of the pen in an effort to render the greatest possible number of values. It may be worth while to inquire whether excellence in pen drawing consists in thus dispensing with its recognized conventions, or in otherwise taxing the technical re-sources of the instrument. This involves the question of Style,—of what characteristic pen methods are,—a question which we will briefly consider...
Every successive generation finds fresh reasons for the study of natural law. Current interest in the natural law may well be due to a pervasive moral pessimism in the Western cultural context and wider contemporary geopolitical challenges. Those geopolitical challenges result from two significant and worrisome global developments – unprecedented violent persecution of religious minorities on several continents and a growing climate of secular hostility toward religious faith in Western societies. Natural Law and Religious Freedom aims to address what is relatively absent from the literature by demonstrating the importance of natural law ethics in both establishing and preserving basic human rights, of which religious freedom has pride of place. Probing contemporary challenges to natural law thinking that are both internal and external to religious faith, and examining the character and constitution of natural law ethics, Natural Law and Religious Freedom will be of interest to theologians, ethicists and philosophers as well as policy analysts, politicians and activists who are concerned to anchor religious freedom and human rights policy considerations in an enduring way.
Focusing on biographical portraiture, Charles Caramello argues that Henry James and Gertrude Stein performed biographical acts in two senses of the phrase: they wrote biography, but as a cover for autobiography. Constructing literary genealogies while creating original literary forms, they used their biographical portraits of precursors and contemporaries to portray themselves as exemplary modern artists. Caramello advances this argument through close readings of four works that explore themes of artistry and influence and that experiment with forms of biographical portraiture: James's early biography of Nathaniel Hawthorne and his much later group biography, William Wetmore Story and His Friends, and Stein's celebrated Autobiography of Alice B. Toklas and her largely forgotten Four in America, which comprises biographies of Ulysses S. Grant, Wilbur Wright, Henry James, and George Washington. The first comparative study of these two great expatriate writers, Henry James, Gertrude Stein, and the Biographical Act addresses questions of art, influence, and literary culture by analyzing important biographical portraits that themselves address the same questions. Originally published 1996. 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.
A bold new biography of the thinker who demolished accepted economic theories in order to expose how people of economic and social privilege plunder their wealth from society’s productive men and women. Thorstein Veblen was one of America’s most penetrating analysts of modern capitalist society. But he was not, as is widely assumed, an outsider to the social world he acidly described. Veblen overturns the long-accepted view that Veblen’s ideas, including his insights about conspicuous consumption and the leisure class, derived from his position as a social outsider. In the hinterlands of America’s Midwest, Veblen’s schooling coincided with the late nineteenth-century revolution in higher education that occurred under the patronage of the titans of the new industrial age. The resulting educational opportunities carried Veblen from local Carleton College to centers of scholarship at Johns Hopkins, Yale, Cornell, and the University of Chicago, where he studied with leading philosophers, historians, and economists. Afterward, he joined the nation’s academic elite as a professional economist, producing his seminal books The Theory of the Leisure Class and The Theory of Business Enterprise. Until late in his career, Veblen was, Charles Camic argues, the consummate academic insider, engaged in debates about wealth distribution raging in the field of economics. Veblen demonstrates how Veblen’s education and subsequent involvement in those debates gave rise to his original ideas about the social institutions that enable wealthy Americans—a swarm of economically unproductive “parasites”—to amass vast fortunes on the backs of productive men and women. Today, when great wealth inequalities again command national attention, Camic helps us understand the historical roots and continuing reach of Veblen’s searing analysis of this “sclerosis of the American soul.”
In this study, Charles Fanning has written the first general account of the origins and development of a literary tradition among American writers of Irish birth or background who have explored the Irish immigrant or ethnic experience in works of fiction. The result is a portrait of the evolving fictional self-consciousness of an immigrant group over a span of 250 years. Fanning traces the roots of Irish-American writing back to the eighteenth century and carries it forward through the traumatic years of the Famine to the present time with an intensely productive period in the twentieth century beginning with James T. Farrell. Later writers treated in depth include Edwin O'Connor, Elizabeth Cullinan, Maureen Howard, and William Kennedy. Along the way he places in the historical record many all but forgotten writers, including the prolific Mary Ann Sadlier. The Irish Voice in America is not only a highly readable contribution to American literary history but also a valuable reference to many writers and their works. For this second edition, Fanning has added a chapter that covers the fiction of the past decade. He argues that contemporary writers continue to draw on Ireland as a source and are important chroniclers of the modern American experience.
Operation Hotel California is the definitive inside account of the secret CIA mission that paved the way for the Iraq War. Based on exclusive interviews with the team leader, Charles S. Faddis—who retired in 2008 and whose name was publicly revealed in this book for the first time—it is also the most blistering indictment by any U.S. counterterrorism officer of America’s blunders vis-à-vis Al-Qaeda and Iraq. Its lessons are vital as a new administration seeks to withdraw securely from Iraq and fight extremists in Afghanistan and elsewhere.
Author Charles Ford continues to examine the philosophy of choice in the spirit of poetry by existentialism. Many themes are included, such as alienation, God, death, love, and so on. Here the list of themes is not exhausted. The roots of these choices are grounded in the will of the individual rather than his/her reason. He/she confronts problems that are seen in the world, so by his/her actions disclose human nature and reflect his/her latent dispositions. This is where inner choices must arise, so external choices may be seen as actions per se. When these state-of-affairs are closely examined, they disclosed aspects of the human condition. Experiences that revealed that we are human beings touching various realms of reality. For our inner/external choices say something about our makeup, we are wonderfully composed, and dynamically active from moment-to-moment of our existence. In Hidden Fields Book 3, Charles has written lots of poems in a personal way. He invites the readers to come along, and experience reality both mentally and through their senses. Every reader will soon discover something about him/ her with respect to choices that were made that he/she is fleshly human and is real. Charles wants to share and invite the reader into his home now.
This collection of sixteen essays deals with the role of magic, religion and witchcraft in European culture, 1450-1650, and the critical role of the visual in that culture. It covers the relationship of humanism and magic; the intersection of religious ritual, orthodoxy and power; the discursive links between the visual language of witchcraft and contemporary anxieties about sexuality and savagery. The introductory chapter urges us to exorcise our tendency to reduce historical experiences of the demonic to forms of unreason created in a distant past. Only then can we understand the role of the demonic in our historical definition of the self and the other. Richly illustrated with 112 images, the book will interest historians and art historians.
Charles Cashdollar reinterprets nineteenth-century British and American Protestant thought by identifying positivism as the central intellectual issue of the era. Positivism meant, at first, the ideas of the French thinker Auguste Comte; later in the century, the term indicated a more general opposition to supernatural religion. Cashdollar shows that contemporary thinkers recognized positivism, at each of these stages, as the most fundamental of the proliferating challenges to religious belief. He further reveals how the encounter with positivism altered Protestant orthodoxy--in both subtle and radical ways. Positivists denied that humans could know anything other than physical phenomena. Declaring many orthodox beliefs archaic, they proposed a new, ethically based vision of service to humanity. After portraying the dissemination of these positions among British and American Protestants, the author explains how each of several groups reacted. A few theologians rejected positivism outright, but many more responded by recasting their own beliefs. The implications of this story of change extend to such topics as Darwinism, Biblical criticism, the rise of the social sciences, theological liberalism and the Social Gospel, the beginnings of fundamentalism, and the twentieth-century debate about "creationism" and science. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
George Luther Stearns became John Brown's single most important financial backer. He personally owned the 200 Sharps rifles Brown brought to Harper's Ferry. Massachusetts Governor John Andrew asked Stearns to recruit the first northern state African-American regiment, the 54th Massachusetts Infantry, recently made famous by the Hollywood movie Glory. Stearns was made a major and made Assistant Adjutant General for the Recruitment of Colored Troops. He recruited over 13,000 African-Americans, established schools for their children, and found work for their families. After Emancipation, he worked tirelessly for African-American civil rights. Friends and associates included the Emersons and the Alcotts, Thoreau, Lydia Maria Child, Charles Sumner, Andrew Johnson, and Frederick Douglass.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.