Like most things William Kunstler does, the poems in this collection rattle the foundations of venerable American institutions, in this case our poetry canon and our entrenched notion that institutionalized racism is a thing of the past. His blending of high seriousness of purpose with lightheartedness of tone appears effortless and masterful. This is not ivory tower stuff. It is experience lived as fully as possible and only then recast in lyric form. Kunstler knew most of the people he writes about. A good number of those who live on in these pages had him as their only defender, some ke kept out of prison, others from the electric chair. In many ways, this book is Kunstler's true autobiography. Reading the sonnet and accompanying prose paragraph on Dr. Martin Luther Kings, Jr., for example, we learn all we need to know about the bond between Kunstler and the younger clergyman, and the seven years they worked together. And from the sonnet and commentary on Morton Stavis we grasp how deeply Kunstler feels the calling of his profession, by his anguish at the loss of his attorney friend who had for many years defended him in the courts.
Like most things William Kunstler does, the poems in this collection rattle the foundations of venerable American institutions, in this case our poetry canon and our entrenched notion that institutionalized racism is a thing of the past. His blending of high seriousness of purpose with lightheartedness of tone appears effortless and masterful. This is not ivory tower stuff. It is experience lived as fully as possible and only then recast in lyric form. Kunstler knew most of the people he writes about. A good number of those who live on in these pages had him as their only defender, some ke kept out of prison, others from the electric chair. In many ways, this book is Kunstler's true autobiography. Reading the sonnet and accompanying prose paragraph on Dr. Martin Luther Kings, Jr., for example, we learn all we need to know about the bond between Kunstler and the younger clergyman, and the seven years they worked together. And from the sonnet and commentary on Morton Stavis we grasp how deeply Kunstler feels the calling of his profession, by his anguish at the loss of his attorney friend who had for many years defended him in the courts.
In its expanded third edition, this definitive work on Classics Illustrated explores the enduring series of comic-book adaptations of literary masterpieces in even greater depth, with twice the number of color plates as in the second edition. Drawing on interviews, correspondence, fanzines, and archival research, the book covers in full detail the work of the artists, editors, scriptwriters, and publishers who contributed to the success of the "World's Finest Juvenile Publication." Many previously unpublished reproductions of original art are included, along with new chapters covering editor Meyer Kaplan, art director L.B. Cole, and artist John Parker; additional information on contributions from Black artists and scriptwriters such as Matt Baker, Ezra Jackson, George D. Lipscomb, and Lorenz Graham; and a complete issue-by-issue listing of significant international series.
Schreiben war schon immer ein wichtiger Teil des Lebens von William Lewis, von professionellen Berichten über Buchbesprechungen bis hin zu Gedichten und Songtexten. Vor vier Jahren entdeckte er Flash Fiction, was ihm neue Wege der Kreativität eröffnete. Er genießt besonders die Knappheit und die Möglichkeiten der Kurzform. Einige seiner Geschichten sind leicht und humorvoll, andere sind düsterer. Die Kooperation mit den Göttinger Künstler:innen, die die Geschichten in diesem Buch illustriert haben, entstand aufgrund der Städtepartnerschaft, die Göttingen und Cheltenham verbindet. Bei einem Partnerschaftsbesuch lernte William Lewis aus Cheltenham Greta Mindermann-Lynen und Christiane Christen kennen, beide Mitglieder der Göttinger Künstlervereinigung Kreis 34. So entstand die Idee zu diesem illustrierten Buch. Christiane Christen übersetzte die teils sehr skurrilen Geschichten ins Deutsche und leitete sie an die Künstler:innen des Kreis 34 weiter, die sich zu Illustrationen in ganz verschiedenen Stilrichtungen inspirieren ließen. Dank der freundlichen und großzügigen Unterstützung der Städtepartnerschaftsvereine Cheltenhams und Göttingens, der Stadt Cheltenham und der Stadt Göttingen konnte dieses schöne Buch mit 13 Geschichten auf Englisch mit deutscher Übersetzung und mit 27 Illustrationen gedruckt werden.
This study of the Wounded Knee trials demonstrates the impact that legal institutions and the media have on political dissent. Sayer draws on court records, news reports, and interviews to show how both the defense and the prosecution had to respond continually to legal constraints, media coverage, and political events outside the courtroom.
A New York Times–bestselling historian’s in-depth portrait of life in America, from the Depression era to the early 1970s: “Magnificent” (The New York Times). Award-winning historian and biographer William Manchester, author of The Last Lion, an epic three-volume biography of Winston Churchill, brings us an evocative exploration of the American way of life from 1932 to 1972. Covering almost every facet of American culture during a very diverse and tumultuous period in history, Manchester’s account is both dramatic and surprisingly intimate—with compelling details that could only be known by a dedicated historian who lived through and documented this fascinating time. It’s an enlightening, affecting, and highly entertaining journey through four extraordinary decades in the life of America. “There is no fiction that can compete with good, gossipy, anecdotal history—the inside story of who said or did what in moments of great tensions or crisis . . . I think you ought to read this history and weep, read it and laugh, read it and don’t repeat it.” —Anatole Broyard
Dwayne Cox and William Morison trace the twists and turns of the University of Louisville's two hundred year journey from provincial academy to national powerhouse. From the 1798 charter that established Jefferson Seminary to the 1998 opening of Papa John Stadium, Cox and Morison reveal the unique and fascinating history of the university's evolution. They discuss the early failures to establish a liberal arts college; tell the extraordinary story of the Louisville Municipal College, U of L's separate division for African Americans during the era of segregation; detail the political wrangling and budgetary struggles of the university's move from quasi-private to state-supported institution; and confront head-on the question of the university's founding date. The history of the University of Louisville defies the stereotype of orderly and planned growth. For many years, the university was essentially a consortium of two professional schools—medicine and law. Not until the first decade of the twentieth century did the liberal arts gain a firm and permanent foothold. Because of its early emphasis on practical, professional education and the virtual autonomy of its separate units for many years, the University of Louisville is unusual in the annals of higher education.
This is a critical analysis of the history of the American Civil Liberties Union and at the same time the history of American liberalism in the twentieth century. It represents the first published account of the ACLU's record. Other works on the organization either dealt only with specific issues or have been simply journalistic accounts. Donohue provides the first systematic analysis by a social scientist.This book is directed at those interested in the history of American liberalism and, no less, the history of American conservatism, for ideological struggle within the United States touches directly on civil libertarian concerns. The work is especially significant for American constitutional lawyers, political scientists, and for those concerned with serious ideas in American life. Supporters as well as critics of the ACLU will be attracted to this work for different reasons. It is unquestionably the most serious work now available and is likely to remain the touchstone for any such work for many years to come.
Urban Ornithology is the first quantitative historical analysis of any New York City natural area’s birdlife and spans the century and a half from 1872 to 2016. Only Manhattan’s Central and Brooklyn’s Prospect Parks have preliminary species lists, not revised since 1967, and the last book examining the birdlife of the entire New York City area is now more than fifty years old. This book updates the avifaunas of those two parks, the Bronx, and other New York City boroughs. It treats the 301 bird species known to have occurred within its study area—Van Cortlandt Park and the adjacent Northwest Bronx—plus 70 potential additions. Its 123 breeding species are tracked from 1872 and supplemented by quantitative breeding bird censuses from 1937 to 2015. Gains and losses of breeding species are discussed in light of an expanding New York City inexorably extinguishing unique habitats.
A truly remarkable collection of activist writings across all topics and perspectives, all while recounting a personal evolution from idealistic urban wanderer to community organizer, from graffiti writer to renowned essayist. Author William Upski Wimsatt delivers stories, strategies, suggestions, straight talk, and conversations with maverick activists. He advocates youth taking charge of their own education, whether it's in or out of school, and promotes the power of young people engaging in philanthropy. A truly original treatise from the paradigm-flipping theorist of youth activism, No More Prisons goes beyond pinpointing problems to hone in on solutions, and declares that today's youth is poised to surpass the activist efforts of the 1960s generation.
A significant expansion of the critically acclaimed first edition, Classics Illustrated: A Cultural History, 2d ed., carries the story of the Kanter family's series of comics-style adaptations of literary masterpieces from 1941 into the 21st century. This book features additional material on the 70-year history of Classics Illustrated and the careers and contributions of such artists as Alex A. Blum, Lou Cameron, George Evans, Henry C. Kiefer, Gray Morrow, Rudolph Palais, and Louis Zansky. New chapters cover the recent Jack Lake and Papercutz revivals of the series, the evolution of Classics collecting, and the unsung role of William Kanter in advancing the fortunes of his father Albert's worldwide enterprise. Enhancing the lively account of the growth of "the World's Finest Juvenile Publication" are new interviews and correspondence with editor Helene Lecar, publicist Eleanor Lidofsky, artist Mort Kunstler, and the founder's grandson John "Buzz" Kanter. Detailed appendices provide artist attributions, issue contents and, for the principal Classics Illustrated-related series, a listing of each printing identified by month, year, and highest reorder number. New U.S., Canadian and British series have been added. More than 300 illustrations--most of them new to this edition--include photographs of artists and production staff, comic-book covers and interiors, and a substantial number of original cover paintings and line drawings.
E. M. (Buck) Schiwetz (1898–1984) could be called a “favorite son” among Texas artists working in the twentieth century. Schiwetz ranks among the state’s best-known early artists, having left behind an important body of iconic Texas imagery produced over a prodigious career spanning some seven decades. Educated as an architect at A&M College of Texas, he parlayed this training with natural acumen to become a consummate draftsman, prominent illustrator, and celebrated artist. In the mid-twentieth century, Schiwetz distinguished himself as an active participant in the rise of Texas art. As the Texas art scene experienced a period of dynamic growth and development, his artwork evolved across successive movements of Lone Star Impressionism, Regionalism, Modernism, and Expressionism. During his lifetime, the artwork of Buck Schiwetz arguably graced more publications than that of any other Texas artist. Featured in popular journals such as The Humble Way or published in the pioneering art books issued by academic presses at both the University of Texas and Texas A&M University, Schiwetz’s Texas imagery has long been employed to portray and celebrate Lone Star history and culture. The Artistic Legacy of Buck Schiwetz provides a long-overdue examination of this important Texas artist and his legacy: the first authoritative treatment of Schiwetz’s career as both fine artist and accomplished illustrator, and the first scholarly examination of his full body of work. See the art exhibition traveling Texas from 2023-2025: Stark Galleries, Texas A&M University: September 21 to December 18, 2023 Tyler Museum of Art: January 19 to April 14, 2024 The Grace Museum, Abilene: April 27 to September 15, 2024 The Capitol of Texas, Austin: October 25, 2024, to January 31, 2025
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.