The psalms endure. Throughout the centuries, Christians have read, prayed, and sung this rich collection of poems. But in our current age of distraction, the daily rhythms of modern life revolve more around screens than biblical texts. This book argues that the psalms are poetry for the soul, poetry that shapes us. Beyond highlighting the poetry of the Psalter, the book attends to the theological freight of these poems. As such, we learn to read Scripture more attentively and love God and the world well. The first part of the book explores how we can read the psalms amid the pull of modern distractions. The second part highlights the various features of several psalms, showing what these poems can teach us about living in a more focused, attentive way. This engaging book demonstrates how our thoughts, emotions, and worship of the triune God are sharpened and deepened through the psalms. In an era of dimly lit faces and multitasking, the poetry of Psalms remains ready to train our ears, steady our hearts, and teach us to pray so that we might flourish in Christ. The book includes a foreword by Elizabeth Robar.
Imagining Each Other explores Black-Jewish relations by examining the complex ways they have portrayed each other in recent American literature. It illuminates their dramatic alliances and conflicts and their dilemmas of identity and assimilation, and addresses the persistent questions of ethnic division and economic inequality that have so encompassed the Black-Jewish narrative in America. Focusing primarily on the 1960s and its aftermath, the book reveals how Jewish and African Americans view each other through a complex dialectic of identification and difference, channeled by ever-shifting positions within American society. Through the works of Richard Wright, Saul Bellow, Bernard Malamud, Amiri Baraka, Paule Marshall, Grace Paley, and others, Goffman unfolds a story of two peoples with powerful biblical and mythic connections that replay themselves in contemporary circumstances. In doing so, he uncovers layers of meaning in works that dramatize this turbulent, paradoxical relationship, and reveals how this relationship is paradigmatic of multicultural American self-invention.
Get to know the greatest players in the history of the Baltimore Orioles, from the legends of the past to today’s biggest superstars. This action-packed book also includes a timeline, team facts, additional resources links, a glossary, and an index.
This issue of Medical Clinics covers the current best practices surrounding the perioperative management of patients with chronic diseases. Guest edited by Jeffrey Kirsch and Ansgar Brambrink, the topics covered will include patients with pacemakers, patients with endocrine disease, immunocompromised patients, patients with heart disease, patients with renal disease, and more.
This “extraordinary history” of the influential black newspaper is “deeply researched, elegantly written [and] a towering achievement” (Brent Staples, New York Times Book Review). In 1905, Robert S. Abbott started printing The Chicago Defender, a newspaper dedicated to condemning Jim Crow and encouraging African Americans living in the South to join the Great Migration. Smuggling hundreds of thousands of copies into the most isolated communities in the segregated South, Abbott gave voice to the voiceless, galvanized the electoral power of black America, and became one of the first black millionaires in the process. His successor wielded the newspaper’s clout to elect mayors and presidents, including Harry S. Truman and John F. Kennedy, who would have lost in 1960 if not for The Defender’s support. Drawing on dozens of interviews and extensive archival research, Ethan Michaeli constructs a revelatory narrative of journalism and race in America, bringing to life the reporters who braved lynch mobs and policemen’s clubs to do their jobs, from the age of Teddy Roosevelt to the age of Barack Obama. “[This] epic, meticulously detailed account not only reminds its readers that newspapers matter, but so do black lives, past and present.” —USA Today
America's constant push to make its colleges and universities more efficient and more accountable is not a new phenomenon. Indeed, in Other People's Colleges, Ethan Ris argues that the reform impulse is baked into American higher education. For well over one hundred years, elite reformers have called for sweeping changes in the sector and raised existential questions about its sustainability. Colleges and universities have responded with a combination of resistance and acquiescence. The end result is a sector that has learned to accept top-down reform as part of its existence. When that reform is beneficial (offering major rewards for minor changes), colleges and universities know how to assimilate it. When it is hostile (attacking autonomy or values), they know how to resist it. In the early twentieth century, the "academic engineers," a cadre of elite, external reformers from foundations, businesses, and government, worked to reshape and reorganize the vast base of the higher education pyramid. Their reform efforts were largely directed at the lower tiers of higher education, but their efforts fell short, despite their wealth and power, leaving a legacy of successful resistance that affects every college and university in the United States. Today, another coalition of business leaders, philanthropists, and politicians are again demanding efficiency, accountability, and utility from American higher education. But top-down design is not destiny. Today's reform agenda in higher education should not be viewed as a new existential threat. It is a longstanding fact of life to be assimilated, diverted, or subverted on an ongoing basis"--
Hollywood in the years between 1929 and 1948 was a town of moviemaking empires. The great studios were estates of talent: sprawling, dense, diverse. It was the Golden Age of the Movies, and each studio made its distinctive contribution. But how did the studios, "growing up" in the same time and place, develop so differently? What combinations of talents and temperaments gave them their signature styles? These are the questions Ethan Mordden answers, with breezy erudition and irrepressible enthusiasm, in this fascinating and wonderfully readable book. Mordden illuminates how the style of each studio was primarily dictated by the personality, philosophy, and attitudes of its presiding mogul—and how all these factors affected the work and careers of individual actors, directors, writers, and technicians, and the success of the studio in general.
This is a chronological review of both the plays and the people that brought the world of homosexuals, bisexuals, transexuals, metrosexuals, and the sexually fluid to the American stage. The plays--which take in a few foreign imports--treat strong gay content (e. g., The Boys in the Band or The Killing of sister George), or minor gay content (Season In the Sun, The Nervous Set), or even a phrase in passing (as in New Faces of 1956's joke about Rome's piazza Di Spagna, so niche that perhaps fifty people got it during the show's six-month run). I have included as well plays that portray gay through dog whistles (such as Bell, Book and Candle, in which the witches are really gay people) and even plays whose sense of parody or outright camp (such as Little Mary Sunshine or Johnny Guitar) are at least gay-adjacent. As for the people in the book--writers, actors, creatives-- I have included profiles of some who, though gay, had little interest in portraying gay lives--Edward Albee, for example, even as his influence not as a writer about gay but rather as a writer who is gay was extremely broad, so conclusive that he takes pride of place at the end of this volume. These so to say pre-Stonewall eminences--actor-manager Eva Le Gallienne is another one--are as much a part of the chronicle as such overtly gay-in-content writers as Terrence McNally"--
In the 1960s, the Broadway musical was revolutionized from an entertainment characterized by sentimental standards, such as Camelot and Hello, Dolly!, to one of brilliant and bittersweet masterpieces, such as Cabaret and Fiddler on the Roof. In Open a New Window, Ethan Mordden continues his history of the Broadway musical with the decade that bridged the gap between the romantic, fanciful entertainments of the fifties, such as Call Me, Madam, to the seventies when sophisticated fare, such as A Little Night Music and Follies, was commonplace. Here in brilliant detail is the decade and the people that forever transformed the Broadway muscial.
The past century has born witness to a growing interest in the belief systems of ancient Europe, with an array of contemporary Pagan groups claiming to revive these old ways for the needs of the modern world. By far the largest and best known of these Paganisms has been Wicca, a new religious movement that can now count hundreds of thousands of adherents worldwide. Emerging from the occult milieu of mid twentieth-century Britain, Wicca was first presented as the survival of an ancient pre-Christian Witch-Cult, whose participants assembled in covens to venerate their Horned God and Mother Goddess, to celebrate seasonal festivities, and to cast spells by the light of the full moon. Spreading to North America, where it diversified under the impact of environmentalism, feminism, and the 1960s counter-culture, Wicca came to be presented as a Goddess-centred nature religion, in which form it was popularised by a number of best-selling authors and fictional television shows. Today, Wicca is a maturing religious movement replete with its own distinct world-view, unique culture, and internal divisions. This book represents the first published academic introduction to be exclusively devoted to this fascinating faith, exploring how this Witches' Craft developed, what its participants believe and practice, and what the Wiccan community actually looks like. In doing so it sweeps away widely-held misconceptions and offers a comprehensive overview of this religion in all of its varied forms. Drawing upon the work of historians, anthropologists, sociologists, and scholars of religious studies, as well as the writings of Wiccans themselves, it provides an original synthesis that will be invaluable for anyone seeking to learn about the blossoming religion of modern Pagan Witchcraft.
“One of our most important books on globalization.” —Steve O’Keefe, New York Journal of Books The enormous scope of the Internet can lead us to assume that as the online community grows, our world grows smaller and more cosmopolitan. In Digital Cosmopolitans, Ethan Zuckerman explains why the technological ability to communicate with someone does not guarantee human interaction or the healthy exchange of information and ideas. Combining the latest psychological and sociological research with current trends both online and off, Digital Cosmopolitans highlights the challenges we face and the headway being made in creating a world that is truly connected.
Friendship is one of our most important social institutions. It is the not only the salve for personal loneliness and isolation; it is the glue that binds society together. Yet for a host of reasons--longer hours at work, the Internet, suburban sprawl--many have argued that friendship is on the decline in contemporary America. In social surveys, researchers have found that Americans on average have fewer friends today than in times past. In Friend v. Friend, Ethan J. Leib takes stock of this most ancient of social institutions and its ongoing transformations, and contends that it could benefit from better and more sensitive public policies. Leib shows that the law has not kept up with changes in our society: it sanctifies traditional family structures but has no thoughtful approach to other aspects of our private lives. Leib contrasts our excessive legal sensitivity to marriage and families with the lack of legal attention to friendship, and shows why more legal attention to friendship could actually improve our public institutions and our civil society. He offers a number of practical proposals that can support new patterns of interpersonal affinity without making friendship an onerous legal burden. An elegantly written and highly original account of the changing nature of friendship, Friend v. Friend upends the conventional wisdom that law and friendship are inimical, and shows how we can strengthen both by seeing them as mutually reinforcing.
From the late 1920s to late 1950s, the Broadway theatre was America's cultural epicenter. Television didn't exist and movies were novelties. Entertainment took the form of literature, music, and theatre. During this golden age of Broadway, actors and actresses became legends and starred in now classic plays. Laurence Olivier, Alfred Lunt and Lynne Fontaine were names to remember, etching plays into memory as they brought the words of Tennessee Williams or Eugene O'Neill to life. Joseph Cotton romanced Katherine Hepburn in Philip Barry's The Philadelphia Story while Laurette Taylor became The Glass Menagerie's Amanda Wingfield. Frederic March, Florence Eldridge, Jason Robards Jr. and Bradford Dillman showed us life among the ruins in Long Day's Journey Into Night. In All That Glittered, Ethan Mordden, long one of Broadway's best chroniclers, recreates the fascinating lost world of its golden age.
America's children are joining and quitting youth sports in record numbers. If kids can't find the fun in an activity, they may try to find the way out. If an adult can't find the right tools, they may not know the right words to say or the right actions to take. In Raising Your Game, authors Ethan J. Skolnick and Dr. Andrea Corn present a guide adults can use to ensure the most enjoyable and enriching youth sports experience for a child. Through a combination of advice from more than 100 elite athletes and time-tested sports psychology concepts, Raising Your Game prompts parents to consider what really matters when it comes to their kids and sports. From LeBron James to Shannon Miller, Brandi Chastain to Jason Taylor, John Smoltz to Mary Joe Fernandez, Sanya Richards-Ross to Torii Hunter, athletes from across the sports spectrum discuss their setbacks and successes what worked for them and what didn't. Raising Your Game discusses the types of guidance that can ignite inspiration and foster participation, practice, and progress, and which methods can create frustration and dejection. It shows the difference a supportive parent can make by showing up, showing interest and, at times, showing restraint.
More than 800 men lost their lives and 2,700 were wounded. Confederate General Thomas J. Jackson earned his legendary nickname "Stonewall" here as fellow Confederate General Barnard Bee, later fatally wounded in the battle, shouted, "Yonder stands Jackson like a stone wall!" Both the North and the South believed that a single victory in this first major battle would decide the war before it barely started. Yet the first battle of Manassas, or Bull Run, has not received nearly the same attention as the other major clashes of the Civil War. A Single Grand Victory is a highly readable, concise, comprehensive narrative by Ethan S. Rafuse, professor of history at the United States Military Academy at West Point. Rafuse worked as a park ranger at Bull Run, where he gained great familiarity with the site and the literature on this battle. His new book incorporates insights offered in recent scholarship on Civil War military, political, and cultural history. The author describes the factors that led President Abraham Lincoln to order an offensive against Confederates at Manassas Junction at a time when his most prominent military men advised against it. The war policies of both the Union and Confederate sides are explained. Rafuse offers descriptions and analysis of the individuals involved and the circumstances that influenced the manner in which the campaign was conducted. He covers the critical events and operational and tactical decisions that shaped the campaign's course and outcome. In addition, A Single Grand Victory provides insights into American life in the nineteenth century by examining what motivated men to fight in 1861 and describing what led both North and South to expect the war would be a short one. Southerners had anticipated that one victory like Bull Run would persuade the North to abandon the effort to restore the Union by force. Northerners believed support for the Confederate rebellion was so shallow that one battle would end the war. Civil War buffs will enjoy this
From January to July of 1862, the armies and navies of the Union and Confederacy conducted an incredibly complex and remarkably diverse range of operations in the Commonwealth of Virginia. Under the direction of leaders like Thomas “Stonewall” Jackson, George McClellan, Joseph E. Johnston, John Rodgers, Robert E. Lee, Franklin Buchanan, Irvin McDowell, and Louis M. Goldsborough, men of the Union and Confederate armed forces marched over mountains and through shallow valleys, maneuvered on and along great tidal rivers, bridged and waded their tributaries, battled malarial swamps, dug trenches and constructed fortifications, and advanced and retreated in search of operational and tactical advantage. In the course of these operations, the North demonstrated it had learned quite a bit from its setbacks of 1861 and was able to achieve significant operational and tactical success on both land and sea. This enabled Union arms to bring a considerable portion of Virginia under Federal control—in some cases temporarily and in others permanently. Indeed, at points during the spring and early summer of 1862, it appeared the North just might succeed in bringing about the defeat of the rebellion before the year was out. A sweeping study of the operations on land and sea, From the Mountains to the Bay is the only modern scholarly work that looks at the operations that took place in Virginia in early 1862, from the Romney Campaign that opened the year to the naval engagement between the Monitor and Merrimac to the movements and engagements fought by Union and Confederate forces in the Shenandoah Valley, on the York-James Peninsula, and in northern Virginia, as a single, comprehensive campaign. Rafuse draws from extensive research in primary sources to provide a fast-paced, complete account of operations throughout Virginia, while also incorporating findings of recent scholarship on the factors that shaped these campaigns. The work provides invaluable insights into the factors and individuals who shaped these operations, how they influenced the course of the war, the relationships between political leaders and men in uniform, and how all these factors affected the development and execution of strategy, operations, and tactics.
Without a doubt, John M. Carroll was one of the finest historians to have ever written in the 7th Cavalry and Little Bighorn genre. However, many of his works were only made available in limited editions and often available on from the author himself. I hope this present volume honors and extends his scholarship to another generation of investigators. The court martial of Captain Thomas H. French is of particular interest since it reflects on the character of the Army officer responsible for arguably providing the sole supporting fire during the withdrawal of Major Reno's forces from the valley fight at the onset of the Battle of the Little Bighorn.
The Natural History of the Bahamas fills a void in the literature on the avian and terrestrial species found there and is an overall excellent guide.— Sandra D. Buckner, Past President of the Bahamas National Trust Take this book with you on your next trip to the Bahamas or the Turks and Caicos Islands or keep it close to hand in your travel library. The Natural History of the Bahamas offers the most comprehensive coverage of the terrestrial and coastal flora and fauna on the islands of the Bahamas archipelago, as well as of the region's natural history and ecology. Readers will gain an appreciation for the importance of conserving the diverse lifeforms on these special Caribbean islands. A detailed introduction to the history, geology, and climate of the islands. Beautifully illustrated, with more than seven hundred color photographs showcasing the diverse plants, fungi, and animals found on the Bahamian Archipelago.
Ethan Mordden has been hailed as "a sharp-eared listener and a discerning critic," by Opera News, which compares his books to "dinner with a knowledgeable, garrulous companion." The "preeminent historian of the American musical" (New York Times), he "brings boundless energy and enthusiasm buttressed by an arsenal of smart anecdotes" (Wall Street Journal). Now Mordden offers an entirely fresh and infectiously delightful history of American musical theatre. Anything Goes stages a grand revue of the musical from the 1700s through to the present day, narrated in Mordden's famously witty, scholarly, and conversational style. He places us in a bare rehearsal room as the cast of Oklahoma! changes history by psychoanalyzing the plot in the greatest of the musical's many Dream Ballets. And he gives us tickets for orchestra seats on opening night-raising the curtain on the pleasures of Victor Herbert's The Red Mill and the thrill of Porgy and Bess. Mordden examines the music, of course, but also more neglected elements. Dance was once considered as crucial as song; he follows it from the nineteenth century's zany hoofing to tap "combinations" of the 1920s, from the injection of ballet and modern dance in the 1930s and '40s to the innovations of Bob Fosse. He also explores the changing structure of musical comedy and operetta, and the evolution of the role of the star. Fred Stone, the avuncular Scarecrow in the Wizard of Oz, seldom varied his acting from part to part; but the versatile Ethel Merman turned the headlining role inside out in Gypsy, playing a character who was selfish, fierce, and destructive. From "ballad opera" to burlesque, from Fiddler on the Roof to Rent, the history and lore of the musical unfolds here in a performance worthy of a standing ovation.
An amazing journey through the thriving worlds of fantasy and gaming What could one man find if he embarked on a journey through fantasy world after fantasy world? In an enthralling blend of travelogue, pop culture analysis, and memoir, forty-year-old former D&D addict Ethan Gilsdorf crisscrosses America, the world, and other worlds—from Boston to New Zealand, and Planet Earth to the realm of Aggramar. “For anyone who has ever spent time within imaginary realms, the book will speak volumes. For those who have not, it will educate and enlighten.” —Wired.com “Gandalf’s got nothing on Ethan Gilsdorf, except for maybe the monster white beard. In his new book, Fantasy Freaks and Gaming Geeks, Gilsdorf . . . offers an epic quest for reality within a realm of magic.” —Boston Globe “Imagine this: Lord of the Rings meets Jack Kerouac’s On the Road.” —National Public Radio’s “Around and About” “What does it mean to be a geek? . . . Fantasy Freaks andGaming Geeks tackles that question with strength and dexterity. . . . part personal odyssey, part medieval mid-life crisis, and part wide-ranging survey of all things freaky and geeky . . . playful . . . funny and poignant. . . . It’s a fun ride and it poses a question that goes to the very heart of fantasy, namely: What does the urge to become someone else tell us about ourselves?” —Huffington Post
Electoral Systems and Political Context illustrates how political and social context conditions the effects of electoral rules. The book examines electoral behavior and outcomes in countries that use 'mixed-member' electoral systems – where voters cast one ballot for a party list under proportional representation (PR) and one for a candidate in a single member district (SMD). Based on comparisons of outcomes under the two different rules used in mixed-member systems, the book highlights how electoral systems' effects – especially strategic voting, the number of parties and women's representation – tend to be different in new democracies from what one usually sees in established democracies. Moreover, electoral systems such as SMDs are usually presumed to constrain the number of parties irrespective of the level of social diversity, but this book demonstrates that social diversity frequently shapes party fragmentation even under such restrictive rules.
A reckoning of the central role of enslaved and free Black potters in the long-standing stoneware traditions of Edgefield, South Carolina Recentering the development of industrially scaled Southern pottery traditions around enslaved and free Black potters working in the mid-nineteenth century, this catalogue presents groundbreaking scholarship and new perspectives on stoneware made in Edgefield, South Carolina. Among the remarkable works included are a selection of regional face vessels as well as masterpieces by enslaved potter and poet David Drake, who signed, dated, and incised verses on many of his jars, even though literacy among enslaved people was criminalized at the time. Essays on the production, collection, dispersal, and reception of stoneware from Edgefield offer a critical look at what it means to collect, exhibit, and interpret objects made by enslaved artisans. Several featured contemporary works inspired by or related to Edgefield stoneware attest to the cultural and historical significance of this body of work, and an interview with acclaimed contemporary artist Simone Leigh illuminates its continued relevance.
For Ethan Mordden, the closing night of the hit musical, 42nd St. sounded the death knell of the art form of the Broadway musical. After that, big orchestras, real voices, recognizable books and intelligent lyrics went out the window in favor of cats, helicopters, yodeling Frenchmen, and the roof of the Paris Opera. Mordden takes us through the aftermath of the days of the great Broadway musical. From the long-running Cats to Miss Saigon, Phantom, and Les Miserables, to gems like The Producers, he is unsparing in his look at the remains of the day. Not content to scold the shows' creators, Mordden takes on the critics, too, splaying their bodies across the Great White Way like Sweeney Todd giving a close shave. Once more, it's "curtain going up," but Mordden is not applauding.
Frank Tashlin (1913–1972) was a supremely gifted satirist and visual stylist who made an indelible mark on 1950s Hollywood and American popular culture—first as a talented animator working on Looney Tunes cartoons, then as muse to film stars Jerry Lewis, Bob Hope, and Jayne Mansfield. Yet his name is not especially well known today. Long regarded as an anomaly or curiosity, Tashlin is finally given his due in this career-spanning survey. Tashlinesque considers the director's films in the contexts of Hollywood censorship, animation history, and the development of the genre of comedy in American film, with particular emphasis on the sex, satire, and visual flair that comprised Tashlin's distinctive artistic and comedic style. Through close readings and pointed analyses of Tashlin's large and fascinating body of work, Ethan de Seife offers fresh insights into such classic films as Will Success Spoil Rock Hunter?, The Girl Can't Help It, Artists and Models, The Disorderly Orderly, and Son of Paleface, as well as numerous Warner Bros. cartoons starring Porky Pig, among others. This is an important rediscovery of a highly unusual and truly hilarious American artist. Includes a complete filmography.
Ethan Mordden's new entry in his history of the Broadway musical looks at an era that brought us not only the gritty reality of "A Chorus Line" and the brilliantly bittersweet works of Stephen Sondheim, but also the nostalgic crowd-pleasers "No, No, Nanette" and "Annie." It was a time when Broadway both looked to its past, but also to its future and allowed reality to enter. Mordden writes of the last time we ever saw true greatness on the stage of the Broadway musical. "[A] treasure trove for fans of the musical theatre." - Richard Ouzonian, Toronto Star
Paul Thomas Anderson’s evolution from a brash, self-anointed “Indiewood” auteur to one of his generation’s most distinctive voices has been one of the most remarkable career trajectories in recent film history. From early efforts to emulate his cinematic heroes to his increasingly singular late films, Anderson has created a body of work that balances the familiar and the strange, history and myth: viewers feel perpetually off balance, unsure of whether to expect a pitch-black joke or a moment of piercing emotional resonance. This book provides the most complete account of Anderson’s career to date, encompassing his varied side projects and unproduced material; his personal and professional relationships with directors such as Jonathan Demme, Robert Altman, and Robert Downey Sr.; and his work as a director of music videos for Fiona Apple, Joanna Newsom, and Haim. Ethan Warren explores Anderson’s recurring thematic preoccupations—the fraught dynamics of gender and religious faith, biological and found families, and his native San Fernando Valley—as well as his screenwriting methods and his relationship to his influences. Warren argues that Anderson’s films conjure up an alternate American history that exaggerates and elides verifiable facts in search of a heightened truth marked by a deeper level of emotional hyperrealism. This book is at once an unconventional primer on Anderson’s films and a provocative reframing of what makes his work so essential.
From Gilbert and Sullivan to Andrew Lloyd Webber, from Julie Andrews to Hugh Jackman, from Half a Sixpence to Matilda, Pick a Pocket Or Two is the story of the British musical: where it began and how it developed. In Pick a Pocket Or Two, acclaimed author Ethan Mordden brings his wit and wisdom to bear in telling the full history of the British musical, from The Beggar's Opera (1728) to the present, with an interest in isolating the unique qualities of the form and its influence on the American model. To place a very broad generalization, the American musical is regarded as largely about ambition fulfilled, whereas the British musical is about social order. Oklahoma!'s Curly wins the heart of the farmer Laurey--or, in other words, the cowboy becomes a landowner, establishing a truce between the freelancers on horseback and the ruling class. Half a Sixpence, on the other hand, finds a working-class boy coming into a fortune and losing it to fancy Dans, whereupon he is reunited with his working-class sweetheart, his modest place in the social order affirmed. Anecdotal and evincing a strong point of view, the book covers not only the shows and their authors but the personalities as well--W. S. Gilbert trying out his stagings on a toy theatre, Ivor Novello going to jail for abusing wartime gas rationing during World War II, fabled producer C. B. Cochran coming to a most shocking demise for a man whose very name meant "classy, carefree entertainment." Unabashedly opinionated and an excellent stylist, author Ethan Mordden provokes as much as he pleases. Mordden is the preeminent historian of the form, and his book will be required reading for readers of all walks, from the most casual of musical theater goers to musical theater buffs to students and scholars of the form.
In 1841 U.S. government authorities sent Major Ethan Allen Hitchcock to Indian Territory to investigate numerous charges of fraud and profiteering by various contractors dealing with the Cherokee, Creek, Seminole, Chickasaw, and Choctaw Indians, who had been removed from the South during the last decade. Hitchcock's report, filed after four months of travel, exposed such a high level of graft and corruption that his investigation was suppressed and never brought to the attention of Congress. Hitchcock kept nine personal diaries of his travels and observations, however, and they reveal much historic and ethnographic information on Indian life in Indian Territory. He observes how the Indians were adjusting alter removal and includes many details on their customs, beliefs, culture, religion, ceremonies, amusements, industry, tribal councils, and government. To aid the modern reader, editor Grant Foreman provides an introduction and annotations, and Michael D. Green, in his foreword, explains the politics behind Hitchcock's mission to Indian Territory and his accomplishments in advancing ethnographic knowledge.
The first comprehensive history of America’s attempts to promote international development by exporting private enterprise, a story marked by frequent failure and occasional success. Foreign aid is a primary tool of US foreign policy, but direct financial support and ventures like the Peace Corps constitute just a sliver of the American global development pie. Since the 1940s, the United States has relied on the private sector to carry out its ambitions in the developing world. This is the first full account of what has worked and, more often, what has failed in efforts to export American-style capitalism. Ethan Kapstein draws on archival sources and his wide-ranging experience in international development to provide penetrating case studies from Latin America and East Asia to the former Soviet Union, Afghanistan, and Iraq. After WWII the Truman and Eisenhower administrations urged US companies to expand across the developing world. But corporations preferred advanced countries, and many developing nations, including Taiwan and South Korea, were cool to foreign investment. The Cold War made exporting capitalism more important than ever, even if that meant overthrowing foreign governments. The fall of the Soviet Union brought new opportunities as the United States promoted privatization and the bankrolling of local oligarchs. Following the invasions of Afghanistan and Iraq, the United States believed it had blank slates for building these economies, but ongoing conflict eroded such hopes. Kapstein’s sobering history shows that private enterprise is no substitute for foreign aid. Investors are often unwilling to put capital at risk in unstable countries. Only in settings with stable governments and diverse economic elites can private enterprise take root. These lessons are crucial as the United States challenges China for global influence.
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