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Time and Justice in African American Literature
Each Hour Redeem advances a major reinterpretation of African American literature from the late eighteenth century to the present by demonstrating how its authors are centrally concerned with racially different experiences of time. Daylanne K. English argues that, from Phillis Wheatley to Suzan-Lori Parks, African American writers have depicted distinctive forms of temporality to challenge racial injustices supported by dominant ideas of time. The first book to explore the representation of time throughout the African American literary canon, Each Hour Redeem illuminates how the pervasive and potent tropes of timekeeping provide the basis for an overarching new understanding of the tradition.
Combing literary, historical, legal, and philosophical approaches, Each Hour Redeem examines a wide range of genres, including poetry, fiction, drama, slave narratives, and other forms of nonfiction. English shows that much of African American literature is characterized by “strategic anachronism,” the use of prior literary forms to investigate contemporary political realities, as seen in Walter Mosley’s recent turn to hard-boiled detective fiction. By contrast, “strategic presentism” is exemplified in the Black Arts Movement and the Harlem Renaissance and their investment in contemporary political potentialities, for example, in Langston Hughes and Amiri Baraka’s adaptation of the jazz of their eras for poetic form and content. Overall, the book effectively demonstrates how African American writers have employed multiple and complex conceptions of time not only to trace racial injustice but also to help construct a powerful literary tradition across the centuries.
A Marine Legal/Infantry Officer in Vietnam
Selected Correspondence of Istvan Anhalt and George Rochberg (1961-2005)
Eagle Minds—a selection from the correspondence between the Canadian composer and scholar Istvan Anhalt and his American counterpart George Rochberg—is a splendid chronicle and a penetrating analysis of the swerving socio-cultural movements of a volatile half-century as observed by two highly gifted individuals.
Beginning in 1961 and spanning forty-four years, their conversation embraces not only music but other forms of contemporary art, as well as politics, philosophy, religion, and mysticism. The letters chronicle the deepening of their friendship over the years, and the openness, honesty, and genuine warmth between them provide the reader with an intimate look at their personalities. A fascinating intellectual tension emerges between the two men as they record their individual responses to musical modernism, to changing political and social realities, and to their Jewish heritage and sense of place, one as a son of Ukrainian immigrants to the United States, the other as a refugee from war-torn Hungary.
Allowing us a privileged glimpse into the private lives and thoughts of these fascinating men, Eagle Minds is a valuable tool for scholars interested in North American composers in the late twentieth century and essential reading for anyone interested in the cultural and social history of that era.
The Legal History of the Grand Traverse Band of Ottawa and Chippewa Indians
A book of new poems by a major writer is an event. A book of new poems that marks a different, more powerful approach is cause for celebration. "What I looked for here," James Dickey tells us about The Eagle's Mile, "was a flicker of light 'from another direction,' and when I caught it - or thought I did - I followed where it went, for better or worse." In this new work, Dickey edges away from the narrative-based poems of his previous books and gives instead more primacy to the language in which he writes. His poetry gains flexibility, and his poetic power becomes even surer and more clearly expressed. "I have experimented," Dickey writes, "and look forward to experimenting more."
This book is the history of a very remarkable family, that of Count Thomas of Savoy, whose seven sons and two daughters rose from relative obscurity to fame, fortune, and involvement in almost every major international conflict in western Europe during the fifty years following their father's death in 1233. By tracing the careers of the Savoyards, Eugene L. Cox emerges with a pan-European view of the thirteenth century.
Professor Cox describes the ways in which the members of the Savoyard family gained access to the most powerful courts in Europe, an advantage that they skillfully employed in turning their scattered Alpine dominions into a territorial state, and in making their family a powerful force in the world of high diplomacy. From Scotland and Flanders to Sicily and Rome, the author traces the influence of the Savoyard family in dealings between states, in conflicts with the papacy, and in the struggles for power within the emerging national states.
Based on extensive research in both published and unpublished sources, the book pieces together widely scattered data in order to reconstruct a picture of a real-life medieval family saga. Set as it is in the era of the formation of national states and the breakdown of the Holy Roman Empire, the story is a fascinating background account of this tumultuous period in history.
Originally published in 1974.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
<p class="red">The life and early death of a South Side guitar genius, the greatest unheralded Chicago blues-maker
Jimi Hendrix called Earl Hooker "the master of the wah-wah pedal." Buddy Guy slept with one of Hooker's slides beneath his pillow hoping to tap some of the elder bluesman's power. And B. B. King has said repeatedly that, for his money, Hooker was the best guitar player he ever met.
Tragically, Earl Hooker died of tuberculosis in 1970 when he was on the verge of international success just as the Blues Revival of the late sixties and early seventies was reaching full volume.
Second cousin to now-famous bluesman John Lee Hooker, Earl Hooker was born in Mississippi in 1929, and reared in black South Side Chicago where his parents settled in 1930. From the late 1940s on, he was recognized as the most creative electric blues guitarist of his generation. He was a "musician's musician," defining the art of blues slide guitar and playing in sessions and shows with blues greats Muddy Waters, Junior Wells, and B. B. King.
A favorite of black club and neighborhood bar audiences in the Midwest, and a seasoned entertainer in the rural states of the Deep South, Hooker spent over twenty-five years of his short existence burning up U.S. highways, making brilliant appearances wherever he played.
Until the last year of his life, Hooker had only a few singles on obscure labels to show for all the hard work. The situation changed in his last few months when his following expanded dramatically. Droves of young whites were seeking American blues tunes and causing a blues album boom. When he died, his star's rise was extinguished. Known primarily as a guitarist rather than a vocalist, Hooker did not leave a songbook for his biographer to mine. Only his peers remained to praise his talent and pass on his legend.
"Earl Hooker's life may tell us a lot about the blues," biographer Sebastian Danchin says, "but it also tells us a great deal about his milieu. This book documents the culture of the ghetto through the example of a central character, someone who is to be regarded as a catalyst of the characteristic traits of his community."
Like the tales of so many other unheralded talents among bluesmen, Earl Hooker, Blues Master, Hooker's life story, has all the elements of a great blues song -- late nights, long roads, poverty, trouble, and a soul-felt pining for what could have been.
Sebastian Danchin is a freelance writer and record producer. He also creates programs for France's leading radio network, Radio-France, and is the blues editor for France's leading jazz magazine, Jazzman. His previous books, among others, include Les Dieux du Blues (Paris: Editions Atlas, 1995) and Blues Boy: The Life and Music of B. B. King (University Press of Mississippi, 1998).
A Character Sketch
"A vibrant account that puts flesh on the bare bones of early Roman history." ---Celia Schultz, University of Michigan The ancient Romans' story down to 264 B.C. can be made credible by stripping away their later myths and inventions to show how their national character shaped their destiny. After many generations of scholarly study, consensus is clear: the account in writers like Livy is not to be trusted because their aims were different from ours in history-writing. They wanted their work to be both improving and diverting. It should grow out of the real past, yes, but if that reality couldn't be recovered, or was uncertain, their art did not forbid invention. It more than tolerated dramatic incidents, passions, heroes, heroines, and villains. If, however, all this resulting ancient fiction and adornment are pruned away, a national character can be seen in the remaining bits and pieces of credible information, to explain the familiar story at least in its outlines. To doubt the written sources has long been acceptable, but this or that detail or narrative section must always be left for salvage by special pleading. To press home the logic of doubt is new. To reach beyond the written sources for a better support in excavated evidence is no novelty; but it is a novelty, to find in archeology the principal substance of the narrative---which is the choice in this book. To use this in turn for the discovery of an ethnic personality, a Roman national character, is key and also novel. What is repeatedly illustrated and emphasized here is the distance traveled by the art or craft of understanding the past---"history" in that sense---over the course of the last couple of centuries. The art cannot be learned, because it cannot be found, through studying Livy and Company. Readers who care about either of the two disciplines contrasted, Classics and History, may find this argument of interest. "Like Thucydides of the hyperactive Athenians and de Tocqueville of the nation-building Americans, MacMullen here draws a character sketch of the early Romans---the men who built Rome, conquered Italy, and created an empire. Based on profound familiarity with history, evidence, and their better-known descendants, attention to what they did and failed to do, remarkable insight, empathy, constructive imagination, and not without humor, he reconstructs the homo Romanus and thus helps us imagine what he was like, and understand why he achieved what he did. This little book is informative, full of important ideas, and delightful to read." ---Kurt Raaflaub, Brown University Jacket image: Marcus Fabius and Quintus Tannius. Fresco. Musei Capitolini, Rome, Italy. Courtesy of Scala / Art Resource, NY..
The eighteenth and nineteenth centuries saw both the consolidation of American print culture and the establishment of an African American literary tradition, yet the two are too rarely considered in tandem. In this landmark volume, a stellar group of established and emerging scholars ranges over periods, locations, and media to explore African Americans' diverse contributions to early American print culture, both on the page and off.
The book's seventeen chapters consider domestic novels and gallows narratives, Francophone poetry and engravings of Liberia, transatlantic lyrics and San Francisco newspapers. Together, they consider how close attention to the archive can expand the study of African American literature well beyond matters of authorship to include issues of editing, illustration, circulation, and reading—and how this expansion can enrich and transform the study of print culture more generally.
Published in cooperation with the Library Company of Philadelphia.