Books published by publisher University Press Of America

<p>Illuminating the moral dilemmas that lie at the heart of a slaveholding society, this book tells the story of a young slave who was sexually exploited by her master and ultimately executed for his murder.</p><p>Celia was only fourteen years old when she was acquired by John Newsom, an aging widower and one of the most prosperous and respected citizens of Callaway County, Missouri. The pattern of sexual abuse that would mark their entire relationship began almost immediately. After purchasing Celia in a neighboring county, Newsom raped her on the journey back to his farm. He then established her in a small cabin near his house and visited her regularly (most likely with the knowledge of the son and two daughters who lived with him). Over the next five years, Celia bore Newsom two children; meanwhile, she became involved with a slave named George and resolved at his insistence to end the relationship with her master. When Newsom refused, Celia one night struck him fatally with a club and disposed of his body in her fireplace.</p><p>Her act quickly discovered, Celia was brought to trial. She received a surprisingly vigorous defense from her court-appointed attorneys, who built their case on a state law allowing women the use of deadly force to defend their honor. Nevertheless, the court upheld the tenets of a white social order that wielded almost total control over the lives of slaves. Celia was found guilty and hanged.</p><p>Melton A. McLaurin uses Celia's story to reveal the tensions that strained the fabric of antebellum southern society. Celia's case demonstrates how one master's abuse of power over a single slave forced whites to make moral decisions about the nature of slavery. McLaurin focuses sharply on the role of gender, exploring the degree to which female slaves were sexually exploited, the conditions that often prevented white women from stopping such abuse, and the inability of male slaves to defend slave women. Setting the case in the context of the 1850s slavery debates, he also probes the manner in which the legal system was used to justify slavery. By granting slaves certain statutory rights (which were usually rendered meaningless by the customary prerogatives of masters), southerners could argue that they observed moral restraint in the operations of their peculiar institution.</p><p>An important addition to our understanding of the pre-Civil War era, <i>Celia, A Slave</i> is also an intensely compelling narrative of one woman pushed beyond the limits of her endurance by a system that denied her humanity at the most basic level.</p>

“Failing schools. Underprivileged schools. Just plain bad schools.” That’s how Eve L. Ewing opens Ghosts in the Schoolyard: describing Chicago Public Schools from the outside. The way politicians and pundits and parents of kids who attend other schools talk about them, with a mix of pity and contempt. But Ewing knows Chicago Public Schools from the inside: as a student, then a teacher, and now a scholar who studies them. And that perspective has shown her that public schools are not buildings full of failures—they’re an integral part of their neighborhoods, at the heart of their communities, storehouses of history and memory that bring people together. Never was that role more apparent than in 2013 when Mayor Rahm Emanuel announced an unprecedented wave of school closings. Pitched simultaneously as a solution to a budget problem, a response to declining enrollments, and a chance to purge bad schools that were dragging down the whole system, the plan was met with a roar of protest from parents, students, and teachers. But if these schools were so bad, why did people care so much about keeping them open, to the point that some would even go on a hunger strike? Ewing’s answer begins with a story of systemic racism, inequality, bad faith, and distrust that stretches deep into Chicago history. Rooting her exploration in the historic African American neighborhood of Bronzeville, Ewing reveals that this issue is about much more than just schools. Black communities see the closing of their schools—schools that are certainly less than perfect but that are theirs—as one more in a long line of racist policies. The fight to keep them open is yet another front in the ongoing struggle of black people in America to build successful lives and achieve true self-determination.

Winner of the Stubbendieck Great Plains Distinguished Book Prize America's Great Plains once possessed one of the grandest wildlife spectacles of the world, equaled only by such places as the Serengeti, the Masai Mara, or the veld of South Africa. Pronghorn antelope, gray wolves, bison, coyotes, wild horses, and grizzly bears: less than two hundred years ago these creatures existed in such abundance that John James Audubon was moved to write, "it is impossible to describe or even conceive the vast multitudes of these animals."In a work that is at once a lyrical evocation of that lost splendor and a detailed natural history of these charismatic species of the historic Great Plains, veteran naturalist and outdoorsman Dan Flores draws a vivid portrait of each of these animals in their glory--and tells the harrowing story of what happened to them at the hands of market hunters and ranchers and ultimately a federal killing program in the nineteenth and twentieth centuries. The Great Plains with its wildlife intact dazzled Americans and Europeans alike, prompting numerous literary tributes. American Serengeti takes its place alongside these celebratory works, showing us the grazers and predators of the plains against the vast opalescent distances, the blue mountains shimmering on the horizon, the great rippling tracts of yellowed grasslands. Far from the empty "flyover country" of recent times, this landscape is alive with a complex ecology at least 20,000 years old--a continental patrimony whose wonders may not be entirely lost, as recent efforts hold out hope of partial restoration of these historic species.Written by an author who has done breakthrough work on the histories of several of these animals--including bison, wild horses, and coyotes--American Serengeti is as rigorous in its research as it is intimate in its sense of wonder--the most deeply informed, closely observed view we have of the Great Plains' wild heritage.

At last, one of the most popular books on the American West is available once again in hardcover. In celebration of the twentieth anniversary of the publication of Desert Solitaire, the University of Arizona Press is pleased to publish a new edition featuring a new introduction by the author, his definitive corrections to the text, and new illustrations commissioned exclusively for this volume. Edward Abbey's account of two summers spent in southeastern Utah's canyonlands is surely one of the most enduring works of contemporary American nature writing. In it he tells of his stint as a park ranger at Arches National Monument, of his love for the natural beauty that surrounded him, and of his distaste for the modernizing improvements designed to increase visitation to the park. "I confess to being a nature lover," admits Abbey more than thirty years after his sojourn in the wilderness. "But I did not mean to be mistaken for a nature writer. I never wanted to be anything but a writer, period." First published in 1968 to "a few brief but not hostile notices," Desert Solitaire quietly sold out of its first printing but eventually developed a loyal enough following in paperback to earn Abbey the "nature writer" label he claims never to have wanted.Desert Solitaire lives on because it is a work that reflects profound love of nature and a bitter abhorrence of all that would desecrate it. "Abbey is one of our very best writers about wilderness country," observed Wallace Stegner in the Los Angeles Times Book Review; "he is also a gadfly with a stinger like a scorpion." "This book may well seem like a ride on a bucking bronco," added Edwin Way Teale in the New York Times. "It is rough, tough, combative...passionately felt, deeply poetic." But perhaps the spirit of the man, the work, and the circumstances of its writing were best summarized by Larry McMurtry in his review for the Washington Post: "Edward Abbey is the Thoreau of the American West."

In this memoir of a roller-coaster career on the New York stage, former actor and dancer Bettijane Sills offers a highly personal look at the art and practice of George Balanchine, one of ballet’s greatest choreographers, and the inner workings of his world-renowned company during its golden years.Sills recounts her years as a child actor in television and on Broadway, a career choice largely driven by her mother, and describes her transition into pursuing her true passion: dance. She was a student in Balanchine’s School of American Ballet throughout her childhood and teen years, until her dream was achieved. She was invited to join New York City Ballet in 1961 as a member of the corps de ballet and worked her way up to the level of soloist.Winningly honest and intimate, Sills lets readers peek behind the curtains to see a world that most people have never experienced firsthand. She tells stories of taking classes with Balanchine, dancing in the original casts of some of his most iconic productions, working with a number of the company’s most famous dancers, and participating in the company’s first Soviet Union tour during the Cold War and Cuban Missile Crisis.She walks us through her years in New York City Ballet first as a member of the corps de ballet, then a soloist dancing some principal roles, finally as one of the “older” dancers teaching her roles to newcomers while being encouraged to retire. She reveals the unglamorous parts of tour life, jealousy among company members, and Balanchine’s complex relationships with women. She talks about Balanchine’s insistence on thinness in his dancers and her own struggles with dieting. Her fluctuations in weight influenced her roles and Balanchine’s support for her—a cycle that contributed to the end of her dancing career.Now a professor of dance who has educated hundreds of students on Balanchine’s style and legacy, Sills reflects on the highs and lows of a career indelibly influenced by fear of failure and fear of success—by the bright lights of theater and the man who shaped American ballet.

The Thousand-Mile War, a powerful story of the battles of the United States and Japan on the bitter rim of the North Pacific, has been acclaimed as one of the great accounts of World War II. Brian Garfield, a novelist and screenwriter whose works have sold some 20 million copies, was searching for a new subject when he came upon the story of this "forgotten war" in Alaska. He found the history of the brave men who had served in the Aleutians so compelling and so little known that he wrote the first full-length history of the Aleutian campaign, and the book remains a favorite among Alaskans.The war in the Aleutians was fought in some of the worst climatic conditions on earth for men, ships, and airplanes. The sea was rough, the islands craggy and unwelcoming, and enemy number one was always the weather--the savage wind, fog, and rain of the Aleutian chain. The fog seemed to reach even into the minds of the military commanders on both sides, as they directed men into situations that so often had tragic results. Frustrating, befuddling, and still the subject of debate, the Aleutian campaign nevertheless marked an important turn of the war in favor of the United States.Now, half a century after the war ended, more of the fog has been lifted. In the updated University of Alaska Press edition, Garfield supplements his original account, which was drawn from statistics, personal interviews, letters, and diaries, with more recently declassified photographs and many more illustrations.

Jarred by the 9/11 attacks, photographer Jack Spencer set out in 2003 "in hopes of making a few 'sketches' of America in order to gain some clarity on what it meant to be living in this nation at this moment in time." Across thirteen years, forty-eight states, and eighty thousand miles of driving, Spencer created a vast, encompassing portrait of the American landscape that is both contemporary and timeless.This Land presents some one hundred and forty photographs that span the nation, from Key West to Death Valley and Texas to Montana. From the monochromatic and distressed black-and-white images that began the series to the oversaturated color of more recent years, these photographs present a startlingly fresh perspective on America. The breadth of imagery in This Land brings to mind the works of such American masters as Edward Hopper, Grant Wood, Mark Rothko, and Albert Bierstadt, while also evoking the sense of the open roads traveled by Woody Guthrie and Jack Kerouac. Spencer's pictorialist vision embraces the sweeping variety of American landscapes—coasts, deltas, forests, deserts, mountain ranges, and prairies—and iconic places such as Mount Rushmore and Wounded Knee. Jon Meacham writes in the foreword that Spencer's "most surprising images are of a country that I suspect many of us believed had disappeared. The fading churches, the roaming bison, the running horses: Spencer has found a mythical world, except it is real, and it is now, and it is ours."

The rapid growth of organized crime in Mexico and the government's response to it have driven an unprecedented rise in violence and impelled major structural economic changes, including the recent passage of energy reform. Los Zetas Inc. asserts that these phenomena are a direct and intended result of the emergence of the brutal Zetas criminal organization in the Mexican border state of Tamaulipas. Going beyond previous studies of the group as a drug trafficking organization, Guadalupe Correa-Cabrera builds a convincing case that the Zetas and similar organizations effectively constitute transnational corporations with business practices that include the trafficking of crude oil, natural gas, and gasoline; migrant and weapons smuggling; kidnapping for ransom; and video and music piracy.Combining vivid interview commentary with in-depth analysis of organized crime as a transnational and corporate phenomenon, Los Zetas Inc. proposes a new theoretical framework for understanding the emerging face, new structure, and economic implications of organized crime in Mexico. Correa-Cabrera delineates the Zetas establishment, structure, and forms of operation, along with the reactions to this new model of criminality by the state and other lawbreaking, foreign, and corporate actors. Since the Zetas share some characteristics with legal transnational businesses that operate in the energy and private security industries, she also compares this criminal corporation with ExxonMobil, Halliburton, and Blackwater (renamed “Academi” and now a Constellis company). Asserting that the elevated level of violence between the Zetas and the Mexican state resembles a civil war, Correa-Cabrera identifies the beneficiaries of this war, including arms-producing companies, the international banking system, the US border economy, the US border security/military-industrial complex, and corporate capital, especially international oil and gas companies.

One of The Guardian's Best Books of 2018A Lit Hub Favorite Book of 2018An EcoLit Books Best Environmental Book of 2018"The American people sees itself advance across the wilderness, draining swamps, straightening rivers, peopling the solitude, and subduing nature," wrote Alexis de Tocqueville in 1835. That's largely how we still think of nineteenth-century America today: a country expanding unstoppably, bending the continent's natural bounty to the national will, heedless of consequence. A country of slavery and of Indian wars. There's much truth in that vision. But if you know where to look, you can uncover a different history, one of vibrant resistance, one that's been mostly forgotten. This Radical Land recovers that story. Daegan Miller is our guide on a beautifully written, revelatory trip across the continent during which we encounter radical thinkers, settlers, and artists who grounded their ideas of freedom, justice, and progress in the very landscapes around them, even as the runaway engine of capitalism sought to steamroll everything in its path. Here we meet Thoreau, the expert surveyor, drawing anticapitalist property maps. We visit a black antislavery community in the Adirondack wilderness of upstate New York. We discover how seemingly commercial photographs of the transcontinental railroad secretly sent subversive messages, and how a band of utopian anarchists among California's sequoias imagined a greener, freer future. At every turn, everyday radicals looked to landscape for the language of their dissent--drawing crucial early links between the environment and social justice, links we're still struggling to strengthen today. Working in a tradition that stretches from Thoreau to Rebecca Solnit, Miller offers nothing less than a new way of seeing the American past--and of understanding what it can offer us for the present . . . and the future.

Written from a vantage point both high and deliberately narrow, the early novels of the late British master Anthony Powell nevertheless deal in the universal themes that would become a substantial part of his oeuvre: pride, greed, and the strange drivers of human behavior. More explorations of relationships and vanity than plot-driven narratives, Powell’s early works reveal the stirrings of the unequaled style, ear for dialogue, and eye for irony that would reach their caustic peak in his epic, A Dance to the Music of Time. In Afternoon Men, the earliest and perhaps most acid of Powell’s novels, we meet the museum clerk William Atwater, a young man stymied in both his professional and romantic endeavors. Immersed in Atwater’s coterie of acquaintances—a similarly unsatisfied cast of rootless, cocktail-swilling London sophisticates—we learn of the conflict between his humdrum work life and louche social scene, of his unrequited love, and, during a trip to the country, of the absurd contrivances of proper manners. A satire that verges on nihilism and a story touched with sexism and equal doses self-loathing and self-medication, AfternoonMen has a grim edge to it. But its dialogue sparks and its scenes grip, and for aficionados of Powell, this first installment in his literary canon will be a welcome window onto the mind of a great artist learning his craft.

Following the first volume of Remembering the Kanji, the present work provides students with helpful tools for learning the pronunciation of the kanji. Behind the notorious inconsistencies in the way the Japanese language has come to pronounce the characters it received from China lie several coherent patterns. Identifying these patterns and arranging them in logical order can reduce dramatically the amount of time spent in the brute memorization of sounds unrelated to written forms.Many of the “primitive elements,” or building blocks, used in the drawing of the characters also serve to indicate the “Chinese reading” that particular kanji use, chiefly in compound terms. By learning one of the kanji that uses such a “signal primitive,” one can learn the entire group at the same time. In this way, Remembering the Kanji 2 lays out the varieties of phonetic pattern and offers helpful hints for learning readings, that might otherwise appear completely random, in an efficient and rational way. Individual frames cross-reference the kanji to alternate readings and to the frame in volume 1 in which the meaning and writing of the kanji was first introduced.A parallel system of pronouncing the kanji, their “Japanese readings,” uses native Japanese words assigned to particular Chinese characters. Although these are more easily learned because of the association of the meaning to a single word, the author creates a kind of phonetic alphabet of single syllable words, each connected to a simple Japanese word, and shows how they can be combined to help memorize particularly troublesome vocabulary.The 4th edition has been updated to include the 196 new kanji approved by the government in 2010 as “general-use” kanji.

When Vladimir Nabokov was up for a chair in literature at Harvard, the linguist Roman Jakobson protested: “What’s next? Shall we appoint elephants to teach zoology?” That anecdote, with which D. G. Myers begins The Elephants Teach, perfectly frames the issues this book tackles. Myers explores more than a century of debate over how writing should be taught and whether it can or should be taught in a classroom at all. Along the way, he incorporates insights from a host of poets and teachers, including Henry Wadsworth Longfellow, Ralph Waldo Emerson, Robert Frost, John Berryman, John Dewey, Lionel Trilling, Robert Lowell, Ezra Pound, and Saul Bellow. And from his exhaustive research, Myers extracts relevant background information on nineteenth-century educational theory; shifts in technology, publishing, and marketing; the growth of critical theory in this country; and the politics of higher education. While he shows how creative writing has become a machine for creating more creative writing programs, Myers also suggests that its history supplies a precedent for something different—a way for creativity and criticism, poetry and scholarship, to join together to produce not just writing programs but good writers. Updated with fresh commentary on what’s happened to creative writing in the academy since the first edition was published ten years ago, The Elephants Teach will be indispensable for students and teachers of writing, literature, and literary history.