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The experiences of an American family in the Philippines during World War II
Just nine days before her seventh birthday, Virginia Hansen Holmes heard about the attack on American forces at Pearl Harbor and wondered if this was going to change her life. She lived on the Philippine Island of Mindanao with her two teenage brothers, eleven-year-old sister, mother, and father, an official with the East Mindanao Mining Company.
Guerrilla Daughter is a memoir of this family’s extraordinary struggle to survive the Japanese occupation of Mindanao from the spring of 1942 until the end of the war in September 1945. The men in the family fought as guerrilla soldiers in the island’s resistance movement, while Holmes, her mother, and her older sister were left to their own resources to evade the Japanese, who had been given orders to execute Americans. The Hansen women, faced with immediate death if found and suffering from hunger, disease, and barely tolerable living conditions, hid out in the Philippine jungle and remote villages to remain just ahead of the growing Japanese presence and avoid capture.
Using original documents and papers belonging to her father, as well as her own vivid recollections and the reminiscences of her siblings, Virginia Hansen Holmes presents this gripping and compelling account of extraordinary survival.
A Step-by-Step Analysis of the Lindbergh Kidnapping
In 1936, Bruno Richard Hauptmann was executed for the kidnapping and murder of Charles Lindbergh Jr. Almost all of America believed Hauptmann guilty; only a few magazines and tabloids published articles questioning his conviction. In the ensuing decades, many books about the Lindbergh case have been published. Some have declared Hauptmann the victim of a police conspiracy and frame-up, and one posited that Lindbergh actually killed his own son and fabricated the entire kidnapping to mask the deed. Because books about the crime have been used as a means to advance personal theories, the truth has often been sacrificed and readers misinformed.
Hauptmann’s Ladder is a testament to the truth that counters the revisionist histories all too common in the true crime genre. Author Richard T. Cahill Jr. puts the “true” back in “true crime,” providing credible information and undistorted evidence that enables readers to form their own opinions and reach their own conclusions.
Cahill presents conclusions based upon facts and documentary evidence uncovered in his twenty years of research. Using primary sources and painstakingly presenting a chronological reconstruction of the crime and its aftermath, he debunks false claims and explodes outrageous theories, while presenting evidence that has never before been revealed.
Hauptmann’s Ladder is a meticulously researched examination of the Lindbergh kidnapping that restores and preserves the truth of the crime of the century.
Essays on the Art of Nursing
A collection revealing the joys, fears, intimacies, and transcendent moments shared by a nurse and her patients
“The Heart’s Truth should be required reading at every nursing school in the country. It offers a powerful and moving portrait of what it means to be a nurse. In writing that is of the highest quality, the reader is swept up in the drama of nursing and the compassion with which it is perfused.”—Richard Selzer, surgeon and author
“Davis has perfectly captured the broader arc of movement from awkward, insecure novice to competent, often morally exhausted, clinician, with a poet’s touch.”—Amy M. Haddad, PhD
“In her breathtaking collection of essays, Cortney Davis reveals ‘the details of flesh’ that comprise the core of a nurse’s experience. Writing with the power, precision and careful observation of a seasoned clinician and the sensitivity of a poet, Davis guides the reader along the challenging path of her career.”— Richard Berlin, poet and physician
“Cortney Davis has an uncanny ability to give voice to the profound act of everyday nursing and its power in transforming the lives of people. Somehow, she sees the shadows and ghosts that fill our bodies and souls and makes sense of them, showing us that the divide between patient and provider is an artificial one that can get in the way of true understanding. The Heart’s Truth reminds us of the power of reflection and narrative and challenges us to reclaim these ways of knowing in the interest of healing our patients—and ourselves.”—Diana J. Mason, PhD, RN, FAAN, Editor-in-Chief, American Journal of Nursing
What is it like to be a student nurse washing the feet of a dying patient? To be a newly graduated nurse, in charge of the Intensive Care Unit for the first time, who wonders if her mistake might have cost a life? Or to be an experienced nurse who, by her presence and care, holds a patient to this world? Poet and nurse practitioner Cortney Davis answers these questions by examining her own experiences and through them reveals a glimpse into the minds and hearts of those who care for us when we are at our most vulnerable. The Heart’s Truth offers the joys, frustrations, fears, and miraculous moments that nurses, new and experienced, face every day.
In these finely wrought essays, Davis traces her twin paths, nursing and writing, inviting readers to share what she discovers along the way—lessons not only about the human body but also about the human soul. Rich, intimate, and never shrinking from the realities of illness, the grace of healing, or the wonder of words, The Heart’s Truth will inspire student caregivers, intrigue readers, and affirm those who have long worked in nursing, a profession that Davis calls “odd, mysterious, humbling, addicting, and often transcendent.”
The Pennsylvania Torso Murders
From 1934 to 1938, Cleveland, Ohio, was racked by a classic battle between good and evil. On one side was the city’s safety director, Eliot Ness. On the other was a nameless phantom dubbed the “Mad Butcher of Kingsbury Run,” who littered the inner city with the remains of decapitated and dismembered corpses. Never caught or even officially identified, the Butcher simply faded into history, leaving behind a frightening legend that both haunts and fascinates Cleveland to this day. In 2001 the Kent State University Press published James Jessen Badal’s In the Wake of the Butcher: Cleveland’s Torso Murders, the first serious, book-length treatment of this dark chapter in true crime history. Though Murder Has No Tongue: The Lost Victim of Cleveland’s Mad Butcher—a detailed study of the arrest and mysterious death of Frank Dolezal, the only man ever charged in the killings—followed in 2010.
Now Badal concludes his examination of the horrific cycle of murder-dismemberments with Hell’s Wasteland: The Pennsylvania Torso Murders. During the mid-1920s, a vast, swampy area just across the Ohio border near New Castle, Pennsylvania, revealed a series of decapitated and otherwise mutilated bodies. In 1940 railroad workers found the rotting remains of three naked and decapitated bodies in a string of derelict boxcars awaiting destruction in Pennsylvania’s Stowe Township. Were all of these terrible murders the work of Cleveland’s Mad Butcher? Many in Ohio and Pennsylvania law enforcement thought they were, and that assumption led to a massive, well-coordinated two-state investigation. In Hell’s Wasteland, Badal explores that nagging question in depth for the first time.
Relying on police reports, unpublished memoirs, and the surviving autopsy protocols—as well as contemporary newspaper coverage— Badal provides a detailed examination of the murder-dismemberments and weighs the evidence that potentially links them to the Cleveland carnage. Hell’s Wasteland is the last piece in the gigantic torso murder puzzle that spanned three decades, covered two states, and involved law enforcement from as many as five different cities.
Ernest Hemingway resided in Cuba longer than he lived anywhere else in the world, yet no book has been devoted to how his life in Cuba influenced his writing. Hemingway, Cuba, and the Cuban Works corrects this omission by presenting contributions by scholars and journalists from the United States, Russia, Japan, and Cuba, who explore how Hemingway absorbed and wrote from the culture and place around him.
The volume opens with an examination of Hemingway’s place in Cuban history and culture, evaluations of the man and his work, and studies of Hemingway’s life as an American in Cuba. These essays look directly at Hemingway’s Cuban experience, and they range from the academic to the journalistic, allowing different voices to speak and different tones to be heard. The first section includes reflections from Gladys Rodriguez Ferrero, former director of the Museo Finco Vigía, who describes the deep affection Cubans hold for Hemingway; and recollections from the now-adult members of “Gigi’s All Stars,” the boys’ baseball team that Hemingway organized in the 1940s.
In the second part of the collection, Hemingway scholars— among them, Kim Moreland, James Nagel, Ann Putnam, and H. R. Stoneback—employ a variety of critical perspectives to analyze specific works set in Cuba or on its Gulf Stream and written during the years that Hemingway actually lived in Cuba. Also included are a long letter by Richard Armstrong describing the Machado revolution in Cuba and Hemingway’s photographs of fishermen at Cojimar, which provide vivid visual commentary on The Old Man and the Sea.
Appended to the collection are Kelli Larson’s bibliography of scholarly writing on Hemingway’s Cuban works and Ned Quevedo Arnaiz’s sample of Cuban writing on those works. A chronology placing Hemingway’s life in Cuba beside historical events is also provided.
This important volume illuminates Hemingway’s life and work during the Cuban years, and it will appeal to Hemingway fans and scholars alike.
Bloodlines and the Color Line
A social historical reading of Hemingway through the lens of race
William Faulkner has long been considered the great racial interrogator of the early-twentieth-century South. In Hemingway, Race, and Art, author Marc Kevin Dudley suggests that Ernest Hemingway not only shared Faulkner’s racial concerns but extended them beyond the South to encompass the entire nation. Though Hemingway wrote extensively about Native Americans and African Americans, always in the back of his mind was Africa. Dudley sees Hemingway’s fascination with, and eventual push toward, the African continent as a grand experiment meant to both placate and comfort the white psyche, and to challenge and unsettle it, too.
Twentieth-century white America was plagued by guilt in its dealings with Native Americans; simultaneously, it faced an increasingly dissatisfied African American populace. Marc Kevin Dudley demonstrates how Hemingway’s interest in race was closely aligned to a national anxiety over a changing racial topography. Affected by his American pedigree, his masculinity, and his whiteness, Hemingway’s treatment of race is characteristically complex, at once both a perpetuation of type and a questioning of white self-identity.
Hemingway, Race, and Art expands our understanding of Hemingway and his work and shows how race consciousness pervades the texts of one of America’s most important and influential writers.
Reflections on the Writer by His Longtime Majordomo
“This is the story of a poor, young Cuban boy who grew into a man and gained the trust and respect of a famous American author, whom he loved like a father. A man he called ‘Papa.’’—from the Preface
In 1996 René Villarreal returned to Cuba to retrieve his memoir of his life with Ernest Hemingway at the Finca Vigia. Sadly, he learned that the manuscript and photographs had been lost. Determined to tell his story, Villarreal, together with his son Raúl, set about rewriting the account of how he came to be Ernest Hemingway’s majordomo, confidant, and friend—his Cuban son.
Hemingway, called El Americano by the Cubans, moved into the Finca Vigia, an estate outside of Havana, in 1939. He allowed the village children to play on his property, and they soon became fixtures, caring for his pets, performing odd jobs, and running errands. Hemingway recognized René as especially responsible and attentive and made him household manager, or majordomo, in 1946 when René was only seventeen.
For the next fifteen years, René ran the Finca, tending to Hemingway and his wife, Mary, and their visiting family and distinguished guests. Villarreal’s clear recollections offer up humorous stories of escapades and adventures with Hemingway as well as insightful comments on the writer’s work habits, moods, passions, and friendships. He also writes of Cuba before and after the revolution, capturing so well the sense of place and time. Scholars and readers of Hemingway worldwide will be caught up in this compelling story of a great friendship and will find insight into this complicated, fascinating, brilliant writer.
Imagining the Spanish World
Ernest Hemingway famously called Spain “the country that I loved more than any other except my own,” and his fortyyear love affair with it provided an inspiration and setting for major works from each decade of his career—the novels The Sun Also Rises, Death in the Afternoon, For Whom the Bell Tolls, The Dangerous Summer, and The Garden of Eden; his only fulllength play, The Fifth Column; the Civil War documentary The Spanish Earth; and some of his finest short fiction, including “Hills Like White Elephants” and “A Clean, Well Lighted Place.” In Hemingway’s Spain, Carl P. Eby and Mark Cirino collect thirteen penetrating and innovative essays by scholars of different nationalities, generations, and perspectives who explore Heming way’s writing about Spain and his relationship to Spanish culture and ask us in a myriad of ways to rethink how Hemingway imagined Spain—whether through a modernist mythologization of the Spanish soil, his fascination with the bullfight, his interrogation of the relationship between travel and tourism, his involvement with Spanish politics, his dialog with Spanish writers, or his appreciation of the subtleties of Spanish values. In addition to fresh critical responses to some of Hemingway’s most famous novels and stories, a particular strength of Hemingway’s Spain is its consideration of neglected works, such as Hemingway’s Spanish Civil War stories and the novel The Dangerous Summer. The collection is noteworthy for its attention to how Hemingway’s post–World War II fiction revisits and re-imagines his earlier Spanish works, and it brings new light both to Hemingway’s Spanish Civil War politics and his reception in Spain during the Franco years.
Hemingway’s lifelong engagement with Spain is central to under standing and appreciating his work, and Hemingway’s Spain is an indispensable exploration of Hemingway’s home away from home.
Ernest Hemingway’s enlistment with the American Red Cross during World War I was one of the most formative experiences of his life, and it provided much of the source material for A Farewell to Arms and his writings about Italy and the Great War. As significant as it was, Hemingway’s service has never been sufficiently understood. By looking at previously unexamined documents, including the letters and diary of Hemingway’s commanding officer, Robert W. Bates, official reports of the ambulance and canteen services, and section newspapers published by volunteers, author Steven Florczyk provides crucial insights into Hemingway’s service.
The book opens by sharing tales of the volunteer ambulance units from the Western Front, which also led to the involvement of the American Red Cross in Italy. This was where Hemingway came to know many of the experienced drivers from France. In the spring of 1918 the young writer enlisted, serving first with an ambulance unit in Schio and then as a canteen worker at the Piave River until he was wounded. After the war when the volunteer outfits disbanded, Hemingway returned home where he took up his plan to earn a living as a writer.
Hemingway’s Red Cross experience was a major influence on his development as a writer and a thinker. Through the power of words, Hemingway’s journalism, short stories, and novels exposed the falsehoods of World War I propaganda. His involvement with the Red Cross led to some of the finest American literature on the Great War.
Daniel Carter’s Here Both Sweeter is a book in which you “have a seedling in each pocket,” a “body bodies,” and words are something you “carve out” so as to make a home. The poems are stories, are seeds, are secret messages cast and sent across the natural world to a reader, where they blossom in the imagination. The plot is “scatter-wild,” the lyrics “all willful and fallow.” Carter’s language serves as a garden, rich and strange, full of acorns and ink and ash, and in it the green world (of nature, of the heart and body, of words and ideas) is overturned, recycled, and remade.