David Pichaske has been writing and teaching about midwestern literature for three decades. In Rooted, by paying close attention to text, landscape, and biography, he examines the relationship between place and art. His focus is on seven midwestern authors who came of age toward the close of the twentieth century, their lives and their work grounded in distinct places: Dave Etter in small-town upstate Illinois; Norbert Blei in Door County, Wisconsin; William Kloefkorn in southern Kansas and Nebraska; Bill Holm in Minneota, Minnesota; Linda Hasselstrom in Hermosa, South Dakota; Jim Heynen in Sioux County, Iowa; and Jim Harrison in upper Michigan. The writers' intimate knowledge of place is reflected in their use of details of geography, language, environment, and behavior. Yet each writer reaches toward other geographies and into other dimensions of art or thought: jazz music and formalism in the case of Etter; gender issues in the case of Hasselstrom; time past and present in the case of Kloefkorn; ethnicity and the role of the artist in the case of Blei; magical realism in the case of Heynen; the landscape of literature in the case of Holm; and the curious worlds of academia, best-selling novels, and Hollywood films in the case of Harrison. The result, Pichaske notes, is the growing away from roots, the explorations and alter egos of these writers of place, and the tension between the “here” and “there” that gives each writer's art the complexity it needs to transcend provincial boundaries. Quoting generously from the writers, Pichaske employs a practical, jargon-free literary analysis fixed in the text, making Rooted interesting, readable, and especially useful in treating the literary categories of memoir and literary essay that have become important in recent decades.
Pichaske’s stories take us from the halls of academe to small-town Minnesota to a little village on the edge of the Bavarian National Forest. Speaking in voices of a farmer right out of Deliverance, a disgruntled Professor of English, and his dog Harley, Pichaske says what many people think, but few have the courage to say. While he is especially strong on details of history, place, and language, the hard-nosed wisdom his narrators offer transcends place and even time. From "Daisy": Look—there are always dreams. And in dreams the ultimate purity: by now she may be fat and forty, stretch marks, grey hair, three kids. The ravages of time, you know? Look at you and me: not exactly the bright and rising stars we were twenty years ago, eh? But in dreams, the years are invisible. People never age in dreams.
A remarkably fresh piece of Dylan scholarship, focusing on the profound impact that his Midwestern roots have had on his songs, politics, and prophetic character.
This book explores four corners of Pichaske's life. The first section contains scholarly articles on diverse writers including T. S. Eliot, Bob Dylan, the Beatles, and Dr. Seuss. The next section, "Life in Postmodern Academia", contains Pichaske's clips on politically correct academic life. In "Home" he describes life in Illinois and Minnesota. He concludes the book with "Abroad" where he relates stories of his four years of Senior Fulbright Fellowships in the post-soviet East Bloc, and exploring flyover country in Poland, Latvia, and Outer Mongolia.
A journey through the national pastime’s roots in America’s small towns and wide-open spaces: “An absorbing read.” —The Tampa Tribune In the film Field of Dreams, the lead character gives his struggling farming community a magical place where the smell of roasted peanuts gently wafts over the crowded grandstand on a warm summer evening, just as the star pitcher takes the mound. In The Farmers’ Game, David Vaught examines the history and character of baseball through a series of essay-vignettes—presenting the sport as essentially rural, reflecting the nature of farm and small-town life. Vaught does not deny or devalue the lively stickball games played in the streets of Brooklyn, but he sees the history of the game and the rural United States as related and mutually revealing. His subjects include nineteenth-century Cooperstown, the playing fields of Texas and Minnesota, the rural communities of California, the great farmer-pitcher Bob Feller, and the notorious Gaylord Perry. Although—contrary to legend—Abner Doubleday did not invent baseball in a cow pasture in upstate New York, many fans enjoy the game for its nostalgic qualities. Vaught’s deeply researched exploration of baseball’s rural roots helps explain its enduring popularity.
Pichaske’s stories take us from the halls of academe to small-town Minnesota to a little village on the edge of the Bavarian National Forest. Speaking in voices of a farmer right out of Deliverance, a disgruntled Professor of English, and his dog Harley, Pichaske says what many people think, but few have the courage to say. While he is especially strong on details of history, place, and language, the hard-nosed wisdom his narrators offer transcends place and even time. From "Daisy": Look—there are always dreams. And in dreams the ultimate purity: by now she may be fat and forty, stretch marks, grey hair, three kids. The ravages of time, you know? Look at you and me: not exactly the bright and rising stars we were twenty years ago, eh? But in dreams, the years are invisible. People never age in dreams.
David Pichaske has been writing and teaching about midwestern literature for three decades. In Rooted, by paying close attention to text, landscape, and biography, he examines the relationship between place and art. His focus is on seven midwestern authors who came of age toward the close of the twentieth century, their lives and their work grounded in distinct places: Dave Etter in small-town upstate Illinois; Norbert Blei in Door County, Wisconsin; William Kloefkorn in southern Kansas and Nebraska; Bill Holm in Minneota, Minnesota; Linda Hasselstrom in Hermosa, South Dakota; Jim Heynen in Sioux County, Iowa; and Jim Harrison in upper Michigan. The writers' intimate knowledge of place is reflected in their use of details of geography, language, environment, and behavior. Yet each writer reaches toward other geographies and into other dimensions of art or thought: jazz music and formalism in the case of Etter; gender issues in the case of Hasselstrom; time past and present in the case of Kloefkorn; ethnicity and the role of the artist in the case of Blei; magical realism in the case of Heynen; the landscape of literature in the case of Holm; and the curious worlds of academia, best-selling novels, and Hollywood films in the case of Harrison. The result, Pichaske notes, is the growing away from roots, the explorations and alter egos of these writers of place, and the tension between the “here” and “there” that gives each writer's art the complexity it needs to transcend provincial boundaries. Quoting generously from the writers, Pichaske employs a practical, jargon-free literary analysis fixed in the text, making Rooted interesting, readable, and especially useful in treating the literary categories of memoir and literary essay that have become important in recent decades.
Bob Dylan is one of the most significant figures in popular culture. In this book, the authors provide a multi-faceted analysis of his political art. They address Dylan's career as a whole, dealing with such themes as alienation, protest, non-conformity, the American Dream, modernity and postmodernism and pivotal moments of Dylan's career such as the ‘Judas’ accusation at the 1966 Manchester Free Trade Hall concert and Dylan’s comments on the need to aid American farmers at Live Aid, 1985. Dylan’s songs are analysed for their political meaning and for the songs in contemporary American political and popular culture. As notable specialists in the fields of political theory, literary criticism and popular culture the authors examine Dylan’s work from a variety of perspectives—aesthetic theory, Kant, Adorno, Lyotard, Lorca and Collingwood. Collectively, they question how Dylan’s work relates to the theory and practice of politics. In this second revised and expanded edition, the chapters have been revised and rewritten, with a new introduction exploring the enigma of Bob Dylan throughout the whole of his career and with a completely new Bob Dylan Timeline integrating Dylan’s life, songs and actions into the historical events that shaped his views. Two new chapters have been added, one focusing on the late Dylan, Masked and Anonymous and Love and Theft and another on Dylan at Live Aid and his stance on Farm Aid. This book is a must for anyone seriously interested in the legendary Bob Dylan.
Demonstrates the need for organization and development of style and provides instruction in grammar, punctuation, and the procedures for producing a coherent research paper.
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