Advertising executive Julia Mallet gives a party at which she performs an old hypnotizing trick from her college days. The game over, everyone goes home, but the next day there is a murder and Julia realizes she made a mistake in dehypnotizing her guests, one of whom killed. With the aid of a handsome policeman, Julia tries to unmask the killer.
Spectacular recent discoveries from the Nathan Harrison cabin site offer new insights and perspectives into the life of this former slave and legendary California homesteader. “In many ways, it is a quintessential American story because of the fact that slavery was the American story.”—Julia A. King, St. Mary’s College of Maryland Few people in the history of the United States embody ideals of the American Dream more than Nathan Harrison. His is a story with prominent themes of overcoming staggering obstacles, forging something-from-nothing, and evincing gritty perseverance. In a lifetime of hard-won progress, Harrison survived the horrors of slavery in the Antebellum South, endured the mania of the California Gold Rush, and prospered in the rugged chaos of the Wild West. From the introduction: According to dozens of accounts, Harrison would routinely greet visitors to his remote Southern California hillside property with the introductory quip, “I’m N——r Nate, the first white man on the mountain.” This is by far the most common direct quote in all of the extensive Harrison lore. If it is possible to get past current-day shock and outrage over the inflammatory racial epithet, one can begin to contextualize and appreciate the ironic humor, ethnic insight, and dualistically crafted identities Harrison employed in this profound statement.
The myths of Genesis are the foundation for hundreds of texts written at later diachronically distinct and datable periods. Seven texts-Genesis itself, Genesis Rabbah, Pirke deRabbi Eliezer and mediaeval compilations-are examined here, with five interrelated questions in focus: Can structuralist theory be applied usefully to societies conscious of history and change? What is the relationship between continuity and trasformation as a mythological tradition develops diachronically? What role does diachronic development within a myth play in relation to its underlying structure? What is the synchronic structure of Israelite (or rather, biblical) myth? Are there identifiable patterns of transformation and continuity between biblical myth and the three diachronically distinct levels of rabbinic myth?
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