Media pundits, politicians, and the public are often skeptical or ambivalent about granting asylum. They fear that asylum-seekers will impose economic and cultural costs and pose security threats to nationals. Consequently, governments of rich, democratic countries attempt to limit who can approach their borders, which often leads to refugees breaking immigration laws. In Refuge beyond Reach, David Scott FitzGerald traces how rich democracies have deliberately and systematically shut down most legal paths to safety. Drawing on official government documents, information obtained via WikiLeaks, and interviews with asylum seekers, he finds that for ninety-nine percent of refugees, the only way to find safety in one of the prosperous democracies of the Global North is to reach its territory and then ask for asylum. FitzGerald shows how the US, Canada, Europe, and Australia comply with the letter of law while violating the spirit of those laws through a range of deterrence methods-first designed to keep out Jews fleeing the Nazis-that have now evolved into a pervasive global system of "remote control." While some of the most draconian remote control practices continue in secret, Fitzgerald identifies some pressure points and finds that a diffuse humanitarian obligation to help those in need is more difficult for governments to evade than the law alone. Refuge beyond Reach addresses one of the world's most pressing challenges-how to manage flows of refugees and other types of migrants-and helps to identify the conditions under which individuals can access the protection of their universal rights.
Pigeonholed in popular memory as a Jazz Age epicurean, a playboy, and an emblem of the Lost Generation, F. Scott Fitzgerald was at heart a moralist struck by the nation’s shifting mood and manners after World War I. In Paradise Lost, David Brown contends that Fitzgerald’s deepest allegiances were to a fading antebellum world he associated with his father’s Chesapeake Bay roots. Yet as a midwesterner, an Irish Catholic, and a perpetually in-debt author, he felt like an outsider in the haute bourgeoisie haunts of Lake Forest, Princeton, and Hollywood—places that left an indelible mark on his worldview. In this comprehensive biography, Brown reexamines Fitzgerald’s childhood, first loves, and difficult marriage to Zelda Sayre. He looks at Fitzgerald’s friendship with Hemingway, the golden years that culminated with Gatsby, and his increasing alcohol abuse and declining fortunes which coincided with Zelda’s institutionalization and the nation’s economic collapse. Placing Fitzgerald in the company of Progressive intellectuals such as Charles Beard, Randolph Bourne, and Thorstein Veblen, Brown reveals Fitzgerald as a writer with an encompassing historical imagination not suggested by his reputation as “the chronicler of the Jazz Age.” His best novels, stories, and essays take the measure of both the immediate moment and the more distant rhythms of capital accumulation, immigration, and sexual politics that were moving America further away from its Protestant agrarian moorings. Fitzgerald wrote powerfully about change in America, Brown shows, because he saw it as the dominant theme in his own family history and life.
Culling the Masses questions the view that democracy and racism cannot coexist. Based on records from 22 countries 1790-2010, it offers a history of the rise and fall of racial selection in the Western Hemisphere, showing that democracies were first to select immigrants by race, and undemocratic states first to outlaw discrimination.
Hoagy tries to save a client from the deadly world of high-stakes publishing Stewart Hoag knows how quickly fame can fade. The same critics who adored his first novel used his second for target practice, ending his literary career once and for all. To keep his basset hound fed, Hoagy ghostwrites memoirs for the rich, famous, and self-destructive. His newest subject reminds him all too much of himself. By the age of twenty, Cam Noyes is already being hailed as the next F. Scott Fitzgerald. Though he’s only published one book, Cam runs with the big boys: dating artists, trashing restaurants, and ending every night in a haze of tequila and cocaine. So glamorous is his lifestyle that he’s having trouble starting his second novel, forcing his agent to hire Hoagy to get the little genius working on a memoir instead. As Hoagy digs into the kid’s life story, he learns that New York publishing is even more cutthroat than he thought.
Some people facing violence and persecution flee. Others stay. How do households in danger decide who should go, where to relocate, and whether to keep moving? What are the conditions in countries of origin, transit, and reception that shape people's options? This incisive book tells the story of how one Syrian family, spread across several countries, tried to survive the civil war and live in dignity. This story forms a backdrop to explore and explain the refugee system. Departing from studies that create siloes of knowledge about just one setting or ""solution"" to displacement, the book's sociological approach describes a global system that shapes refugee movements. Changes in one part of the system reverberate elsewhere. Feedback mechanisms change processes across time and place. Earlier migrations shape later movements. Immobility on one path redirects migration along others. Past policies, laws, population movements, and regional responses all contribute to shape states’ responses in the present. As Arar and FitzGerald illustrate, all these processes are forged by deep inequalities of economic, political, military, and ideological power. Presenting a sharp analysis of refugee structures worldwide, this book offers invaluable insights for students and scholars of international migration and refugee studies across the social sciences, as well as policy makers and those involved in refugee and asylum work.
Pigeonholed in popular memory as a Jazz Age epicurean, a playboy, and an emblem of the Lost Generation, F. Scott Fitzgerald was at heart a moralist struck by the nation’s shifting mood and manners after World War I. In Paradise Lost, David Brown contends that Fitzgerald’s deepest allegiances were to a fading antebellum world he associated with his father’s Chesapeake Bay roots. Yet as a midwesterner, an Irish Catholic, and a perpetually in-debt author, he felt like an outsider in the haute bourgeoisie haunts of Lake Forest, Princeton, and Hollywood—places that left an indelible mark on his worldview. In this comprehensive biography, Brown reexamines Fitzgerald’s childhood, first loves, and difficult marriage to Zelda Sayre. He looks at Fitzgerald’s friendship with Hemingway, the golden years that culminated with Gatsby, and his increasing alcohol abuse and declining fortunes which coincided with Zelda’s institutionalization and the nation’s economic collapse. Placing Fitzgerald in the company of Progressive intellectuals such as Charles Beard, Randolph Bourne, and Thorstein Veblen, Brown reveals Fitzgerald as a writer with an encompassing historical imagination not suggested by his reputation as “the chronicler of the Jazz Age.” His best novels, stories, and essays take the measure of both the immediate moment and the more distant rhythms of capital accumulation, immigration, and sexual politics that were moving America further away from its Protestant agrarian moorings. Fitzgerald wrote powerfully about change in America, Brown shows, because he saw it as the dominant theme in his own family history and life.
Looking at texts written throughout the careers of Edith Wharton, Ellen La Motte, Mary Borden, Thomas Boyd, F. Scott Fitzgerald, Laurence Stallings, and Ernest Hemingway, American Writers and World War I argues that authors' war writing continuously evolved in response to developments in their professional and personal lives. Recent research has focused on constituencies of identity--such as gender, race, and politics--registered in American Great War writing. Rather than being dominated by their perceived membership of such socio-political categories, this study argues that writers reacted to and represented the war in complex ways which were frequently linked to the exigencies of maintaining a career as a professional author. War writing was implicated in, and influenced by, wider cultural forces such as governmental censorship, the publishing business, advertising, and the Hollywood film industry. American Writers and World War I argues that even authors' hallmark 'anti-war' works are in fact characterized by an awareness of the war's nuanced effects on society and individuals. By tracking authors' war writing throughout their entire careers--in well-known texts, autobiography, correspondence, and neglected works--this study contends that writers' reactions were multifaceted, and subject to change--in response to their developments as writers and individuals. This work also uncovers the hitherto unexplored importance of American cultural and literary precedents which offered writers means of assessing the war. Ultimately, the volume argues, American World War I writing was highly personal, complex, and idiosyncratic.
The phrase 'cinematic fiction' has now been generally accepted into critical discourse, but is usually applied to post-war novels. This book asks a simple question: given their fascination with the new medium of film, did American novelists attempt to apply cinematic methods in their own writings? From its very beginnings the cinema has played a special role in defining American culture. Covering the period from the 1910s up to the Second World War, Cinematic Fictions offers new insights into classics like The Great Gatsby and The Grapes of Wrath discussing major writers' critical writings on film and active participation in film-making. Cinematic Fictions is also careful not to portray 'cinema' as a single or stable entity. Some novelists drew on silent film; others looked to the Russian theorists for inspiration; and yet others turned to continental film-makers rather than to Hollywood. Film itself was constantly evolving during the first decades of the twentieth century and the writers discussed here engaged in a kind of dialogue with the new medium, selectively pursuing strategies of montage, limited point of view and scenic composition towards their different ends. Contrasting a diverse range of cinematic and literary movements, this will be compulsory reading for scholars of American literature and film.
Few experts in American literature have written as insightfully and brilliantly as did Philip Young, renowned Hemingway critic and scholar at large. His unique work bursts with a joy in the humanities, with a sensibility, a humor, and a style that communicate to academics and general readers alike. Although Young died in 1991, he survives in his remarkable prose. American Fiction, American Myth features nineteen groundbreaking essays in which Young masterfully reveals the &"so what?&" that he insisted all literary studies ought to have. In the first section, he demonstrates his fascination with such American myths as Pocahontas and Rip Van Winkle, reaching powerful conclusions about America and its people. In the second section, he becomes &"Our Hemingway Man,&" explaining his germinal and still provocative theory that Hemingway's severe wounding in World War I so traumatized the novelist that his fiction was to a great degree unwitting self-psychoanalysis. Young's book on Hemingway was the first of its kind, but Young was more than a one-author critic, as his essays demonstrate in the third section, exploring such diverse topics as Hawthorne's secret love, the Lost Generation that was never lost, F. Scott Fitzgerald&’s debt to T. S. Eliot, and the relationship between American fiction and American life. What Hemingway once said about himself can be equally applied to Young: &"I am a very serious but not a solemn writer.&" The reader comes away from these essays dazzled by the power of Young's observations and the grace with which he expresses them.
This book interweaves a wide selection of the novels of the late nineteenth and early twentieth centuries with a series of cultural events ranging from Buffalo Bill's Wild West Show to the "Southern Renaissance" of the 1930s.
Breaking sharply from the layered complexity of Finch's first graphic novel, A Little World Made Cunningly, Form and Deed is more personal and poetic. The sixty images and accompanying narrative text in this slim volume are an account of the fleeting visions that sometimes occur during meditation.
The companion volume to "Mother Knew Best", this book offers a joyous celebration of fatherhood. Shedding light on the roles fathers have played in the formative years of famous people's lives, "Father Knew Best" offers 101 insightful quotations and stories from the fathers of such people as Oprah Winfrey, John Wayne, Michael Jordan and Mickey Mantle.
Frances Goodrich and Albert Hackett wrote the screenplays for some of America's most treasured movies, including It's a Wonderful Life, The Thin Man, Easter Parade, Father of the Bride, Naughty Marietta, and Seven Brides for Seven Brothers. Legendary films, indeed, but writing both the play and screenplay for The Diary of Anne Frank was their crowning achievement. Controlled chaos best describes their writing method. They discussed a scene at length, sometimes acting it out. Afterwards, they each wrote a draft, which they exchanged. "Then," Frances said, "began 'free criticism'--which sometimes erupted into screaming matches." Noisy and contentious, the method worked splendidly. Enormously successful and remarkably prolific, Goodrich and Hackett began their thirty-four-year collaboration in 1928. Married after the first of their five plays became a hit, they were in many ways an unlikely pair. Frances, the privileged daughter of well-to-do parents, graduated from Vassar, then played minor parts on Broadway. Albert's mother put him on stage at age five, when his father died, to help pay the bills, and he became a highly paid comedian. The Hacketts were known for their wit and high spirits and the pleasure of their Bel Air dinner parties. They waged memorable battles with their powerful bosses and were key activists in the stressful creation of the Screen Writers Guild. Once they had created Nick and Nora Charles, The Thin Man's bright, charming, sophisticated lead couple, played memorably by William Powell and Myrna Loy, many people saw a strong resemblance, and the Hacketts acknowledged that they "put themselves into" Nick and Nora. The Real Nick and Nora is a dazzling assemblage of anecdotes featuring some of the most talented writers and the brightest lights of American stage and screen. The work was arduous, the parties luminous. On any given night the guests singing and acting out scripts at a party might include F. Scott Fitzgerald and Sheilah Graham, S. J. Perelman, Oscar Levant, Ogden Nash, Judy Garland, Abe Burrows, Hoagy Carmichael, Johnny Mercer, Ira Gershwin, George Burns and Gracie Allen, Pat O'Brien, Dick Powell and June Allyson, Dashiell Hammett, Lillian Hellman, James Cagney, and Dorothy Parker.
From Herman Melville’s claim that “failure is the true test of greatness” to Henry Adams’s self-identification with the “mortifying failure in [his] long education” and William Faulkner’s eagerness to be judged by his “splendid failure to do the impossible,” the rhetoric of failure has served as a master trope of modernist American literary expression. David Ball’s magisterial study addresses the fundamental questions of language, meaning, and authority that run counter to well-rehearsed claims of American innocence and positivity, beginning with the American Renaissance and extending into modernist and contemporary literature. The rhetoric of failure was used at various times to engage artistic ambition, the arrival of advanced capitalism, and a rapidly changing culture, not to mention sheer exhaustion. False Starts locates a lively narrative running through American literature that consequently queries assumptions about the development of modernism in the United States.
Unto a Good Land offers a distinctive narrative history of the American people -- from the first contacts between Europeans and North America's native inhabitants, through the creation of a modern nation, to the standing of the United States as a world power. Written by a team of distinguished historians led by David Edwin Harrell, Jr. and Edwin S. Gaustad, this textbook shows how grasping the uniqueness of the bAmerican experimentb depends on understanding the role of religion as well as social, cultural, political, and economic factors in shaping U.S. history. A common shortcoming of most United States history textbooks is that while, in recent decades, they have expanded their coverage of social and cultural history, they still tend to shortchange the role of religious ideas, practices, and movements in the American past. "Unto a Good Land addresses this shortcoming in a balanced way. The authors recognize that religion is only one of many factors that have influenced our past -- one, however, that has often been neglected in textbook accounts. This volume gives religion its appropriate place in the story. "Unprecedented coverage of the forces that have shaped the history of the United States While none of America's rich history is left out, this volume is the first U.S. history textbook to give serious attention to the religious dimension of American life. This textbook is not a religious history; instead, it offers an account of American history that includes religious ideas, practices, and movements whenever they played a shaping role. "Comprehensive and current This volume traces the American story from the earliest encounters between the first North Americaninhabitants and Europeans through the 2004 presidential election. Complete and balanced treatment is also given to issues of gender, race, and ethnicity, as well as cultural, political, and economic forces. "A clear and compelling narrative The authors are more than expert historians; they are also talented writers who recognize history to be the retelling of human life. United by a seamless narrative structure, these chapters restore the bstoryb to history. "Multiple formats specially designed for flexible classroom use "Unto a Good Land is available as a single hardcover edition or as two paperback volumes, offering maximum flexibility when adapting curriculum for one- and two-semester courses in U.S. history. The two paperback volumes can be used for U.S. history survey courses divided at 1865 or 1900 -- or at any date in between. "Informative special features to complement the text In addition to the book's exceptional narrative, an array of special features enhances the instructional value of the text and points students to resources for further study. "Includes assistance for teaching and test preparation The instructor's manual for "Unto a Good Land provides helpful suggestions for lesson plans and assignments, and the test bank provides multiple-choice and essay questions for use as study aids, quizzes, or tests. "Suitable for instruction at both secular and religious colleges and universities Drawing on their experience in both secular and religious schools, the authors have ensured that this textbook is suitable for U.S. history classes in a wide variety of settings.
Class is back in session! The Bedside Baccalaureate is the ultimate miscellany series for smarties: it speaks directly to people’s desire for a better education and eagerness for a fun, no-pressure “college-like” experience. Every volume lets readers enroll in the courses they wish they had taken years ago—or studied more closely than they did. This new collection builds on the knowledge imparted in the first book, with the curriculum ranging from Origins of Human Society and Italian Renaissance Art to Schools of Buddhist Thought and Game Theory. To enhance learning, the back matter contains bibliographies with suggestions for further study. Filled with color illustrations, The Bedside Baccalaureate: Second Semester is an entertaining package for the up-and-coming intellectual.
Readers everywhere know that nothing soothes the spirit like sinking into a really good book. If you're one of that happy band, you'll quickly recognize the authors of this inspired reading guide as kindred spirits. Here David and John Major have chosen one hundred books that can each be delightfully consumed in one quiet evening. Covering categories from fantasy to fiction, history to humor, mystery to memoir, this addictive volume features books to match all your moods—by both celebrated writers and gifted unknowns, including: • Russell Baker • Willa Cather • Raymond Chandler • F. Scott Fitzgerald • Graham Greene • Edith Hamilton • Dashiell Hammett • Helene Hanff • Ernest Hemingway • Patricia Highsmith • Shirley Jackson • Henry James • W. Somerset Maugham • Mary McCarthy • Walter Mosley • Vladimir Nabokov • Patrick O'Brian • Barbara Pym • Phillip Roth • Vikram Seth • Isaac Bashevis Singer • C. P. Snow • Dylan Thomas • Evelyn Waugh • Edith Wharton • Laura Ingalls Wilder • Virginia Woolf Each selection contains an entertaining discussion of what makes the book special, from an adventurous writing style to a unique sense of humor. The Majors also share insights about the authors and literary anecdotes, as well as recommend other gems on a similar subject or by the same author. A literary companion to relish and refer to again and again, 100 One-Night Reads is a masterpiece in its own right!
The mysterious, highly influential hidden world of Yale’s secret societies is revealed in a definitive and scholarly history. Secret societies have fundamentally shaped America’s cultural and political landscapes. In ways that are expected but never explicit, the bonds made through the most elite of secret societies have won members Pulitzer Prizes, governorships, and even presidencies. At the apex of these institutions stands Yale University and its rumored twenty-six secret societies. Tracing a history that has intrigued and enthralled for centuries, alluring the attention of such luminaries as Ernest Hemingway, William Faulkner and F. Scott Fitzgerald, Skulls and Keys traces the history of Yale’s societies as they set the foundation for America’s future secret clubs and helped define the modern age of politics. But there is a progressive side to Yale’s secret societies that we rarely hear about, one that, in the cultural tumult of the nineteen-sixties, resulted in the election of people of color, women, and gay men, even in proportions beyond their percentages in the class. It’s a side that is often overlooked in favor of sensational legends of blood oaths and toe-curling conspiracies. Dave Richards, an alum of Yale, sheds some light on the lesser known stories of Yale’s secret societies. He takes us through the history from Phi Beta Kappa in the American Revolution (originally a social and drinking society) through Skull and Bones and its rivals in the nineteenth and twentieth centuries. While there have been articles and books on some of those societies, there has never been a scholarly history of the system as a whole.
History remembers Arnold Rothstein as the man who fixed the 1919 World Series, an underworld genius. The real-life model for The Great Gatsby's Meyer Wolfsheim and Nathan Detroit from Guys and Dolls, Rothstein was much more -- and less -- than a fixer of baseball games. He was everything that made 1920s Manhattan roar. Featuring Jazz Age Broadway with its thugs, speakeasies, showgirls, political movers and shakers, and stars of the Golden Age of Sports, this is a biography of the man who dominated an age. Arnold Rothstein was a loan shark, pool shark, bookmaker, thief, fence of stolen property, political fixer, Wall Street swindler, labor racketeer, rumrunner, and mastermind of the modern drug trade. Among his monikers were "The Big Bankroll," "The Brain," and "The Man Uptown." This vivid account of Rothstein's life is also the story of con artists, crooked cops, politicians, gang lords, newsmen, speakeasy owners, gamblers and the like. Finally unraveling the mystery of Rothstein's November 1928 murder in a Times Square hotel room, David Pietrusza has cemented The Big Bankroll's place among the most influential and fascinating legendary American criminals. 16 pages of black-and-white photographs are featured.
Shows that Hemingway's work is marked more by vulnerability and deep feeling than by the stoic composure and ironic remove for which it is widely known.
For this absorbing portrait of his mother, David Chandler drew on hundreds of letters that she sent and received, on his own warm memories, and the many and copious medical records from her hospitalizations in 1937 and 1963, afflicted with what were then called nervous breakdowns. Gabrielle Chanler, nicknamed Bebo as a small child, was born into the upper reaches of New York society, deftly described in the novels of Edith Wharton, a life-long friend of Bebo's mother. Educated at a Catholic boarding school in London and in art schools in New York and Paris, Bebo added a "d" to her name when she married Porter Chandler, a lawyer who later became a became a partner in a New York law firm. David was the third of the Chandlers' four children. In the 1930s Bebo campaigned against Prohibition, supported the Catholic Worker movement and served on the board of the Museum of Modern Art. After the war she worked with the Third Hour, an ecumenical movement. For the last 10 years of Bebo was nourished by her companionable marriage, her wide circle of friends and by her profound religious faith. After her death of cancer in 1958 Bebo's friends and relatives recalled her intense intellectual curiosity, her convivial sense of the absurd, her interest in people, and her joie de vivre, which was especially intense because it was thrown off balance from time to time by what Bebo called "bouts of edginess and melancholy".
Convention has it that Irish immigrants in the nineteenth century confined themselves mainly to industrial cities of the East and Midwest. The truth is that Irish Catholics went everywhere in America and often had as much of a presence in the West as in the East. In Beyond the American Pale, David M. Emmons examines this multifaceted experience of westering Irish and, in doing so, offers a fresh and discerning account of America's westward expansion. "Irish in the West" is not a historical contradiction, but it is — and was — a historical problem. Irish Catholics were not supposed to be in the West—that was where Protestant Americans went to reinvent themselves. For many of the same reasons that the spread of southern slavery was thought to profane the West, a Catholic presence there was thought to contradict it — to contradict America's Protestant individualism and freedom. The Catholic Irish were condemned as the clannish, backward remnants of an old cultural world that Americans self-consciously sought to leave behind. The sons and daughters of Erin were not assimilated, and because they were not assimilable, they should be kept beyond the American pale. As Emmons amply demonstrates, however, western reality was far more complicated. Irish Catholicism may have outraged Protestant-inspired American republicanism, but Irish Catholics were a necessary component of America's equally Protestant-inspired foray into industrial capitalism. They were also necessary to the successive conquests of the "frontier," wherever it might be found. It was the Irish who helped build the railroads, dig the hard rocks, man the army posts, and do the other arduous, dangerous, and unattractive toiling required by an industrializing society. With vigor and panache, Emmons describes how the West was not so much won as continually contested and reshaped. He probes the self-fulfilling mythology of the American West, along with the far different mythology of the Irish pioneers. The product of three decades of research and thought, Beyond the American Pale is a masterful yet accessible recasting of American history, the culminating work of a singular thinker willing to take a wholly new perspective on the past.
Presents a history of the Great Depression, including the events that led up to it and the New Deal that followed, with chronologies, personal narratives, and documents.
Winner of the 2018 Eudora Welty Prize When the United States entered World War I, parts of the country had developed industries, urban cultures, and democratic political systems, but the South lagged behind, remaining an impoverished, agriculture region. Despite New South boosterism, the culture of the early twentieth-century South was comparatively artistically arid. Yet, southern writers dominated the literary marketplace by the 1920s and 1930s. World War I brought southerners into contact with modernity before the South fully modernized. This shortfall created an inherent tension between the region's existing agricultural social structure and the processes of modernization, leading to distal modernism, a form of writing that combines elements of modernism to depict non-modern social structures. Critics have struggled to formulate explanations for the eruption of modern southern literature, sometimes called the Southern Renaissance. Pinpointing World War I as the catalyst, David A. Davis argues southern modernism was not a self-generating outburst of writing, but a response to the disruptions modernity generated in the region. In World War I and Southern Modernism, Davis examines dozens of works of literature by writers, including William Faulkner, Ellen Glasgow, and Claude McKay, that depict the South during the war. Topics explored in the book include contact between the North and the South, southerners who served in combat, and the developing southern economy. Davis also provides a new lens for this argument, taking a closer look at African Americans in the military and changing gender roles.
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