A New York Times Notable Book for 2011 One of Entertainment Weekly's Top 10 Nonfiction Books of the Year 2011 A Time Magazine Top 10 Nonfiction book of 2011 A Boston Globe Best Nonfiction Book of 2011 One of Library Journal's Best Books of 2011 A sharp-eyed, uniquely humane tour of America's cultural landscape—from high to low to lower than low—by the award-winning young star of the literary nonfiction world. In Pulphead, John Jeremiah Sullivan takes us on an exhilarating tour of our popular, unpopular, and at times completely forgotten culture. Simultaneously channeling the gonzo energy of Hunter S. Thompson and the wit and insight of Joan Didion, Sullivan shows us—with a laidback, erudite Southern charm that's all his own—how we really (no, really) live now. In his native Kentucky, Sullivan introduces us to Constantine Rafinesque, a nineteenth-century polymath genius who concocted a dense, fantastical prehistory of the New World. Back in modern times, Sullivan takes us to the Ozarks for a Christian rock festival; to Florida to meet the alumni and straggling refugees of MTV's Real World, who've generated their own self-perpetuating economy of minor celebrity; and all across the South on the trail of the blues. He takes us to Indiana to investigate the formative years of Michael Jackson and Axl Rose and then to the Gulf Coast in the wake of Katrina—and back again as its residents confront the BP oil spill. Gradually, a unifying narrative emerges, a story about this country that we've never heard told this way. It's like a fun-house hall-of-mirrors tour: Sullivan shows us who we are in ways we've never imagined to be true. Of course we don't know whether to laugh or cry when faced with this reflection—it's our inevitable sob-guffaws that attest to the power of Sullivan's work.
Sullivan has found the transcendent in the horse."--Sports Illustrated Winner of a 2004 Whiting Writers' Award One evening late in his life, veteran sportswriter Mike Sullivan was asked by his son what he remembered best from his three decades in the press box. The answer came as a surprise. "I was at Secretariat's Derby, in '73. That was ... just beauty, you know?" John Jeremiah Sullivan didn't know, not really-but he spent two years finding out, journeying from prehistoric caves to the Kentucky Derby in pursuit of what Edwin Muir called "our long-lost archaic companionship" with the horse. The result-winner of a National Magazine Award and named a Book of the Year by The Economist magazine-is an unprecedented look at Equus caballus, incorporating elements of memoir, reportage, and the picture gallery. In the words of the New York Review of Books, Blood Horses "reads like Moby-Dick as edited by F. Scott Fitzgerald . . . Sullivan is an original and greatly gifted writer.
The northern part of Loudoun County was a Unionist enclave in Confederate Virginia that remained a contested battleground for armies and factions of all stripes throughout the Civil War. Lying between the Blue Ridge Mountains, Harpers Ferry, and Washington, D.C., the Loudoun Valley provided a natural corridor for commanders on both sides, while its mountainous fringes were home to partisans, guerillas, deserters and smugglers. This detailed history examines the conflicting loyalties in the farming communities, the peaceful Quakers caught in the middle, and the political underpinnings of Unionist Virginia.
In 1816, the U.S. Congress decided to give the newly formed State of Indiana four square miles of land to lay out a capital city. Just where the capital city would be platted, however, was unknown. Four years later, the spot was finally chosen near where Fall Creek meets the White River. From that moment forward, despite a few bumps along the way, Indianapolis began its development into one of the nation's great cities. Over the course of that development, many buildings, companies, legends, and people have come and gone. While they are now only shadows of the past, they help to form the history and heart of Indianapolis.
Traces the history of bribery from ancient Egypt to ABSCAM, examines changing perceptions of bribery, and discusses the legal, ethical and religious injunctions against bribes
Based on nearly five decades of research, this magisterial work is a biographical register and analysis of the people who most directly influenced the course of the Civil War, its high commanders. Numbering 3,396, they include the presidents and their cabinet members, state governors, general officers of the Union and Confederate armies (regular, provisional, volunteers, and militia), and admirals and commodores of the two navies. Civil War High Commands will become a cornerstone reference work on these personalities and the meaning of their commands, and on the Civil War itself. Errors of fact and interpretation concerning the high commanders are legion in the Civil War literature, in reference works as well as in narrative accounts. The present work brings together for the first time in one volume the most reliable facts available, drawn from more than 1,000 sources and including the most recent research. The biographical entries include complete names, birthplaces, important relatives, education, vocations, publications, military grades, wartime assignments, wounds, captures, exchanges, paroles, honors, and place of death and interment. In addition to its main component, the biographies, the volume also includes a number of essays, tables, and synopses designed to clarify previously obscure matters such as the definition of grades and ranks; the difference between commissions in regular, provisional, volunteer, and militia services; the chronology of military laws and executive decisions before, during, and after the war; and the geographical breakdown of command structures. The book is illustrated with 84 new diagrams of all the insignias used throughout the war and with 129 portraits of the most important high commanders.
A groundbreaking study of the extraordinary photographers, writers, printmakers, and publishers who formed a flourishing modernist community in Kentucky Dozens of American cities witnessed the founding of camera clubs in the first half of the 20th century, though few boasted as many accomplished artists as the one based in Lexington, Kentucky. This pioneering book provides the most absorbing account to date of the Lexington Camera Club, an under-studied group of artists whose ranks included Ralph Eugene Meatyard, Van Deren Coke, Robert C. May, James Baker Hall, and Cranston Ritchie. These and other members of the Lexington Camera Club explored the craft and expressive potential of photography. They captured Kentucky's dramatic natural landscape and experimented widely with different techniques, including creating double and multiple exposures or shooting deliberately out-of-focus images. In addition to compiling images by these photographers, this book examines their relationships with writers, publishers, and printmakers based in Kentucky at the time, such as Wendell Berry, Guy Davenport, Jonathan Greene, and Thomas Merton. Moreover, the publication seeks to highlight the unique contributions that the Lexington Camera Club made to 20th-century photography, thus broadening a narrative of modern art that has long focused on New York and Chicago. Featuring a wealth of new scholarship, this fascinating catalogue asserts the importance and artistic achievement of these often overlooked photographers and their circle.
Named one of the Best Books of 2023 by the New Yorker and The New York Times' Dwight Garner “The first comprehensive biography of this hipster magus . . . [John Szwed] allows different sides of Smith’s personality to catch blades of sun. He brings the right mixture of reverence and comic incredulity to his task.” —Dwight Garner, The New York Times Grammy Award–winning music scholar and celebrated biographer John Szwed presents the first biography of Harry Smith, the brilliant eccentric who transformed twentieth century art and culture. He was an anthropologist, filmmaker, painter, folklorist, mystic, and walking encyclopedia. He taught Patti Smith and Robert Mapplethorpe about the occult, swapped drugs with Timothy Leary, had a front-row seat to a young Thelonious Monk, lived with (and tortured) Allen Ginsberg, was admired by Susan Sontag, and was one of the first artists funded by Guggenheim Foundation. He was always broke, generally intoxicated, compulsively irascible, and unimpeachably authentic. Harry Smith was, in the words of Robert Frank, “the only person I met in my life that transcended everything.” In Cosmic Scholar, the Grammy Award-winning music scholar and celebrated biographer John Szwed patches together, for the first time, the life of one of the twentieth century’s most overlooked cultural figures. From his time recording the customs of Native American tribes in the Pacific Northwest and Florida to his life in Greenwich Village in its heyday, Smith was consumed by an unceasing desire to create a unified theory of culture. He was an insatiable creator and collector, responsible for the influential Anthology of American Folk Music and several pioneering experimental films, but was also an insufferable and destructive eccentric who was unable to survive in regular society, or keep himself healthy or sober. Exhaustively researched, energetically told, and complete with a trove of images, Cosmic Scholar is a feat of biographical restoration and the long overdue canonization of an American icon. Includes black-and-white and color images
Against a background of rapid industrialization and economic transformation, the author describes the structure of British naval administration in the Gladstone-Disraeli era, assesses the important reforms of that structure by the Liberal politician Hugh Childers, and examines the strategic and operational contexts of the navy itself.
A New York Times Notable Book for 2011 One of Entertainment Weekly's Top 10 Nonfiction Books of the Year 2011 A Time Magazine Top 10 Nonfiction book of 2011 A Boston Globe Best Nonfiction Book of 2011 One of Library Journal's Best Books of 2011 A sharp-eyed, uniquely humane tour of America's cultural landscape—from high to low to lower than low—by the award-winning young star of the literary nonfiction world. In Pulphead, John Jeremiah Sullivan takes us on an exhilarating tour of our popular, unpopular, and at times completely forgotten culture. Simultaneously channeling the gonzo energy of Hunter S. Thompson and the wit and insight of Joan Didion, Sullivan shows us—with a laidback, erudite Southern charm that's all his own—how we really (no, really) live now. In his native Kentucky, Sullivan introduces us to Constantine Rafinesque, a nineteenth-century polymath genius who concocted a dense, fantastical prehistory of the New World. Back in modern times, Sullivan takes us to the Ozarks for a Christian rock festival; to Florida to meet the alumni and straggling refugees of MTV's Real World, who've generated their own self-perpetuating economy of minor celebrity; and all across the South on the trail of the blues. He takes us to Indiana to investigate the formative years of Michael Jackson and Axl Rose and then to the Gulf Coast in the wake of Katrina—and back again as its residents confront the BP oil spill. Gradually, a unifying narrative emerges, a story about this country that we've never heard told this way. It's like a fun-house hall-of-mirrors tour: Sullivan shows us who we are in ways we've never imagined to be true. Of course we don't know whether to laugh or cry when faced with this reflection—it's our inevitable sob-guffaws that attest to the power of Sullivan's work.
Rev. Waldschmidt's entries, which pertain to the congregations of Cocalico (Swamp), Weiseichenland (formerly Sebastian Reicher's Church), Modecreek, and Zeltenreich, are arranged in four separate alphabetical groupings. The first part, baptismal records, gives the name of the child, parents' names, date of birth and date of baptism, and the names of sponsors. Marriages come next, and they state the name of the bride and groom, the date of the marriage, and, frequently, the name(s) of the parents. Each marriage is listed twice, alphabetically according to the surname of both the bride and groom. The third section of the book lists the various communion services performed by Rev. Waldschmidt, with the names of the communicants. Finally, a separate listing of brides and grooms from official Pennsylvania marriage licenses signed by the pastor between 1784-1786 concludes the volume.
What the author of this book has to tell is the true story of a great City that was founded "by order of the King," in the old days when the Western World was new. It is the story of a City that, for a century of time after its birth, showed few signs of promise, but which has now come to be the Greatest City of Western America and the metropolis of California— the "Land o' Heart's Desire." The history of any city that can be named almost, is a story of its fortune that came from location or other accident to make it great. But Los Angeles is a City that was made great by the people, who one day found it sleeping in the sun, oblivious to its destiny. They were, for the most part, people who came from far regions of America, seeking a more agreeable climate than that to which they had been accustomed. This is the truth of the matter.
Perhaps most interesting is the range of buildings and machines that Mills designed - from monuments and local courthouses, to prisons and churches, bridges and canals, to rotary piston engines and fireproof masonry vaults - all during a revolutionary era of building technology in America.".
Sexual Bargaining in the Digital Era follows the evolution of genders/sexualities and so on away from their Old Normal (ON) pattern, which prevailed during the Agricultural Age and the Industrial Age, and into the New Normal (NN) pattern which is currently surfacing in concert with an emerging Digital Era. ON was based on the ancient traditional script governing how women, men, children ought to behave within the spheres of genders/marriages/families/relationships/sexualities. Over the centuries, ON eventually modified into the familiar 1950s’ style (nuclear) patriarchal, cisgender, husband/wife/with children and family. And now that style itself is fading away into NN. NN is based not on script but on improvisation—it is essentially a continual work-in-progress. To make it function the partners engage in ongoing negotiation governed by the principle that “everything is negotiable except the principle that everything is negotiable.” NN has thus far been pursued most frequently by persons (New Lights) who are educated and relatively advantaged. ON has been pursued mostly by persons (Old Lights) who are less educated and relatively less advantaged. ON is also strongly embraced by persons of a traditional religious bent—persons who tend to be rigid and unbending in their religious views. Currently, they tend to be extremely right-wing evangelicals and extremely right-wing Catholics. Importantly, their political clout far exceeds their relatively modest numbers within the larger population. In brief, the shift from ON to NN is a move away from the sanctity of a particular structure to the primacy of persons engaged in ongoing processes of inventing (and reinventing) certain arrangements of genders/marriages/families/relationships/sexualities, enabling them to fulfil their needs for primary (intrinsic/emotional) satisfactions such as liking, loving, empathy, companionship, sexual and so forth. Among other things, this shift replaces the preeminence of the historic binary or cisgender approach—heterosexual, legal, children and so on—in favor of the diversity/variety/multiplicity approach which incorporates under one conceptual umbrella all persons of whatever genders, sexualities and so on. All persons are thus engaged in a common struggle to achieve personal satisfactions as well as contribute to the Greater Good.
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