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A book of contemporary poetry exploring the fine, shifting line between faith—secular and spiritual faith—and fanaticism in an insecure age, American Fanatics is a lyrical, pop-culture inflected meditation on democracy, morality, beauty, commerce, and the cost of falling dreams.
The First Century of the U.S. Forest Service
The year 2005 marked the centennial of the founding of the United States Forest Service (USFS). Samuel P. Hays uses this occasion to present a cogent history of the role of American society in shaping the policies and actions of this agency. From its establishment in 1905 under the auspices of the Department of Agriculture, timber and grazing management dominated the agency's agenda. Due to high consumer demand for wood products and meat from livestock, the USFS built a formidable system of forest managers, training procedures, and tree science programs to specifically address these needs. This strong internal organization bolstered the agency during the tumultuous years in the final one-third of the century—when citizens and scientists were openly critical of USFS policies—yet it restricted the agency's vision and adaptability on environmental issues. A dearth of ecological capabilities tormented the USFS in 1960 when the Multiple-Use and Sustained-Yield Act set new statutes for the preservation of wildlife, recreation, watershed, and aesthetic resources. This was followed by the National Forest Management Act of 1976, which established standards for the oversight of forest ecosystems. The USFS was ill equipped to handle the myriad administrative and technological complexities that these mandates required. Hays chronicles three distinct periods in USFS history, provides a summarizing “legacy” for each, and outlines the public and private interests, administrators, and laws that guided the agency's course and set its priorities. He demonstrates how these legacies affected successive eras, how they continue to influence USFS policy in the twenty-first century, and why USFS policies should matter to all of us.
Pitt Poetry Series Anthology
American Poetry Now is a comprehensive collection of the best work from the renowned Pitt Poetry Series. Since its inception in 1967, the series has been a vehicle for America's finest contemporary poets. The series list includes Poet Laureate Billy Collins, Toi Derricotte, Denise Duhamel, Lynn Emanuel, Bob Hicok, Poet Laureate and Pulitzer Prize winner Ted Kooser, Larry Levis, Sharon Olds, Alicia Suskin Ostriker, Virgil Suárez, Afaa Michael Weaver, David Wojahn, Dean Young, and many others.
David Roderick’s second book, The Americans, pledges its allegiance to dirt. And to laptops. And to swimming pools, the Kennedys, a flower in a lapel, plastic stars hanging from the ceiling of a child’s room, churning locusts, a jar of blood, a gleam of sun on the wing of a plane. His poems swarm with life. They also ask an unanswerable question: What does it mean to be an American? Restless against the borders we build—between countries, between each other—Roderick roams from place to place in order to dig into the messy, political, idealistic and ultimately inexplicable idea of American-ness. His rangy, inquisitive lyrics stitch together a patchwork flag, which he stakes alongside all the noise of our construction, our obsessive building and making, while he imagines the fate of a nation built on desire.
Indigenismo, Society, and Modernity
Jorge Coronado not only examines but also recasts the indigenismo movement of the early 1900s. He departs from the common critical conception of ndigenismo as rooted in novels and short stories, and instead analyzes an expansive range of work in poetry, essays, letters, newspaper writing, and photography. He uses this evidence to show how the movement's artists and intellectuals mobilize the figure of the Indian to address larger questions about becoming modern, and he focuses on the contradictions at the heart of indigenismo as a cultural, social, and political movement. By breaking down these different perspectives, Coronado reveals an underlying current in which intellectuals and artists frequently deployed their indigenous subject in order to imagine new forms of political inclusion. He suggests that these deployments rendered particular variants of modernity and make indigenismo's representational practices a privileged site for the examination of the region's cultural negotiation of modernization. His analysis reveals a paradox whereby the un-modern indio becomes the symbol for the modern itself. The Andes Imagined offers an original and broadly based engagement with indigenismo and its intellectual contributions, both in relation to early twentieth-century Andean thought and to larger questions of theorizing modernity.
“Paisley Rekdal’s quiet virtuosity with rhyme and cadence, her syntactic fidelity to thought and sensation, her analytical intelligence that keeps homing in and in, her ambitious sentences and larger formal structures that try to embody with absolute accuracy the difference between what we ought to feel and what we really do feel—all these make her unique in her generation: no one sounds like she does, and her concern about the ‘post’ in postconfessional is as much a sign of her earnest desire to honor every aspect of her art, as it is an anxiety that spurs her restless investigations of family, selfhood, racial identity, and erotic life.” —Tom Sleigh
Rational Deliberation in the Face of Inconsistency
The word apory stems from the Greek aporia, meaning impasse or perplexing difficulty. In Aporetics, Nicholas Rescher defines an apory as a group of individually plausible but collectively incompatible theses. Rescher examines historic, formulaic, and systematic apories and couples these with aporetic theory from other authors to form this original and comprehensive survey. Citing thinkers from the pre-Socratics through Spinoza, Hegel, and Nicolai Hartmann, he builds a framework for coping with the complexities of divergent theses, and shows in detail how aporetic analysis can be applied to a variety of fields including philosophy, mathematics, linguistics, logic, and intellectual history. Rescher's in-depth examination reveals how aporetic inconsistency can be managed through a plausibility analysis that breaks the chain of inconsistency at its weakest link by deploying right-of-way precedence based on considerations of cognitive centrality. Thus while involvement with cognitive conflicts and inconsistencies are pervasive in human thought, aporetic analysis can provide an effective means of damage control.
Appetite is a book of poems that explores our American Mythologies, particularly masculinity and film. Smith investigates our fascinations with the body, gender, and entertainment in poems that are critically observant, darkly funny, darkly angry, and, sometimes, heartbreaking. Whether he is cataloging shirtless men in films and bad television, lyricizing the anxieties of childhood, or redrawing the lines of cultural membership, Appetite attacks its subjects with wit, candor, and compassionate intensity. These poems announce their presence with a style that is as beautifully wrought as it is provocative. In the America of Appetite, the usual hierarchies are obliterated: the disposable is as valuable as the traditional, pop culture is on the same level as the sacred, and the pleasurable simultaneity of past and present are found in high art and the tabloid. Smith’s work engages our contemporary moment and how we want to think of ourselves, while nodding to rich poetic, cultural, and personal histories.
On August 13, 1961, under the cover of darkness, East German authorities sealed the border between East and West Berlin using a hastily constructed barbed wire fence. Over the next twenty-eight years, the Berlin Wall served as an ever-present and seemingly permanent physical and psychological divider in this capital city, and between East and West during the Cold War. Similarly, stark polarities arose in nearly every aspect of public and private life, perhaps nowhere more apparent than in the built environment. In Architecture, Politics, and Identity in Divided Berlin, Emily Pugh provides an original comparative analysis of selected works of architecture and urban planning in East and West Berlin during the “Wall era,” to reveal the importance of these structures to the formation of political, cultural, and social identities. Pugh uncovers the roles played by organizations such as the Foundation for Prussian Cultural Heritage in West Germany and the East German Building Academy in conveying the preferred political narrative of their respective states through constructed spaces. She also provides an overview of architectural works prior to the Wall era, to show the precursors for design aesthetics in Berlin at large, and also considers projects in the post-Wall period, to demonstrate the ongoing effects of the Cold War. Pugh examines representations of architectural works in exhibits, film, journals, magazines, newspapers, and other media, and discusses the effectiveness of planners’ attempts to ‘win the hearts and minds’ of the public. Ideas of home, belonging, community, and nationalism were common underlying themes on both sides of the wall, and instrumental to the construction of cultural and physical landscapes. Overall, Architecture, Politics, and Identity in Divided Berlin offers a compelling case study of a divided city poised at the precipice between the world’s most dominant political and ideological forces, and the effort expended by each side to sway the tide of public opinion through the built environment.