For fans of Seabiscuit and The Eighty-Dollar Champion, Eliza McGraw tells the story of how a gangling, long-shot Kentucky Derby winner named Exterminator became one of the most beloved racehorses of all time. The father of the Kentucky Derby called him “the greatest all-around Thoroughbred in American racing history.” Sportswriter Grantland Rice simply called him “the greatest racehorse.” Here Comes Exterminator! draws readers into the golden age of racing, with all its ups and downs, the ever-involving interplay of horses and people, and the beauty, grace, fear, and hope that are a daily part of life at the track. Caught between his hotheaded millionaire owner and his knowledgeable trainer, Exterminator captured fans’ affection with his personality, consistency, athleticism, and heart. Exterminator’s staggering success would dramatically change the world of horse-racing. He challenged the notion that American horses would never live up to Europe’s meticulously charted bloodlines and became a patriotic icon of the country after World War I. And his longevity established him as one of the public’s most beloved athletes, paving the way for equine celebrities like Seabiscuit and showing Americans they could claim—and love—a famous racehorse as their own.
From the 1910s to the 1950s, Edna Ferber (1885--1968) published a series of bestselling novels that made her one of Doubleday's highest-paid authors, earned her a Pulitzer Prize for Fiction in 1925, and transformed her into a literary celebrity. She hosted dinner parties covered by the New York Times, lunched at the Algonquin Round Table with Dorothy Parker and Alexander Woollcott, and collaborated with George S. Kaufman on hit plays such as Dinner at Eight and Stage Door. In Edna Ferber's America, Eliza McGraw provides the first in-depth critical study of the author's novels, exploring their innovative portrayals of characters from a diverse range of ethnicities and social classes. Best remembered today for the movies and musicals adapted from her works -- including classics like Giant and Show Boat -- Ferber attracted a devoted readership during her lifetime with engaging storylines focused on strong-willed individuals reshaping their lives, set amid a panorama of regional landscapes. McGraw reveals that Ferber's novels convey a broad, nuanced vision of the United States as a multiethnic country. Framing her study with the theme of ethnic unease and insecurity, McGraw performs close readings of twelve Ferber novels: Dawn O'Hara (1911), Fanny Herself (1917), The Girls (1921), So Big (1924), Show Boat (1926), Cimarron (1929), American Beauty (1931), Come and Get It (1935), Saratoga Trunk (1941), Great Son (1945), Giant (1952), and Ice Palace (1958). McGraw explores the entwined topics of racial mixing and class as she argues that in Ferber's America, ethnic and social mobility challenge the reigning order, creating places that foster vitality and promise hope for the future.
With proper training, any horse can become a great riding companion out on the trail. It's a matter of learning how to adapt your experience to your particular horse. Fully illustrated lessons in trail riding start with the differences in working with a retired jumper, an actively competing reiner, or even a natural-born trail horse. The section on riding techniques helps you use what you already know from hunter-jumper, dressage, or other experiences. Both solitary and group riding get special attention, as does handling different types of parks and paths. The full range of possible spooking challenges covers encountering animals, heavy traffic, weather, and children, as well as tripping, hoof injuries, mounting and dismounting in unusual situations, and other emergencies.
Jews have long occupied visible roles in the South. Jewish families have owned establishments ranging from dry-goods stores to Thomas Jefferson's Monticello, and some of the region's most important writers and scholars have been Jewish. Yet surveys of southern culture rarely assess the contributions of Jews, while histories of Jews in America virtually exclude those living in the South. Eliza R. L. McGraw's multifaceted study fills both gaps and in doing so expands how we define the South. In Two Covenants, McGraw mines eclectic representations of Southern Jewishness as varied as the Carolina Israelite newspaper, the Mardi Gras Krewe du Jieux, southern Baptist conversion--instruction pamphlets, and the film Driving Miss Daisy. She also considers literary representations of southern Jews in the works of both Jewish and non-Jewish writers, including Thomas Wolfe, Robert Penn Warren, Walker Percy, Lillian Hellman, David Cohn, Louis Rubin, Jr., Eli Evans, James Weldon Johnson, Jean Toomer, and Charles Chesnutt. While concerned with established concepts such as ethnicity and region, McGraw raises many questions that illustrate the complexity of southern Jewishness. Can one individual straddle two identities? How do race, class, and gender influence southern Jewishness? What are the differences between southern Jews and other southerners, or between southern Jews and other Jews? Does anti-Semitism manifest itself differently or with unique effects in the South? In suggesting answers to these and other questions, McGraw ranges widely over the southern cultural landscape and reveals that although southern Jewishness remains a marginal identity due to the small size of its constituency it nevertheless inhabits and helps to form the South at large. The very presence and vitality of southern Jewishness demonstrate that southern identity, like national identity, is a fluid cultural experience.
From the 1910s to the 1950s, Edna Ferber (1885--1968) published a series of bestselling novels that made her one of Doubleday's highest-paid authors, earned her a Pulitzer Prize for Fiction in 1925, and transformed her into a literary celebrity. She hosted dinner parties covered by the New York Times, lunched at the Algonquin Round Table with Dorothy Parker and Alexander Woollcott, and collaborated with George S. Kaufman on hit plays such as Dinner at Eight and Stage Door. In Edna Ferber's America, Eliza McGraw provides the first in-depth critical study of the author's novels, exploring their innovative portrayals of characters from a diverse range of ethnicities and social classes. Best remembered today for the movies and musicals adapted from her works -- including classics like Giant and Show Boat -- Ferber attracted a devoted readership during her lifetime with engaging storylines focused on strong-willed individuals reshaping their lives, set amid a panorama of regional landscapes. McGraw reveals that Ferber's novels convey a broad, nuanced vision of the United States as a multiethnic country. Framing her study with the theme of ethnic unease and insecurity, McGraw performs close readings of twelve Ferber novels: Dawn O'Hara (1911), Fanny Herself (1917), The Girls (1921), So Big (1924), Show Boat (1926), Cimarron (1929), American Beauty (1931), Come and Get It (1935), Saratoga Trunk (1941), Great Son (1945), Giant (1952), and Ice Palace (1958). McGraw explores the entwined topics of racial mixing and class as she argues that in Ferber's America, ethnic and social mobility challenge the reigning order, creating places that foster vitality and promise hope for the future.
For fans of Seabiscuit and The Eighty-Dollar Champion, Eliza McGraw tells the story of how a gangling, long-shot Kentucky Derby winner named Exterminator became one of the most beloved racehorses of all time. The father of the Kentucky Derby called him “the greatest all-around Thoroughbred in American racing history.” Sportswriter Grantland Rice simply called him “the greatest racehorse.” Here Comes Exterminator! draws readers into the golden age of racing, with all its ups and downs, the ever-involving interplay of horses and people, and the beauty, grace, fear, and hope that are a daily part of life at the track. Caught between his hotheaded millionaire owner and his knowledgeable trainer, Exterminator captured fans’ affection with his personality, consistency, athleticism, and heart. Exterminator’s staggering success would dramatically change the world of horse-racing. He challenged the notion that American horses would never live up to Europe’s meticulously charted bloodlines and became a patriotic icon of the country after World War I. And his longevity established him as one of the public’s most beloved athletes, paving the way for equine celebrities like Seabiscuit and showing Americans they could claim—and love—a famous racehorse as their own.
Jews have long occupied visible roles in the South. Jewish families have owned establishments ranging from dry-goods stores to Thomas Jefferson's Monticello, and some of the region's most important writers and scholars have been Jewish. Yet surveys of southern culture rarely assess the contributions of Jews, while histories of Jews in America virtually exclude those living in the South. Eliza R. L. McGraw's multifaceted study fills both gaps and in doing so expands how we define the South. In Two Covenants, McGraw mines eclectic representations of Southern Jewishness as varied as the Carolina Israelite newspaper, the Mardi Gras Krewe du Jieux, southern Baptist conversion--instruction pamphlets, and the film Driving Miss Daisy. She also considers literary representations of southern Jews in the works of both Jewish and non-Jewish writers, including Thomas Wolfe, Robert Penn Warren, Walker Percy, Lillian Hellman, David Cohn, Louis Rubin, Jr., Eli Evans, James Weldon Johnson, Jean Toomer, and Charles Chesnutt. While concerned with established concepts such as ethnicity and region, McGraw raises many questions that illustrate the complexity of southern Jewishness. Can one individual straddle two identities? How do race, class, and gender influence southern Jewishness? What are the differences between southern Jews and other southerners, or between southern Jews and other Jews? Does anti-Semitism manifest itself differently or with unique effects in the South? In suggesting answers to these and other questions, McGraw ranges widely over the southern cultural landscape and reveals that although southern Jewishness remains a marginal identity due to the small size of its constituency it nevertheless inhabits and helps to form the South at large. The very presence and vitality of southern Jewishness demonstrate that southern identity, like national identity, is a fluid cultural experience.
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