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Growing up in Philadelphia, with school and family visits to landmarks like Independence Hall and Betsy Ross’s house, I’ve long been interested in American history. That led me, eventually, to graduate school and my profession as a historian. At the same time, I have greatly enjoyed reading American novelists, such as Nathaniel Hawthorne, Willa Cather, and James Baldwin, as well as the works of thinkers like Ralph Waldo Emerson and W.E.B. DuBois. The sweet spot combining those two interests has been American intellectual history.
This is my candidate for the Great American Novel. Read it for its storyline and its fascinating chapters on whales. Along the way, you’ll encounter discussions about race, religion, friendship, and the virtuous life.
Some of my students ask, “Why does Melville digress so much?” My response: persist in reading this work. What at first seems extraneous becomes vital. You’ll discover a masterpiece.
Melville's tale of the whaling industry, and one captain's obsession with revenge against the Great White Whale that took his leg. Classics Illustrated tells this wonderful tale in colourful comic strip form, offering an excellent introduction for younger readers. This edition also includes a biography of Herman Melville and study questions, which can be used both in the classroom or at home to further engage the reader in the work at hand.
Growing up in Philadelphia, with school and family visits to landmarks like Independence Hall and Betsy Ross’s house, I’ve long been interested in American history. That led me, eventually, to graduate school and my profession as a historian. At the same time, I have greatly enjoyed reading American novelists, such as Nathaniel Hawthorne, Willa Cather, and James Baldwin, as well as the works of thinkers like Ralph Waldo Emerson and W.E.B. DuBois. The sweet spot combining those two interests has been American intellectual history.
Time and again, I come
back to this work of criticism because of its daring arguments. Fiedler attempts nothing less than a
comparison of American fiction with English, French, and Russian literature.
If
some of his arguments will leave you scratching your head, others will make you
look at novels from an entirely different perspective and provide a new
understanding of works you thought you knew.
Lengthy analyses of Moby Dick, The Scarlet Letter, and Huckleberry Finn help to illustrate the duplicity with which themes of love and death are treated in American fiction
Growing up in Philadelphia, with school and family visits to landmarks like Independence Hall and Betsy Ross’s house, I’ve long been interested in American history. That led me, eventually, to graduate school and my profession as a historian. At the same time, I have greatly enjoyed reading American novelists, such as Nathaniel Hawthorne, Willa Cather, and James Baldwin, as well as the works of thinkers like Ralph Waldo Emerson and W.E.B. DuBois. The sweet spot combining those two interests has been American intellectual history.
No book has influenced my study of intellectual history more than Hauser’s work. His Social History is an enormous undertaking and is divided into four volumes. It covers the period from cave art to early movies.
Dip into it to read about Shakespeare, Rembrandt, or Tolstoy. What I find so impressive is the nuanced and convincing way Hauser relates changes in society to artistic creation.
First published in 1951 Arnold Hausers commanding work presents an account of the development and meaning of art from its origins in the Stone Age through to the Film Age. Exploring the interaction between art and society, Hauser effectively details social and historical movements and sketches the frameworks in which visual art is produced.
This new edition provides an excellent introduction to the work of Arnold Hauser. In his general introduction to The Social History of Art, Jonathan Harris asseses the importance of the work for contemporary art history and visual culture. In addition, an introduction to each volume provides…
Growing up in Philadelphia, with school and family visits to landmarks like Independence Hall and Betsy Ross’s house, I’ve long been interested in American history. That led me, eventually, to graduate school and my profession as a historian. At the same time, I have greatly enjoyed reading American novelists, such as Nathaniel Hawthorne, Willa Cather, and James Baldwin, as well as the works of thinkers like Ralph Waldo Emerson and W.E.B. DuBois. The sweet spot combining those two interests has been American intellectual history.
It’s hard to praise this work too highly. It’s a lovely volume, lavishly illustrated. But what I like best about American Visions is Hughes’s singular voice.
Hughes's judgments are sure-footed and well-researched, and his tone is conversational. He is a guide you can rely on from the painters of the colonial period through the installations of the 1990s.
Writing with all the brilliance, authority, and pungent wit that have distinguished his art criticism for Time magazine and his greatly acclaimed study of modern art, The Shock of the New, Robert Hughes now addresses his largest subject: the history of art in America.
The intense relationship between the American people and their surroundings has been the source of a rich artistic tradition. American Visions is a consistently revealing demonstration of the many ways in which artists have expressed this pervasive connection. In nine eloquent chapters, which span the whole range of events, movements, and personalities of more than three…
In grade school, I was taught that my ancestors in Borikén (Puerto Rico) were eradicated by the Spanish, just a few decades after Christopher Columbus “discovered” the Americas. I have since become an Anthropologist of technology, where I study how the infrastructure failures and disasters like hurricanes are reactivating a dormant Taíno identity on my ancestral archipelago. My speculative fiction is inspired by this research and my fractured family history as a descendant of the Taíno, enslaved Africans, and their colonizers from Spain. In my stories, I challenge the narrative of my own extinction, imagining alternative pasts and futures where the Taíno are flourishing and Boricuas are free from American colonial rule (Taínofuturism).
In Latin America, the long shadow of Iberian imperialism and the racist caste system it left behind continue to dampen or mute expressions of indigeneity in our communities.
Speculative Fiction for Dreamers is a welcome countermeasure against this suppression of indigenous languages, myths, and traditions in Latin American storytelling. The contributors weave a tapestry of more-than-indigenous futurity, that is chimeric and cyborgian, a meshwork of continents and cosmovisions that blueprint futures and alternate presents in communion with ancestral pasts.
From Samy Figaredo’s Taíno-inspired play, to Ernest Hogan’s short story set in new Aztlán, the stories, comics, and poems in this anthology provide a Latin American perspective on indigenous speculative fiction.
“An outstanding showcase of contemporary Latinx authors exploring identity through the conventions of sci-fi, fantasy, and magical realism. Themes of family, migration, and community resonate throughout these 38 masterful stories. … This is a knockout.” —Publishers Weekly (starred review)
Finalist, 2022 World Fantasy Awards Finalist, 2022 Ignyte Awards
In a tantalizing array of new works from some of the most exciting Latinx creators working in the speculative vein today, Speculative Fiction for Dreamers extends the project begun with a previous anthology, Latinx Rising (The Ohio State University Press, 2020), to showcase a new generation of writers. Spanning diverse forms, settings,…
Though I was born in the U.S., I didn’t wind up living here full-time till I was almost 10. The result? I have always been curious about what it means to be an American. In one way or another, the books on my list explore that question. More than that, all (well, nearly all) insist that black history is inextricably intertwined with American history and that American culture is a mulatto culture, a fusion of black and white. After years of making my living as a journalist, editor, and book reviewer, I left newspapers to write fiction and non-fiction, exploring these and other questions.
James Alan McPherson, a writer I’d long admired and my teacher at the University of Iowa, introduced me to The Hero and the Blues. Murray and Ralph Ellison were friends and intellectual sparring partners who worked out their ideas in conversation, and in letters to one another, so it’s not surprising that many of the same ideas occur in their work.
Here, Murray argues that the hallmark of great artists, Shakespeare, Duke Ellington, and Thomas Mann, is their ability to improvise; that is, to take what they’ve learned through formal study and come up with something new. More than that, Murray writes convincingly, the blues has been essential in affirming the humanity of black Americans despite challenges complicated by the particularities of our situation.
As with Ellison, I keep coming back to Murray, again and again, for inspiration and affirmation.
In this visionary book, Murray takes an audacious new look at black music and, in the process, succeeds in changing the way one reads literature. Murray's subject is the previously unacknowledged kinship between fiction and the blues. Both, he argues, are virtuoso performances that impart information, wisdom, and moral guidance to their audiences; both place a high value on improvisation; and both fiction and the blues create a delicate balance between the holy and the obscene, essential human values and cosmic absurdity. Encompassing artists from Ernest Hemingway to Duke Ellington, and from Thomas Mann to Richard Wright, The Hero and…
Books—broadly defined as any kind of written or printed document—are the primary means by which civilizations are constructed, memories are preserved, ideas are communicated, wealth is distributed, and power is exercised. To understand any human society, you must read its books. And as Winston Churchill said, “Books last forever.” The physical structures of civilizations eventually crumble into ruins, but the books they leave behind are immortal.
More than a century before Oprah, emancipated African Americans organized their own book clubs. They studied mainly the Western classics but also emerging black writers.
While Booker T. Washington emphasized vocational training, more militant black leaders demanded the right to read the same authors taught in elite white academies: One of their syllabuses included Milton, Spenser, Homer, Aeschylus, Longfellow, Dryden, Pope, Browning, Pindar and Sappho. Those poets, said one reader, inspired the "hope [that] the great American epic of the joys and sorrows of our blood and kindred, of those who have gone before us[,] would one day be written."
And that's exactly what happened. A young Ralph Ellison read everything in the segregated branch of the Oklahoma City library; Malcolm X was profoundly affected by Paradise Lost; and Toni Morrison minored in classics at Howard University.
Over the past decade the popularity of black writers including E. Lynn Harris and Terry McMillan has been hailed as an indication that an active African American reading public has come into being. Yet this is not a new trend; there is a vibrant history of African American literacy, literary associations, and book clubs. Forgotten Readers reveals that neglected past, looking at the reading practices of free blacks in the antebellum north and among African Americans following the Civil War. It places the black upper and middle classes within American literary history, illustrating how they used reading and literary conversation…
I have been passionate about journalism since I was a teenager, when I became the co-editor of my high school newspaper. My career as a full-time journalist began decades ago, at a small family-owned newspaper in Berkshire County, Mass., and continued through staff writer positions at The Cape Cod Times, Providence Journal and now at OceanStateStories.org, the new non-profit news outlet based at Salve Regina University’s Pell Center in Newport, R.I., that I co-founded and now direct. So I have the long and inside view of American journalism!
This landmark book by the Iranian-American writer Azar Afisi is an account of the oppression of the Islamic Revolution in her native Iran and an ode to the liberating power of literature and truth.
In her book, Nafisi recounts the experiences of a group of students she worked with as a professor of English at the University of Tehran. She was dismissed from that professorship in 1981 for refusing to cover her hair and 16 years later, emigrated to America, where she teaches, writes, and is an internationally respected voice for press and personal freedoms.
When Azar Nafisi was fired from Tehran University (where she was teaching English literature) because she refused to wear a veil, she gathered a group of her female students and resumed her classes at home, privately and discreetly. There, a group of young women discussed, argued about and communed with Shakespeare, Jane Austen, Henry James, Nabokov and others in the canon of English writers. The surreal picture of reading "Lolita", weighing the sexuality of Jane Austen or the American authenticity of Gatsby in the severe aftermath of Iran's Islamic Revolution was not lost on either Nafisi or her students. The…
I vividly recall learning about public libraries as a kid: if I signed up for a library card I could take ANY of these books home to read?! From the first, I loved books as physical objects on library shelves—savoring their covers and carefully reading their spines as clues to the stories within. I ended up as a professor of literature who does not just study the words, or texts, of novels (my specialty), but how stories are made into books and circulate in the culture. Everything from graphic design to price can influence our interpretation of a story, even before we read the first word...
I love the grit and heroism of this story about the history of the humble Armed Services Editions. My own university holds one of the largest collections of these small wartime reprints that were sized to fit into the pocket of a GI’s uniform.
So, I initially reached for this book out of duty but then relished it for its compelling historical facts and vividly bookish humanity.
NEW YORK TIMES BESTSELLER. While the Nazis were burning hundreds of millions of books across Europe, America printed and shipped 140 million books to its troops. The "heartwarming" story of how an army of librarians and publishers lifted spirits and built a new democratic audience of readers is as inspiring today as it was then (New York Times).
When America entered World War II in 1941, we faced an enemy that had banned and burned 100 million books. Outraged librarians launched a campaign to send free books to American troops and gathered 20 million hardcover donations.
Growing up in Alberta, Canada, I spent many summer days at the Calgary Stampede, where I became familiar with the idea of the Wild West. We would don our cowboy hats and trek to the fairgrounds to watch bucking horses and chuckwagon races. Thus began my obsession with popular westerns. I wrote my Ph.D. dissertation on the subject, and I still teach courses and write books about various aspects of the popular West. As a bit of an outsider myself, I especially love Westerns by folks on the margins, without a lot of power. Their takes on the West are always quirky and surprising. I hope you agree!
I never thought of the Old West the same again after reading this book, which shows how the myth of the Old West was made by powerful men who created the West in their own image.
I used to think of Western vigilantism as part and parcel of the “Wild West,” necessary to keep the piece in the absence of “civilization.” Little did I know that the ones behind Western vigilante violence were powerful men using terrorist tactics to preserve their control over the land and its resources.
Bold’s meticulous research is as undeniable as it is thought-provoking and utterly absorbing.
The Frontier Club is Christine Bold's name for the network of eastern aristocrats who created the western as we now most commonly know it. At the turn of the twentieth century, they yoked this most popular formula to their own elite causes-from big-game hunting to conservation, immigration restriction to Jim Crow segregation-and aligned themselves with cattle kings and "quality" publishers. This book tells the story of that cultural sleight-of-hand. It delves into institutional archives and personal papers to excavate the hidden social, political, and financial interests in the making of the modern western. It re-reads frontier club fiction in relation…
