[Steinbecks Typewriter: Essays on His Art] collects several of DeMotts finest essays on Steinbeck... [that are] so carefully revised as to warn other critics seeking their own collected essay volume of the difference between a genuinely lapidary compilation and a kitchen midden. Illustrated with some rare photos, this collection is especially notable... John Ditsky, Choice ...Steinbecks Typewriter... stands as the most in-depth treatment of Steinbecks aesthetics, particularly in its exploration of the authors interior spaces and creative habits, elements of Steinbecks artistry which have not only been underestimated but woefully ignored. Stephen George, Steinbeck Review
The Antichrist, though mentioned a mere four times in the Bible, and then only obscurely, has exercised a tight hold on popular imagination throughout history. This has been particularly true in the U.S., says author Robert C. Fuller, where Americans have tended to view our nation as uniquely blessed by God--a belief that leaves us especially prone to demonizing our enemies. In Naming the Antichrist, Fuller takes us on a fascinating journey through the dark side of the American religious psyche, from the earliest American colonists right up to contemporary fundamentalists such as Pat Robertson and Hal Lindsey. Fuller begins by offering a brief history of the idea of the Antichrist and its origins in the apocalyptic thought in the Judeo-Christian tradition, and traces the eventual 71Gws how the colonists saw Antichrist personified in native Americans and French Catholics, in Anne Hutchinson, Roger Williams, and the witches of Salem, in the Church of England and the King. He looks at the Second Great Awakening in the early nineteenth century, showing how such prominent Americans as Yale president Timothy Dwight and the Reverend Jedidiah Morse (father of Samuel Morse) saw the work of the Antichrist in phenomena ranging from the French Revolution to Masonry. In the twentieth century, he finds a startling array of hate-mongers--from Gerald Winrod (who vilified Roosevelt as a pawn of the Antichrist) to the Ku Klux Klan--who drew on apocalyptic imagery in their attacks on Jews, Catholics, blacks, socialists, and others. Finally, Fuller considers contemporary fundamentalist writers such as Hal Lindsey (author of The Late Great Planet Earth, with some 19 million copies sold), Mary Stewart Relfe (whose candidates for the Antichrist have included such figures as Henry Kissinger, Pope John Paul II, and Anwar Sadat), and a host of others who have found Antichrist in the sinister guise of the European Economic Community, the National Council of Churches, feminism, New Age religions, and even supermarket barcodes and fibre optics (the latter functioning as "the eye of the Antichrist"). Throughout, Fuller reveals in vivid detail how our unique American obsession with the Antichrist reflects the struggle to understand ourselves--and our enemies--within the mythic context of the battle of absolute good versus absolute evil. From the Scofield Reference Bible (no other book had greater impact on the American Antichrist tradition) to the Scopes Monkey Trial, Fuller provides an informative and often startling look at a thread that weaves persistently throughout American religious and cultural life.
In Steinbeck's Imaginarium, Robert DeMott delves into the imaginative, creative, and sometimes neglected aspects of John Steinbeck's writing. DeMott positions Steinbeck as a prophetic voice for today as much as he was for the Depression-era 1930s as the essays explore the often unknown or unacknowledged elements of Steinbeck's artistic career that deserve closer attention. He writes about the determining scientific influences, such as quantum physics and ecology, in Cannery Row and considers Steinbeck's addiction to writing through the lens of the extensive, obsessive full-length journals that he kept while writing three of his best-known novels--The Grapes of Wrath, The Wayward Bus, and East of Eden. DeMott insists that these monumental works of fiction all comprise important statements on his creative process and his theory of fiction writing. DeMott further blends his personal experience as a lifelong angler with a reading of several neglected fishing episodes in Steinbeck's work. Collectively, the chapters illuminate John Steinbeck as a fully conscious, self-aware, literate, experimental novelist whose talents will continue to warrant study and admiration for years to come.
The Noble and Holy Order of the Knights of Labor was founded in 1869 as a secret fraternal order committed to the goal of uniting American labor. At its height in 1886, the Knights claimed the allegiance of perhaps a million workers. Despite a host of local studies by the new labor historians of the 1970s and 1980s, there has been no general study of the Knights since Norman Ware's 1929 book, and no one has ever attempted a comprehensive study of the culture of the organization. In Beyond Labor's Veil, Robert E. Weir presents a fascinating cultural portrait of the Knights across regions, covering the years 1869 to 1893. From the start, the Knights of Labor was an unusual organization, equal parts fraternal order and labor union. It was the only nineteenth-century labor organization to organize African Americans, women, and unskilled workers on an equal basis with white craftsmen. Weir goes beyond the rhetoric of public pronouncements and union politics to consider the real influence of the Knights--in communities and homes as well as in the workplace. Weir explores the many cultural expressions of the Knights--ritual, religion, poetry, music, literature, material objects, graphics, and leisure. Although the Knights barely survived into the twentieth century, Weir concludes that the creative cultural expressions of the Knights enabled it to do as well as it did in the face of powerful oppositional forces. What emerges in Beyond Labor's Veil is a rich, detailed description of the Knights as its members adapted to the confusion and contradiction of America's Gilded Age.
John Steinbeck is one of the most popular and important writers in American literature. Novels such as The Grapes of Wrath, Of Mice and Men,and East of Eden and the journal Travels with Charley convey the core of Steinbeck’s work—fiction that is reflective and compassionate. The Nobel prize winner cared deeply about people, and his writing captured the spirit, determination, and willingness of individuals to fight for their rights and the rights of others. His art of caring is critical for today’s readers and as a touchstone for our collective future. In Citizen Steinbeck: Giving Voice to the People, Robert McParland explains how the author’s work helps readers engage in moral reflection and develop empathy. McParland also looks at the ways educators around the world have used Steinbeck’s writings—both fiction and nonfiction—to impart ideals of compassion and social justice. These ideals are weaved into all of Steinbeck’s work, including his journalism and theatrical productions. Drawing on these texts—as well as interviews with secondary-level teachers—this book shows how Steinbeck’s work prompts readers to think critically and contextually about our values. Demonstrating the power a single author can have on generations of individuals around the world, Citizen Steinbeck enables readers to make sense of both the past and the present through the prism of this literary icon’s inspirational work.
Contains information on the compilation of enumerative and analytical bibliographies, the use of electronic help to search out bibliographic material, career opportunities in the fields related to bibliographic study, the future of bibliography, and the history of the creation of bibliographies. This new edition has been revised to take into account the impact of computer technology and new media practices. Annotation copyrighted by Book News, Inc., Portland, OR
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