Pulitzer Prize-winner La Farge died in 1963. Of his many books, this work has earned the affection of Santa Feans and New Mexicans, who continue to regard it as a regional classic.
Capturing the essence of the Southwest in 1915, Oliver La Farge's Pulitzer Prize-winning first novel is an enduring American classic. At a ceremonial dance, the young, earnest silversmith Laughing Boy falls in love with Slim Girl, a beautiful but elusive "American"-educated Navajo. As they experience all of the joys and uncertainties of first love, the couple must face a changing way of life and its tragic consequences.
From 1950 until just before his death in 1963, Pulitzer Prize-winner La Farge wrote weekly columns for "The Santa Fe New Mexican." This edition collects the writings as edited by his friend, Winfield Townley Scott.
Describes the summer the mother ditch went dry, a time of crisis for the Romero family, who grow fruits and vegetables by irrigation in the dry Cerrito region of New Mexico.
Pulitzer Prize-winner La Farge died in 1963. Of his many books, this work has earned the affection of Santa Feans and New Mexicans, who continue to regard it as a regional classic.
La Farge covers many aspects of everyday life in these 16 stories, which range from an old man facing death alone in the Mexican bush to some boys adjusting to the responsibilities of life at St. Peter's school. Born in 1901, La Farge is ranked among the literary lions of American Southwestern letters.
In his first book, the Pulitzer Prize-winning novel "Laughing Boy," La Farge presented a superb lyrical story of Navajo Indian life. He later returned to the Navajo scene with "The Enemy Gods," a richer, deeper book than he had written before, and its theme, both an absorbing story and a living social document, is nearer to his heart.
From 1950 until just before his death in 1963, Pulitzer Prize-winner La Farge wrote weekly columns for "The Santa Fe New Mexican." This edition collects the writings as edited by his friend, Winfield Townley Scott.
Henry James's Style of Retrospect traces James's engagement with the writing of the recent past across the last twenty-five years of his life and examines the thoroughgoing change his style underwent in this last phase of his career, as his focus turned from the observation of contemporary manners to biographical commemoration and autobiographical reminiscence, and the balance of his output gradually shifted from fiction to non-fiction. The 'late personal writings' of the book's subtitle are works of retrospective non-fiction. They are a varied group, representing a broad array of genres and occasions: commemorative essays and obituary tributes, textual revisions and accounts of revisiting familiar places, cultural and literary criticism, biography and autobiography, and family memoir. Oliver Herford proposes that we read the late personal writings as a coherent sequence, bound together by a close texture of cross-references and allusive echoes, and united by James's newly discovered sense for the literary possibilities of non-fiction. Closely analyzing the style of these writings, this study offers a boldly revisionist account of the way style itself challenges and preoccupies the very late James. A linked series of innovative close readings takes the major works of this period in sequence, addressing a key point of style in each: particular attention is paid to procedures of reference (to the historical past, to real persons and places and objects), a dimension of style often neglected and sometimes actively slighted in analyses of James's late work. Henry James's Style of Retrospect asks what it means for so distinguished a novelist to alter the foundations of his written manner so strikingly in late life, and shows how we may begin to reconfigure our understanding of late Jamesian aesthetics accordingly.
The 1960s saw the nexus of the revolution in popular music by a post-war generation amid demographic upheavals and seismic shifts in technology. Over the past two decades, musicians associated with this period have produced a large amount of important autobiographical writing. This book situates these works -- in the forms of formal autobiographies and memoirs, auto-fiction, songs, and self-fashioned museum exhibitions -- within the context of the recent expansion of interest in autobiography, disability, and celebrity studies. It argues that these writings express anxiety over musical originality and authenticity, and seeks to dispel their writers' celebrity status and particularly the association with a lack of seriousness. These works often constitute a meditation on the nature of postmodern fame within a celebrity-obsessed culture, and paradoxically they aim to regain the private self in a public forum.
Capturing the essence of the Southwest in 1915, Oliver La Farge's Pulitzer Prize-winning first novel is an enduring American classic. At a ceremonial dance, the young, earnest silversmith Laughing Boy falls in love with Slim Girl, a beautiful but elusive "American"-educated Navajo. As they experience all of the joys and uncertainties of first love, the couple must face a changing way of life and its tragic consequences.
Ayatollah Ali Baharvand has stepped down as one of Iran's nuclear negotiators. Sickened by the revolution that failed to elevate his country to the heights it deserved, he plans to seize control and strike his own deal with the West. But how far can he be trusted?
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