In The Meaning of Soul, Emily J. Lordi proposes a new understanding of this famously elusive concept. In the 1960s, Lordi argues, soul came to signify a cultural belief in black resilience, which was enacted through musical practices—inventive cover versions, falsetto vocals, ad-libs, and false endings. Through these soul techniques, artists such as Aretha Franklin, Donny Hathaway, Nina Simone, Marvin Gaye, Isaac Hayes, and Minnie Riperton performed virtuosic survivorship and thus helped to galvanize black communities in an era of peril and promise. Their soul legacies were later reanimated by such stars as Prince, Solange Knowles, and Flying Lotus. Breaking with prior understandings of soul as a vague masculinist political formation tethered to the Black Power movement, Lordi offers a vision of soul that foregrounds the intricacies of musical craft, the complex personal and social meanings of the music, the dynamic movement of soul across time, and the leading role played by black women in this musical-intellectual tradition.
International migration and the social diversity it creates constitute one of the key global challenges of the early 21st century. Language and communication barriers can compromise equitable access in diverse societies, and where socioeconomic disadvantage becomes entrenched, it poses risks to security, productivity and quality of life. Clearly this is an important issue, and migrants and their language choices are heavily politicized; though political and media debates often rely on anecdotal conjecture or are ill-informed. Life in a New Language examines the language learning and settlement experiences of 130 migrants to Australia from 34 different countries in Africa, Asia, Europe, and Latin America over a period of 20 years. Reusing data shared from six separate sociolinguistic ethnographies, the book illuminates participants' lived experience of learning and communicating in a new language, finding work, and doing family. Additionally, participants' experiences with racism and identity making in a new context are explored. The research uncovers significant hardship but also migrants' courage and resilience. The book has implications for language service provision, migration policy, open science, and social justice movements.
This compact edition, designed for use in undergraduate courses, combines a substantial selection of Dickinson’s poems (including one complete fascicle) with a selection of letters and a range of contextual materials. In a number of cases several different versions of a poem are presented side by side. The texts are based on the handwritten manuscripts themselves, in the facsimile form in which the Emily Dickinson Archive now makes the vast majority of Dickinson’s manuscript versions available to the general public. The three major editions that are based directly on the manuscripts—those of Thomas H. Johnson (1955), R.W. Franklin (1998) and Cristanne Miller (2016)—have also been consulted; in many cases where the transcriptions of these editors differ from one another, this edition provides information in the notes as to those differences. Extensive explanatory footnotes are also provided, as is a concise but wide-ranging introduction to Dickinson and her work. The appendices include excerpts from numerous nineteenth-century reviews of Dickinson’s first published volume (including by William Dean Howells and Andrew Lang). Thomas Wentworth Higginson’s influential Atlantic Monthly article, “Emily Dickinson’s Letters,” is also included in its entirety.
The Three Graces of Val-Kill changes the way we think about Eleanor Roosevelt. Emily Wilson examines what she calls the most formative period in Roosevelt's life, from 1922 to 1936, when she cultivated an intimate friendship with Marion Dickerman and Nancy Cook, who helped her build a cottage on the Val-Kill Creek in Hyde Park on the Roosevelt family land. In the early years, the three women—the "three graces," as Franklin Delano Roosevelt called them—were nearly inseparable and forged a female-centered community for each other, for family, and for New York's progressive women. Examining this network of close female friends gives readers a more comprehensive picture of the Roosevelts and Eleanor's burgeoning independence in the years that marked Franklin's rise to power in politics. Wilson takes care to show all the nuances and complexities of the women's relationship, which blended the political with the personal. Val-Kill was not only home to Eleanor Roosevelt but also a crucial part of how she became one of the most admired American political figures of the twentieth century. In Wilson's telling, she emerges out of the shadows of monumental histories and documentaries as a woman in search of herself.
Ever since Bessie Smith’s powerful voice conspired with the “race records” industry to make her a star in the 1920s, African American writers have memorialized the sounds and theorized the politics of black women’s singing. In Black Resonance, Emily J. Lordi analyzes writings by Richard Wright, Ralph Ellison, James Baldwin, Gayl Jones, and Nikki Giovanni that engage such iconic singers as Bessie Smith, Billie Holiday, Mahalia Jackson, and Aretha Franklin. Focusing on two generations of artists from the 1920s to the 1970s, Black Resonance reveals a musical-literary tradition in which singers and writers, faced with similar challenges and harboring similar aims, developed comparable expressive techniques. Drawing together such seemingly disparate works as Bessie Smith’s blues and Richard Wright’s neglected film of Native Son, Mahalia Jackson’s gospel music and Ralph Ellison’s Invisible Man, each chapter pairs one writer with one singer to crystallize the artistic practice they share: lyricism, sincerity, understatement, haunting, and the creation of a signature voice. In the process, Lordi demonstrates that popular female singers are not passive muses with raw, natural, or ineffable talent. Rather, they are experimental artists who innovate black expressive possibilities right alongside their literary peers. The first study of black music and literature to centralize the music of black women, Black Resonance offers new ways of reading and hearing some of the twentieth century’s most beloved and challenging voices.
Widely considered the definitive edition of Emily Dickinson’s poems, this landmark collection presents her poems here for the first time “as she preserved them,” and in the order in which she wished them to appear. It is the only edition of Dickinson’s complete poems to distinguish clearly those she took pains to copy carefully onto folded sheets in fair hand—presumably to preserve them for posterity—from the ones she kept in rougher form. It is also unique among complete editions in presenting the alternate words and phrases Dickinson chose to use on the copies of the poems she kept, so that we can peer over her shoulder and see her composing and reworking her own poems. The world’s foremost scholar of Emily Dickinson, Cristanne Miller, guides us through these stunning poems with her deft and unobtrusive notes, helping us understand the poet’s quotations and allusions, and explaining how she composed, copied, and circulated her poems. Miller’s brilliant reordering of the poems transforms our experience of them. A true delight, this award-winning collection brings us closer than we have ever been to the writing practice of one of America’s greatest poets. With its clear, uncluttered page and beautiful production values, it is a gift for students of Emily Dickinson and for anyone who loves her poems.
There’s history as it’s told, and then there’s history as it actually happened. You may think you know the stories behind the world’s most well-known, groundbreaking achievements, but To Her Credit is here to make you reevaluate our collective story as it has been written. This book celebrates the stories of women, from ancient times until the 1990s, whose contributions have been overwritten and, far too often, accredited to men. The pattern of female achievements being stolen, overwritten, or straight-up ignored is as old as time. Authors Kaitlin Culmo and Emily McDermott—with stunning art by Kezia Gabriella—reclaim the work of these deserving heroines and offer reminders of what we lose when we don’t question history as it has been written. We’re often told that Cervantes “invented fiction” with the novel Don Quixote in 17th century Europe, but what about Lady Murasaki’s The Tale of Genji in 11th-century Japan? Elvis Presley is widely considered as “The King” and—for all intents and purposes—the inventor of rock and roll music. But what about Sister Rosetta Tharpe, who was the first to engineer the rock and roll sound, or Big Mama Thornton, for whom the song “Hound Dog” was explicitly written? Albert Einstein is a household name and so too is his famed equation E = mc2. But what about his first wife, Mileva Marić, who not only helped with the Nobel Prize–winning discovery, but also collaborated with Albert throughout the pivotal early years of his career? This book tells the stories of women who have been left out of history’s accolades. It’s time to talk about the thousands of years’ worth of art, inventions, innovations, and world-changing achievements made by women that have been ascribed to men.
Biology is the study of life—the structure, function, growth, origin, and evolution of living things. Biology and chemistry work together to create what many people think of as "science." And passing Biology 101 in college is the entryway to further study in the sciences - if you can't do well in it, you aren't moving ahead. The Complete Idiot's Guide® to College Biology follows the curriculum to Biology 101 so closely that it serves as a perfect study guide to it, and it's also great for the AP Biology and SAT Subject Biology exams that high school students are taking in droves. Students can turn to it when their textbooks are unclear or as an additional aid throughout the semester. The guide covers: • Complicated processes such as photosynthesis and cellular respiration • Explanations of complex biology, from DNA to ecosystems • Offers online extras, including a chapter on microbes and an extended glossary Suitable for the new learner or as a refresher for former students, The Complete Idiot's Guide® to College Biology brings biology to the reader in a relaxed, accessible way.
An illustrated glovebox essential, Road Sides explores the fundamentals of a well-fed road trip through the American South, from A to Z. There are detours and destinations, accompanied by detailed histories and more than one hundred original illustrations that document how we get where we’re going and what to eat and do along the way. Learn the backstory of food-shaped buildings, including the folks behind Hills of Snow, a giant snow cone stand in Smithfield, North Carolina, that resembles the icy treats it sells. Find out how kudzu was used to support a burgeoning highway system, and get to know Edith Edwards—the self-proclaimed Kudzu Queen—who turns the obnoxious vine into delicious teas and jellies. Discover the roots of kitschy roadside attractions, and have lunch with the state-employed mermaids of Weeki Wachee Springs in Florida. Road Sides is for everyone—the driver in search of supper or superlatives (the biggest, best, and even worst), the person who cannot resist a local plaque or snack and pulls over for every historical marker and road stand, and the kid who just wants to gawk at a peach-shaped water tower.
From the 1830s to the Civil War, Americans could be found putting each other into trances for fun and profit in parlors, on stage, and in medical consulting rooms. They were performing mesmerism. Surprisingly central to literature and culture of the period, mesmerism embraced a variety of phenomena, including mind control, spirit travel, and clairvoyance. Although it had been debunked by Benjamin Franklin in late eighteenth-century France, the practice nonetheless enjoyed a decades-long resurgence in the United States. Emily Ogden here offers the first comprehensive account of those boom years. Credulity tells the fascinating story of mesmerism’s spread from the plantations of the French Antilles to the textile factory cities of 1830s New England. As it proliferated along the Eastern seaboard, this occult movement attracted attention from Ralph Waldo Emerson’s circle and ignited the nineteenth-century equivalent of flame wars in the major newspapers. But mesmerism was not simply the last gasp of magic in modern times. Far from being magicians themselves, mesmerists claimed to provide the first rational means of manipulating the credulous human tendencies that had underwritten past superstitions. Now, rather than propping up the powers of oracles and false gods, these tendencies served modern ends such as labor supervision, education, and mediated communication. Neither an atavistic throwback nor a radical alternative, mesmerism was part and parcel of the modern. Credulity offers us a new way of understanding the place of enchantment in secularizing America.
Manic behavior holds an undeniable fascination in American culture today. It fuels the plots of best-selling novels and the imagery of MTV videos, is acknowledged as the driving force for successful entrepreneurs like Ted Turner, and is celebrated as the source of the creativity of artists like Vincent Van Gogh and movie stars like Robin Williams. Bipolar Expeditions seeks to understand mania's appeal and how it weighs on the lives of Americans diagnosed with manic depression. Anthropologist Emily Martin guides us into the fascinating and sometimes disturbing worlds of mental-health support groups, mood charts, psychiatric rounds, the pharmaceutical industry, and psychotropic drugs. Charting how these worlds intersect with the wider popular culture, she reveals how people living under the description of bipolar disorder are often denied the status of being fully human, even while contemporary America exhibits a powerful affinity for manic behavior. Mania, Martin shows, has come to be regarded as a distant frontier that invites exploration because it seems to offer fame and profits to pioneers, while depression is imagined as something that should be eliminated altogether with the help of drugs. Bipolar Expeditions argues that mania and depression have a cultural life outside the confines of diagnosis, that the experiences of people living with bipolar disorder belong fully to the human condition, and that even the most so-called rational everyday practices are intertwined with irrational ones. Martin's own experience with bipolar disorder informs her analysis and lends a personal perspective to this complex story. Some images inside the book are unavailable due to digital copyright restrictions.
Only in recent decades has the American academic profession taken women’s history seriously. But the very concept of women’s history has a much longer past, one that’s intimately entwined with the development of American advertising and consumer culture. Selling Women’s History reveals how, from the 1900s to the 1970s, popular culture helped teach Americans about the accomplishments of their foremothers, promoting an awareness of women’s wide-ranging capabilities. On one hand, Emily Westkaemper examines how this was a marketing ploy, as Madison Avenue co-opted women’s history to sell everything from Betsy Ross Red lipstick to Virginia Slims cigarettes. But she also shows how pioneering adwomen and female historians used consumer culture to publicize histories that were ignored elsewhere. Their feminist work challenged sexist assumptions about women’s subordinate roles. Assessing a dazzling array of media, including soap operas, advertisements, films, magazines, calendars, and greeting cards, Selling Women’s History offers a new perspective on how early- and mid-twentieth-century women saw themselves. Rather than presuming a drought of female agency between the first and second waves of American feminism, it reveals the subtle messages about women’s empowerment that flooded the marketplace.
A revolutionary woman for her time and an enormously creative writer, Emily Hahn broke all of the rules of the nineteen-twenties including traveling the country dressed as a boy, working for the Red Cross in Belgium, being the concubine to a Shanghai poet, using opium, and having an illegitimate child. Hahn kept on fighting against the stereotype of female docility that characterized the Victorian Era and was an advocate for the environment until her death at age ninety-two. Emily Hahn is the author of CHINA TO ME, a literary exploration of her trip to China.
Seamus Heaney, Denis Donoghue, William Pritchard, Marilyn Butler, Harold Bloom, and many others have praised Helen Vendler as one of the most attentive readers of poetry. Here, Vendler turns her illuminating skills as a critic to 150 selected poems of Emily Dickinson. As she did in The Art of Shakespeare’s Sonnets, she serves as an incomparable guide, considering both stylistic and imaginative features of the poems. In selecting these poems for commentary Vendler chooses to exhibit many aspects of Dickinson’s work as a poet, “from her first-person poems to the poems of grand abstraction, from her ecstatic verses to her unparalleled depictions of emotional numbness, from her comic anecdotes to her painful poems of aftermath.” Included here are many expected favorites as well as more complex and less often anthologized poems. Taken together, Vendler’s selection reveals Emily Dickinson’s development as a poet, her astonishing range, and her revelation of what Wordsworth called “the history and science of feeling.” In accompanying commentaries Vendler offers a deeper acquaintance with Dickinson the writer, “the inventive conceiver and linguistic shaper of her perennial themes.” All of Dickinson’s preoccupations—death, religion, love, the natural world, the nature of thought—are explored here in detail, but Vendler always takes care to emphasize the poet’s startling imagination and the ingenuity of her linguistic invention. Whether exploring less familiar poems or favorites we thought we knew, Vendler reveals Dickinson as “a master” of a revolutionary verse-language of immediacy and power. Dickinson: Selected Poems and Commentaries will be an indispensable reference work for students of Dickinson and readers of lyric poetry.
A New York Public Library Book for the Teen Age: How do you define family? Jenny Fitzgerald is an artist who never fit in with her sports-obsessed parents and siblings. Still, she loves her family—even if she doesn’t relate to them. Even if, unlike her younger siblings, Jenny’s father is Donor 142. She’s always known the truth, but before now, it hasn’t seemed to matter much. But this summer—her sixteenth—is different. Where does Jenny really belong? Her parents don’t understand her artwork (and her boss at the studio isn’t even convinced she has talent), her twin sisters are so close it hurts (and it’s good at hurting Jenny), and she’s not entirely sure why she has a crush on jock Tate Brodeur (not that he’s noticed her . . . yet). To find her true self, Jenny begins to search for the one person who might really understand her—someone biologically connected. With Tate’s help, Jenny consults the Donor Sibling Registry, and before she knows it, she has discovered a half sibling. Alexa is witty, impulsive, and desperate to meet. Jenny’s convinced her genetic other half is the key to having a family, but when Alexa shows up unannounced, Jenny’s world changes in ways she never could have predicted.
Traces the life of the controversial turn of the century American novelist, and describes how she overcame the social restrictions on women to become a writer
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