Winner, Spur Award for Best Contemporary Nonfiction (Western Writers of America) A Land Apart is not just a cultural history of the modern Southwest—it is a complete rethinking and recentering of the key players and primary events marking the Southwest in the twentieth century. Historian Flannery Burke emphasizes how indigenous, Hispanic, and other non-white people negotiated their rightful place in the Southwest. Readers visit the region’s top tourist attractions and find out how they got there, listen to the debates of Native people as they sought to establish independence for themselves in the modern United States, and ponder the significance of the U.S.-Mexico border in a place that used to be Mexico. Burke emphasizes policy over politicians, communities over individuals, and stories over simple narratives. Burke argues that the Southwest’s reputation as a region on the margins of the nation has caused many of its problems in the twentieth century. She proposes that, as they consider the future, Americans should view New Mexico and Arizona as close neighbors rather than distant siblings, pay attention to the region’s history as Mexican and indigenous space, bear witness to the area’s inequalities, and listen to the Southwest’s stories. Burke explains that two core parts of southwestern history are the development of the nuclear bomb and subsequent uranium mining, and she maintains that these are not merely a critical facet in the history of World War II and the militarization of the American West but central to an understanding of the region’s energy future, its environmental health, and southwesterners’ conception of home. Burke masterfully crafts an engaging and accessible history that will interest historians and lay readers alike. It is for anyone interested in using the past to understand the present and the future of not only the region but the nation as a whole.
Constance O'Day-Flannery is back, and better than ever with this new tale of magic and love. Maggie O'Shea knows that because of her dark past, there's no place for love in her life. She owns a successful store in Philadelphia, where she uses her special gifts to help the people she meets. Though this doesn't fulfill her, she is content. Most of the time. Entrepreneur Julian McDonald runs an empire. He's rich, cynical, bored-and not interested in relationships. He was in love, once, but since her death, there's been no space in his heart for anyone else. Maggie knows as soon as she meets Julian that she could fall in love with him. But a secret society devoted to bringing the world back into balance has a mysterious agenda for Julian-and doesn't care about the heart's wish of a vulnerable shapeshifter... At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Versions of Ireland brings a refined postcolonial theoretical optic to bear on many of the most urgent questions within contemporary Irish cultural studies. Drawing on, and extending, the most advanced critical work within the discipline, the book offers a subtle critical genealogy of the development of Ireland’s diverse postcolonial projects. Furthermore, it reflects on the relevance and the effectiveness of postcolonial and subaltern historiographical methodologies in an Irish context, interrogating the ethical and political problematics of such discursive importation. Flannery’s work highlights the operative dynamics of imperial modernity, together with its representational agents, in Ireland, and also divines moments of explicit and implicit resistance to modernity’s rationalising and accumulative urges. The book is pioneering in the facility and ease with which it navigates the interdisciplinary terrain of Irish studies. Flannery provides enabling and challenging new readings of the poetry of the bi-lingual poet, Michael Hartnett; the politically imaginative vistas of the republican mural tradition in the North of Ireland; the gothic anxieties inherent in the fiction of Eugene McCabe and the semi-fictional writing of Seamus Deane, and the differential codes of visual surveillance apparent in Irish tourist posters and late nineteenth century photography in Ireland. Versions of Ireland does not dwell on the exclusively theoretical, but offers rich critical analyses of a range of Irish cultural artefacts in terms of Ireland’s protracted colonial history and contested postcolonial condition.
Deborah Stark is a newscaster with ambition to spare and a take-no-prisoners attitude when it comes to love. Her latest whirlwind affair with the darkly sexy Marcus ends with D. never expecting to see him again. Then her mother dies right before Thanksgiving and Marcus shows up on the doorstep of D.'s childhood home in New Jersey--and the ice around her heart cracks a little. But for D., work comes first. She's deep into a story about corruption throughout the highest levels of the company that owns her Philadelphia television station, and not even the hint of true love can distract her. Marcus has secrets--about the mysterious Foundation he works for, about his ability to shape-shift--secrets D. isn't ready to hear. But when D. realizes that Marcus is too aware of what she's investigating to be an innocent bystander, she knows she must accept his truths. For only with Marcus's help will D. survive long enough to expose corruption . . . and claim love. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
This book explores a cross-cultural worldview called 'radical apocalypticism' that underlies the majority of terrorist movements in the twenty-first century. Although not all apocalypticism is violent, in its extreme forms radical apocalypticism gives rise to terrorists as varied as members of Al Qaeda, Anders Behring Breivik, or Timothy McVeigh. In its secular variations, it also motivates ideological terrorists, such as the eco-terrorists Earth Liberation Front or The Unabomber, Ted Kaczynski. This book provides an original paradigm for distinguishing between peaceful and violent or radical forms of apocalypticism and analyses the history, major transformations, and characteristics of the apocalyptic thought system. Using an inter-disciplinary and cross-cultural approach, this book discusses the mechanisms of radicalization and dynamics of perceived oppression and violence to clarify anew the self-identities, motivations, and goals of a broad swath of terrorists. As conventional counter-terrorism approaches have so far failed to stem the cycle of terrorism, this approach suggests a comprehensive "cultural" method to combating terrorism that addresses the appeal of radical apocalyptic terrorist ideology itself. This book will be of much interest to students of apocalypticism, political violence, terrorism and counter-terrorism, intelligence studies, religious studies, and security studies.
Based on readings of some of the leading literary voices in contemporary Irish writing, this book explores how these authors have engaged with the events of Ireland's recent economic 'boom' and the demise of the Celtic Tiger period, and how they have portrayed the widespread and contrasting aftermaths. Drawing upon economic literary criticism, affect theory in relation to shame and guilt, and the philosophy of debt, this book offers an entirely original suit of perspectives on both established and emerging authors. Through analyses of the work of writers including Donal Ryan, Anne Haverty, Claire Kilroy, Dermot Bolger, Deirdre Madden, Chris Binchy, Peter Cunningham, Justin Quinn, and Paul Murray, author Eóin Flannery illuminates their formal and thematic concerns. Paying attention to generic and thematic differences, Flannery's analyses touch upon issues such as: the politics of indebtedness; temporality and narrative form; the relevance of affect theory to understandings of Irish culture and society in an age of austerity; and the relationship between literary fiction and the mechanics of high finance. Insightful and original, Form, Affect and Debt in Post-Celtic Tiger Irish Fiction provides a seminal intervention in trying to grasp the cultural context and the literature of the Celtic Tiger period and its wake.
This book examines the ideas and influences of a nearly forgotten Swedish-American philosopher, John Elof Boodin (1869–1950). A friend and student of William James and protégé of Josiah Royce at Harvard, Boodin combined Jamesian pragmatism and Roycean idealism in developing original scholarship (nearly sixty articles and eight books) from 1900 to 1947, in addition to a volume of posthumous papers published in 1957. Although he is seldom remembered today, the enduring importance of pragmatism and the rising influence of process theology today suggests that his close reading of early to mid-twentieth-century science and vast grasp of philosophical issues warrants a renewed interest in his work that can be a valuable antidote to the sterile and constricting effects of reductionism and dogmatic materialism prevalent today in both those fields.
Australia is home to many animals and plants found nowhere else on earth, making Australians caretakers of a unique heritage in a land that tolerates few mistakes. Yet, in After the Future, Tim Flannery shows that this country is now on the brink of a new wave of extinctions, which threatens to leave our national parks as “marsupial ghost towns.” Why are species becoming extinct despite the tens of millions of dollars being spent to protect nature? And what more should be done? In this passionate and illuminating essay, Flannery tells the story of the human impact on the continent. He revisits his Future Eaters hypothesis, discussing how firestick farming helped to shape the ecology and preserve native fauna. He looks at the way recent governments, in tandem with an indifferent populace and a rabid libertarian right, have let environmental knowledge and commitments erode. Finally, he describes new approaches to wildlife conservation and argues that Australia must take the lead on these. This is an essay that rings the alarm on behalf of the natural world, and asks us to think again about protection of its irreplaceable riches. ‘Such is the depth of public ignorance about Australia’s extinction crisis that most people are unaware that it is occurring, while those who do know of it commonly believe that our national parks and reserves are safe places for threatened species. In fact the second extinction wave is now in full swing, and it’s emptying our national parks and wildlife reserves as ruthlessly as other landscapes.’ —Tim Flannery, After the Future ‘Flannery is known as a passionate advocate for conservation, but rarely has he sounded so angry.’ —Fiona Capp, Sydney Morning Herald ‘He's a scientist of world standing, a prolific and bestselling writer, a noted explorer, passionate about the Australian environment, and believes global warming is a calamitous crisis facing us all. Tim Flannery is also a controversial, outspoken stirrer who promises ... to tread on toes if he has to, to get his blunt views across.’ –Kerry O'Brien, The 7:30 Report
A pioneering study of the development of one of the key critical discourses in contemporary Irish studies, this book covers all the major figures, publications and debates within Irish postcolonial criticism, delivering a commentary on this diverse body of work as well as positioning Irish postcolonial criticism within the wider postcolonial field.
The success of a work of art, to my mind, may be measured by the degree to which it produces a certain illusion; that makes it appear to us that we have lived another life, that we have had a miraculous enlargement of experience. Henry James A concept of 'illusion' was fundamental to the theory and practice of literary representation in Henry James. This book offers readings of James' fictional and critical texts that are informed by the certainty of illusion, and links James' mode of illusion with a number of concerns that have marked novel criticism in both the recent and not-so-recent past: gender, publicity, realism, aesthetics and passion, cults of authorial personality, the narrative construction of the future, and absorption. Flannery addresses each of these concerns through close engagement with particular texts: The Portrait of a Lady, The Tragic Muse, The Wings of the Dove, and some other less familiar texts. Although cognizant of debates that have raged around James as he is read both by 'radical' and 'traditional' critics, this book's primary focus is on the specific nuances of James’ texts and the interpretive challenges and pleasures they offer.
Winner, Spur Award for Best Contemporary Nonfiction (Western Writers of America) A Land Apart is not just a cultural history of the modern Southwest—it is a complete rethinking and recentering of the key players and primary events marking the Southwest in the twentieth century. Historian Flannery Burke emphasizes how indigenous, Hispanic, and other non-white people negotiated their rightful place in the Southwest. Readers visit the region’s top tourist attractions and find out how they got there, listen to the debates of Native people as they sought to establish independence for themselves in the modern United States, and ponder the significance of the U.S.-Mexico border in a place that used to be Mexico. Burke emphasizes policy over politicians, communities over individuals, and stories over simple narratives. Burke argues that the Southwest’s reputation as a region on the margins of the nation has caused many of its problems in the twentieth century. She proposes that, as they consider the future, Americans should view New Mexico and Arizona as close neighbors rather than distant siblings, pay attention to the region’s history as Mexican and indigenous space, bear witness to the area’s inequalities, and listen to the Southwest’s stories. Burke explains that two core parts of southwestern history are the development of the nuclear bomb and subsequent uranium mining, and she maintains that these are not merely a critical facet in the history of World War II and the militarization of the American West but central to an understanding of the region’s energy future, its environmental health, and southwesterners’ conception of home. Burke masterfully crafts an engaging and accessible history that will interest historians and lay readers alike. It is for anyone interested in using the past to understand the present and the future of not only the region but the nation as a whole.
They all came to Taos: Georgia O'Keefe, D. H. Lawrence, Carl Van Vechten, and other expatriates of New York City. Fleeing urban ugliness, they moved west between 1917 and 1929 to join the community that art patron Mabel Dodge created in her Taos salon and to draw inspiration from New Mexico's mountain desert and "primitive" peoples. As they settled, their quest for the primitive forged a link between "authentic" places and those who called them home. In this first book to consider Dodge and her visitors from a New Mexican perspective, Flannery Burke shows how these cultural mavens drew on modernist concepts of primitivism to construct their personal visions and cultural agendas. In each chapter she presents a place as it took shape for a different individual within Dodge's orbit. From this kaleidoscope of places emerges a vision of what place meant to modernist artists-as well as a narrative of what happened in the real place of New Mexico when visitors decided it was where they belonged. Expanding the picture of early American modernism beyond New York's dominance, she shows that these newcomers believed Taos was the place they had set out to find-and that when Taos failed to meet their expectations, they changed Taos. Throughout, Burke examines the ways notions of primitivism unfolded as Dodge's salon attracted artists of varying ethnicities and the ways that patronage was perceived-by African American writers seeking publication, Anglos seeking "authentic" material, Native American artists seeking patronage, or Nuevomexicanos simply seeking respect. She considers the notion of "competitive primitivism," especially regarding Carl Van Vechten, and offers nuanced analyses of divisions within northern New Mexico's arts communities over land issues and of the ways in which Pueblo Indians spoke on their own behalf. Burke's book offers a portrait of a place as it took shape both aesthetically in the imaginations of Dodge's visitors and materially in the lives of everyday New Mexicans. It clearly shows that no people or places stand outside the modern world-and that when we pretend otherwise, those people and places inevitably suffer.
Practicing shame investigates how the literature of medieval England encouraged women to safeguard their honour by cultivating hypervigilance against the possibility of sexual shame. A combination of inward reflection and outward comportment, this practice of ‘shamefastness’ was believed to reinforce women’s chastity of mind and body, and to communicate that chastity to others by means of conventional gestures. The book uncovers the paradoxes and complications that emerged from these emotional practices, as well as the ways in which they were satirised and reappropriated by male authors. Working at the intersection of literary studies, gender studies and the history of emotions, it transforms our understanding of the ethical construction of femininity in the past and provides a new framework for thinking about honourable womanhood now and in the years to come.
They all came to Taos: Georgia O'Keefe, D. H. Lawrence, Carl Van Vechten, and other expatriates of New York City. Fleeing urban ugliness, they moved west between 1917 and 1929 to join the community that art patron Mabel Dodge created in her Taos salon and to draw inspiration from New Mexico's mountain desert and "primitive" peoples. As they settled, their quest for the primitive forged a link between "authentic" places and those who called them home. In this first book to consider Dodge and her visitors from a New Mexican perspective, Flannery Burke shows how these cultural mavens drew on modernist concepts of primitivism to construct their personal visions and cultural agendas. In each chapter she presents a place as it took shape for a different individual within Dodge's orbit. From this kaleidoscope of places emerges a vision of what place meant to modernist artists-as well as a narrative of what happened in the real place of New Mexico when visitors decided it was where they belonged. Expanding the picture of early American modernism beyond New York's dominance, she shows that these newcomers believed Taos was the place they had set out to find-and that when Taos failed to meet their expectations, they changed Taos. Throughout, Burke examines the ways notions of primitivism unfolded as Dodge's salon attracted artists of varying ethnicities and the ways that patronage was perceived-by African American writers seeking publication, Anglos seeking "authentic" material, Native American artists seeking patronage, or Nuevomexicanos simply seeking respect. She considers the notion of "competitive primitivism," especially regarding Carl Van Vechten, and offers nuanced analyses of divisions within northern New Mexico's arts communities over land issues and of the ways in which Pueblo Indians spoke on their own behalf. Burke's book offers a portrait of a place as it took shape both aesthetically in the imaginations of Dodge's visitors and materially in the lives of everyday New Mexicans. It clearly shows that no people or places stand outside the modern world-and that when we pretend otherwise, those people and places inevitably suffer.
The explorers of Australia tell an epic story of courage and suffering, of dispossession and conquest. This bestselling anthology, brilliantly edited and introduced by Tim Flannery, documents almost four centuries of exploration and takes us beyond the frontier into a world of danger, compassion, humour, brutality and death. The Explorersincludes the work of Wills, Giles, Leichhardt, Sturt, Eyre and Mitchell, and a host of other fascinating figures. Here, in one place, is the most remarkable body of non-fiction writing ever produced in Australia.
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