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An American Soldier in Occupied Germany, 1945--1946
In his highly acclaimed Not in Vain, Leon C. Standifer recounted his experiences as a small-town Mississippi boy who at age nineteen found himself fighting as a combat infantryman in World War II France and Germany. Binding up the Wounds carries the story beyond V-E Day to describe what the author saw, heard, felt, and learned as a member of the American occupation army in the homeland of its defeated enemy.
Standifer, who served in the 94th Infantry Division in western Germany, the Sudetenland, and Bavaria in the first year of occupation, chronicles that unique and chaotic time from the viewpoint of a typical GI. Germany was an epic landscape of human need, and cities lay in ruins. But the war was over, light and laughter were once again possible, and, as Standifer recalls, “we had a ball during that first year.” Among the things he experienced or witnessed were black-market operations large and small (American cigarettes served as a universal currency, and a few ounces of mess-hall grease or used coffee grounds were valuable commodities); the spectacle of gung-ho officers attempting to turn combat troops into spit-and-polish paraders; the exploitive games played between American soldiers and German women; a gut-wrenching visit to a displaced persons camp; and the difficulties involved in guarding captured soldiers who were no longer the enemy.
Perhaps most revealing, and often surprising, are the attitudes Standifer discovered among ordinary Germans toward the war, the Nazis, the “Hitler times” in general–not only during the occupation, but also decades later when he revisited Germany and spoke with elderly survivors of those times. For there are really two voices telling the tale of Binding Up the Wounds. One is that of the combat-hardened but otherwise naive twenty-year-old who lived the experiences. The other is that of the author as retired college professor looking back over half a century and puzzling out what those experiences meant for himself, for America, and for humankind.
"This is a very valuable reference work, the non-existence of which has long been deplored by Civil War historians. The research, which is impressive, has turned up a considerable amount of detail not generally known, even among Civil War specialists." -- Bell I. Wiley This vital addition to Civil War scholarship is an attempt to rescue members of the Confederate Congress from "postbellum obscurity." Modeled after Ezra J. Warner's two earlier books, Generals in Gray and Generals in Blue, the register contains an introduction describing the makeup of the Confederate Congress, biographical sketches of the congressmen, and a substantial bibliography. The biographical sketches include the place and date of birth, family background, education, means of libelihood, politics, public-service record, and degree of financial and political success of each congressman. The authors describe each congressman's participation in (or opposition to) secession and detail the circumstances of his election to the Confederate Congress. A prominent section of each sketch is devoted to the congressman's activities in the Congress: his position on major issues; his chief interest and the measures he sponsored; and the reason he left Congress. Then, the authors attempt to pick up the lives of the congressmen after the Civil War. The sketches include the place and date of death of each man, as well as the place of burial. Anyone interested in Civil War history will find Biographical Register of the Confederate Congress an indipensable aid.
Praise for David Kirby
"Kirby is exuberant, irrepressible, maniacal and remarkably entertaining.... Okay, let me just say it: he is a wonderful poet." -- Steve Kowit, San Diego Union-Tribune
"Kirby's voice and matter (teaching, literature, traveling, rock 'n' roll, everyday bozohood) are utterly personal and, despite all the laughter, ultimately moving." -- Ray Olson, Booklist
"[Kirby] is a poet who peels away the layers of our skin to show us who we are: our weaknesses, our strengths, and our hilarious obsessions." -- Micah Zevin, New Pages
"The world that Kirby takes into his imagination and the one that arises from it merge to become a creation like no other, something like the world we inhabit but funnier and more full of wonder and terror." -- Philip Levine, Ploughshares
"These poems may be too cool for words." -- Carol Muske-Dukes, New York Times Book Review
Inspired by the carpenter's biscuit joint -- a seamless, undetectable fit between pieces of wood -- David Kirby's latest collection dramatizes the artistic mind as a hidden connection that links the mundane with the remarkable. Even in our most ordinary actions, Kirby shows, there lies a wealth of creative inspiration: "the poem that is written every day if we're there / to read it."
Well known for his garrulous and comic musings, Kirby follows a wandering yet calculated path. In "What's the Plan, Artists?" a girl's yawning in a picture gallery leads him to meditations on subjects as diverse as musical composition, the less-than-beautiful human figure, and "the simple pleasures / of living." The Biscuit Joint traverses seemingly random thoughts so methodically that the journey from beginning to end always proves satisfying and surprising.
English Narratives of the Early Atlantic World
In Black Africans in the British Imagination, Cassander L. Smith investigates how the physical presence of black Africans both enabled and disrupted English literary responses to Spanish imperialism. By examining the extent to which this population helped to shape early English narratives, from political pamphlets to travelogues, Smith offers new perspectives on the literary, social, and political impact of black Africans in the early Atlantic world.
In his moving debut collection, Matt Rasmussen faces the tragedy of his brother's suicide, refusing to focus on the expected pathos, blurring the edge between grief and humor. In "Outgoing," the speaker erases his brother's answering machine message to save his family from "the shame of dead you / answering calls." In other poems, once-ordinary objects become dreamlike. A buried light bulb blooms downward, "a flower / of smoldering filaments." A refrigerator holds an evening landscape, "a tinfoil lake," "vegetables / dying in the crisper." Destructive and redemptive, Black Aperture opens to the complicated entanglements of mourning: damage and healing, sorrow and laughter, and torment balanced with moments of relief.
Caribbean Braceros and Their Struggle for Power in the Cuban Sugar Industry
Early in the twentieth century, the Cuban sugarcane industry faced a labor crisis when Cuban and European workers balked at the inhumane conditions they endured in the cane fields. Rather than reforming their practices, sugar companies gained permission from the Cuban government to import thousands of black workers from other Caribbean colonies, primarily Haiti and Jamaica. Black Labor, White Sugar illuminates the story of these immigrants, their exploitation by the sugarcane companies, and the strategies they used to fight back.
Philip A. Howard traces the socioeconomic and political circumstances in Haiti and Jamaica that led men to leave their homelands to cut, load, and haul sugarcane in Cuba. Once there, the field workers, or braceros, were subject to marginalization and even violence from the sugar companies, which used structures of race, ethnicity, color, and class to subjugate these laborers. Howard argues that braceros drew on their cultural identities-from concepts of home and family to spiritual worldviews-to interpret and contest their experiences in Cuba. They also fought against their exploitation in more overt ways. As labor conditions worsened in response to falling sugar prices, the principles of anarcho-syndicalism converged with the Pan-African philosophy of Marcus Garvey to foster the evolution of a protest culture among black Caribbean laborers. By the mid-1920s, this identity encouraged many braceros to participate in strikes that sought to improve wages as well as living and working conditions.
The first full-length exploration of Haitian and Jamaican workers in the Cuban sugarcane industry, Black Labor, White Sugar examines the industry's abuse of thousands of black Caribbean immigrants, and the braceros' answering struggle for power and self-definition.
Police Brutality and African American Activism from World War II to Hurricane Katrina
In Black Rage in New Orleans, Leonard N. Moore traces the shocking history of police corruption in the Crescent City from World War II to Hurricane Katrina and the concurrent rise of a large and energized black opposition to it. In New Orleans, crime, drug abuse, and murder were commonplace, and an underpaid, inadequately staffed, and poorly trained police force frequently resorted to brutality against African Americans. Endemic corruption among police officers increased as the city’s crime rate soared, generating anger and frustration among New Orleans’s black community. Rather than remain passive, African Americans in the city formed antibrutality organizations, staged marches, held sit-ins, waged boycotts, vocalized their concerns at city council meetings, and demanded equitable treatment. Moore explores a staggering array of NOPD abuses—police homicides, sexual violence against women, racial profiling, and complicity in drug deals, prostitution rings, burglaries, protection schemes, and gun smuggling—and the increasingly vociferous calls for reform by the city’s black community. Documenting the police harassment of civil rights workers in the 1950s and 1960s, Moore then examines the aggressive policing techniques of the 1970s, and the attempts of Ernest “Dutch” Morial—the first black mayor of New Orleans—to reform the force in the late 1970s and early 1980s. Even when the department hired more African American officers as part of that reform effort, Moore reveals, the corruption and brutality continued unabated in the late 1980s and early 1990s. Dramatic changes in departmental leadership, together with aid from federal grants, finally helped professionalize the force and achieved long-sought improvements within the New Orleans Police Department. Community policing practices, increased training, better pay, and a raft of other reform measures for a time seemed to signal real change in the department. The book’s epilogue, “Policing Katrina,” however, looks at how the NOPD’s ineffectiveness compromised its ability to handle the greatest natural disaster in American history, suggesting that the fruits of reform may have been more temporary than lasting. The first book-length study of police brutality and African American protest in a major American city, Black Rage in New Orleans will prove essential for anyone interested in race relations in America’s urban centers.
Race Relations and Southern Culture, 1940 to the Present
In "Black, White, and Southern," David R. Goldfield shows how the struggles of black southerners to lift the barriers that had historically separated them from their white counterparts not only brought about the demise of white supremacy but did so without destroying the South's unique culture. Indeed, it is Goldfield's contention that the civil rights crusade has strengthened the South's cultural heritage, making it possible for black southeners to embrace their region unfettered by fear and frustration and for whites to leave behind decades of guilt and condemnation. In support of his analysis Goldfield presents a sweeping examination of the evolution of southern race relations over the past fifty years. He provides moving accounts of the major moments of the civil rights era, and he looks at more recent efforts by blacks to achieve economic and class parity. This history of the crusade for black equality is in the end they story of the South itself and of the powerful forces of redemption that Goldfield attests are still working to shape the future of the region.
Nineteenth-Century Mississippi River Gambling Stories
In 1836 Benjamin Drake, a midwestern writer of popular sketches for newspapers of the day, introduced his readers to a new and distinctly American rascal who rode the steamboats up and down the Mississippi and other western waterways—the riverboat gambler. These men, he recorded, “dress with taste and elegance; carry gold chronometers in their pockets; and swear with the most genteel precision. . . . Every where throughout the valley, these mistletoe gentry are called by the original, if not altogether classic, cognomen of ‘Black-legs.’” In Blacklegs, Card Sharps, and Confidence Men, Thomas Ruys Smith collects nineteenth-century stories, sketches, and book excerpts by a gallery of authors to create a comprehensive collection of writings about the riverboat gambler. Long an iconic figure in American myth and popular culture but, strangely, one that has never until now received a book-length treatment, the Mississippi River gambler was a favorite character throughout the nineteenth century—one often rich with moral ambiguities that remain unresolved to this day. In the absorbing fictional and nonfictional accounts of high stakes and sudden reversals of fortune found in the pages of Smith’s book, the voices of canonized writers such as William Dean Howells, Herman Melville, and, of course, Mark Twain hold prominent positions. But they mingle seamlessly with lesser-known pieces such as an excerpt from Edward Willett’s sensationalistic dime novel Flush Fred’s Full Hand, raucous sketches by anonymous Old Southwestern humorists from the Spirit of the Times, and colorful accounts by now nearly forgotten authors such as Daniel R. Hundley and George W. Featherstonhaugh. Smith puts the twenty-eight selections in perspective with an Introduction that thoroughly explores the history and myth surrounding this endlessly fascinating American cultural icon. While the riverboat gambler may no longer ply his trade along the Mississippi, Blacklegs, Card Sharps, and Confidence Men makes clear the ways in which he still operates quite successfully in the American imagination.