Books published by publisher Oregon State University Press, 2012

Ron Strickland's oral histories recover a part of the original Northwest character that is rapidly disappearing. In River Pigs and Cayuses, he gathers stories from old-timers in Washington, Idaho, and Montana. Brimming with lively accounts both humorous and poignant, the book illuminates cadences and traditions that Strickland hopes will survive long after the storytellers are gone. Here a moonshiner, a fish pirate, a timber cruiser, a branding iron maker, a smoke jumper, a frontier bride, and twenty-five other fascinating individuals speak vividly, revealing their personal histories in their own words.Strickland introduces each story, providing information on the teller and placing the story in context. In telling their own stories, his subjects speak to the diversity of life and labor in the Northwest. A short glossary enhances the listening experience, as do Strickland's own photographs of the storytellers.In a new introduction, William Kittredge notes that Strickland's interviewees are most passionate when speaking of their survival in the work-a-day world, sustained both by their livelihoods and by the solace of companionship. What we hear echoing over and again in these voices, Kittredge writes, is pride, at having managed difficult lives, and having along the way earned independence, all the individuality they could manage, and an unapologetic sense of self.

Like Dylan Thomas' Under Milk Wood and Sherwood Anderson's Winesburg, Ohio, Brian Doyle's stunning fiction debut brings a town to life through the jumbled lives and braided stories of its people. In a small fictional town on the Oregon coast there are love affairs and almost-love-affairs, mystery and hilarity, bears and tears, brawls and boats, a garrulous logger and a silent doctor, rain and pain, Irish immigrants and Salish stories, mud and laughter. There's a Department of Public Works that gives haircuts and counts insects, a policeman addicted to Puccini, a philosophizing crow, beer and berries. An expedition is mounted, a crime committed, and there's an unbelievably huge picnic on the football field. Babies are born. A car is cut in half with a saw. A river confesses what it's thinking. . . It's the tale of a town, written in a distinct and lyrical voice, and readers will close the book more than a little sad to leave the village of Neawanaka, on the wet coast of Oregon, beneath the hills that used to boast the biggest trees in the history of the world.

In a century that was dominated by science and technology, the wide-ranging artwork of Michael Ayrton (1921-75) is truly a tribute to the enduring power of Greek myth. Theorists often discuss the link between myth and creativity, but rarely does one see this connection manifested so provocatively over the course of an artist's career. Fittingly, this British sculptor, painter, author, filmmaker, and maze designer was inspired by the story of the archetypal craftsman Daedalus-father of Icarus and maker of the labyrinth that imprisoned the Minotaur-and produced over 800 works that in turn enhance the myth's significance. Highlighting the interaction between myth and artist, word and image, Jacob Nyenhuis here presents a catalogue of these works, one that will enlighten Ayrton's British following while introducing him to an American audience.A nonconformist who challenged Picasso's reign over the art world, Ayrton found in Daedalus a richly complex story of captivity and escape, ingenuity and creativity, flight and fall, success and failure. Ayrton's own journey into the labyrinth set him on a torturous path through life and into the psyche: he came to identify himself not only with the craftsman but also with the Minotaur, representative of the bestial nature hidden within all of us. He ultimately created a new visual syntax that expanded the meaning of the labyrinth in disturbing ways for the twentieth century. The intensity of Ayrton's journey is conveyed in this beautifully produced volume comprising biography, critical analysis, historical context, and an annotated catalogue of the works, many appearing in color.

In My Forty Years with Ford, Charles Sorensen—sometimes known as “Henry Ford’s man,” sometimes as “Cast-iron Charlie”—tells his own story, and it is as challenging as it is historic. He emerges as a man who was not only one of the great production geniuses of the world but also a man who called the plays as he saw them. He was the only man who was able to stay with Ford for almost the full history of his empire, yet he never hesitated to go against Ford when he felt the interests of the company demanded it. When labor difficulties mounted and Edsel’s fatal illness was upon him, Sorensen sided with Edsel against Henry Ford and Harry Bennett, and he insisted that Henry Ford II be brought in to direct the company despite the aging founder’s determination that no one but he hold the presidential reins.First published in 1956, My Forty Years with Ford has now been reissued in paperback for the first time. The Ford story has often been discussed in print but has rarely been articulated by someone who was there. Here Sorensen provides an eyewitness account of the birth of the Model T, the early conflicts with the Dodge brothers, the revolutionary announcement of the five-dollar day, and Sorensen’s development of the moving assembly line—a concept that changed our world. Although Sorensen conceived, designed, and built the giant Willow Run plant in nineteen months and then proceeded to turn out eight thousand giant bombers, his life’s major work was to make possible the vision of Henry Ford and to postpone the personal misfortune with which it ended. My Forty Years with Ford is both a personal history of a business empire and a revelation that moves with excitement and the power of tragedy.

Marguerite de Angeli was born in Lapeer, Michigan, in 1889. As a child, she loved to hear her father tell the story of the red leather-topped copper-toed boots he prized when he was a boy.Recreating the mischievous adventures of that boy through a Michigan summer, Copper-Toed Boots escapes to a time of "tradin" with schoolmates, "tradin" at the store, and picnicking during blackberry season. Children of all ages will delight in this realistic portratyal of mid-nineteenth century rural life. From classroom antics to the day the circus comes to town, Marguerite de Angeli vivdly depicts the folk happenings of a little American town.

In Hollowed Ground, author Larry Lankton tells the story of two copper industries on Lake Superior-native copper mining, which produced about 11 billion pounds of the metal from the 1840s until the late 1960s, and copper sulfide mining, which began in the 1950s and produced another 4.4 billion pounds of copper through the 1990s. In addition to documenting companies and their mines, mills, and smelters, Hollowed Ground is also a community study. It examines the region's population and ethnic mix, which was a direct result of the mining industry, and the companies' paternalistic involvement in community building. While this book covers the history of the entire Lake Superior mining industry, it particularly focuses on the three biggest, most important, and longest-lived companies: Calumet & Hecla, Copper Range, and Quincy. Lankton shows the extent of the companies' influence over their mining locations, as they constructed the houses and neighborhoods of their company towns, set the course of local schools, saw that churches got land to build on, encouraged the growth of commercial villages on the margin of a mine, and even provided pasturage for workers' milk cows and space for vegetable gardens. Lankton also traces the interconnected fortunes of the mining communities and their companies through times of bustling economic growth and periods of decline and closure. Hollowed Ground presents a wealth of images from Upper Michigan's mining towns, reflecting a century and a half of unique community and industrial history. Local historians, industrial historians, and anyone interested in the history of Michigan's Upper Peninsula will appreciate this informative volume.

Saving Arcadia: A Story of Conservation and Community in the Great Lakes is a suspenseful and intimate land conservation adventure story set in the Great Lakes heartland. The story spans more than forty years, following the fate of a magnificent sand dune on Lake Michigan and the people who care about it. Author and narrator Heather Shumaker shares the remarkable untold stories behind protecting land and creating new nature preserves. Written in a compelling narrative style, the book is intended in part as a case study for landscape-level conservation and documents the challenges of integrating economic livelihoods into conservation and what it really means to “preserve” land over time. This is the story of a small band of determined townspeople and how far they went to save beloved land and endangered species from the grip of a powerful corporation. Saving Arcadia is a narrative with roots as deep as the trees the community is trying to save; something set in motion before the author was even born. And yet, Shumaker gives a human face to the changing nature of land conservation in the twenty-first century. Throughout this chronicle we meet people like Elaine, a nineteen-year-old farm wife; Dori, a lakeside innkeeper; and Glen, the director of the local land trust. Together with hundreds of others they cross cultural barriers and learn to help one another in an effort to win back the six-thousand-acre landscape taken over by Consumers Power that is now facing grave devastation. The result is a triumph of community that includes working farms, local businesses, summer visitors, year-round residents, and a network of land stewards. A work of creative nonfiction, Saving Arcadia is the adventurous tale of everyday people fighting to reclaim the land that has been in their family for generations. It explores ideas about nature and community, and anyone from scholars of ecology and conservation biology to readers of naturalist writing can gain from Arcadia’s story.

In The Impossible Craft, Scott Donaldson explores the rocky territory of literary biography, the most difficult that biographers try to navigate. Writers are accustomed to controlling the narrative, and notoriously opposed to allowing intruders on their turf. They make bonfires of their papers, encourage others to destroy correspondence, write their own autobiographies, and appoint family or friends to protect their reputations as official biographers. Thomas Hardy went so far as to compose his own life story to be published after his death, while falsely assigning authorship to his widow. After a brief background sketch of the history of biography from Greco-Roman times to the present, Donaldson recounts his experiences in writing biographies of a broad range of twentieth-century American writers: Ernest Hemingway, F. Scott Fitzgerald, John Cheever, Archibald MacLeish, Edwin Arlington Robinson, Winfield Townley Scott, and Charlie Fenton. Donaldson provides readers with a highly readable insiders’ introduction to literary biography. He suggests how to conduct interviews, and what not to do during the process. He offers sound advice about how closely biographers should identify with their subjects. He examines the ethical obligations of the biographer, who must aim for the truth without unduly or unnecessarily causing discomfort or worse to survivors. He shows us why and how misinformation comes into existence and tends to persist over time. He describes “the mythical ideal biographer,” an imaginary creature of universal intelligence and myriad talents beyond the reach of any single human being. And he suggests how its very impossibility makes the goal of writing a biography that captures the personality of an author a challenge well worth pursuing.