The best essays by one of the leading experts on the Spanish Civil War
The Spanish Civil War, a military rebellion supported by Hitler and Mussolini, attracted the greatest writers of the age. Among them were Ernest Hemingway, George Orwell, André Malraux, Arthur Koestler, Langston Hughes, and Martha Gellhorn. They returned to their homelands to warn the world about a war of fascist aggression looming on the horizon.
A sequel of sorts to his earlier book, Pleasant Valley, this book significantly adds to Louis Bromfield’s body of work on agriculture, economics, and the value of home.
“Because Bromfield has seen so many different lands, he is now more a country man than ever. When he turned his first spadeful on his new Ohio farm acres, it marked the return of the native. Bromfield writes his books in pencil, longhand. He has such concentration that he can come in from working in his fields, go to his desk and finish a sentence he started the day before.”
—The New Yorker
The Lincoln images, originally appearing in such publications as Budget of Fun, Comic Monthly, New York Illustrated News, Phunny Phellow, Southern Punch, and Yankee Notions, significantly expand our understanding of the evolution of public opinion toward Lincoln, the complex dynamics of Civil War, popular art and culture, the media, political caricature, and presidential politics. Lincoln, appealed to illustrators because of his distinctive physical features. (One could scarcely conceive of a similar book on James Buchanan, his immediate predecessor.) Despite ever-improving techniques, Lincoln pictorial prominence competed favorably with any succeeding president in the nineteenth century.
Morrison writes with clarity, wit, and insight, sharing his critiques of the army, West Point, and teaching, along with his assessment of the present status of American life and his attitudes toward the quality and effectiveness of army officer education and training. He analyzes some of the pitfalls and the strengths of preparing U.S. military organizations for service now and in the future, and he furnishes the reader with insights into how history is taught at a typical American college. From Rat Pants to Eagles and Tweeds is a significant contribution to the study of American military history and will be of interest to military officers, military educators and historians, and alumni of the Virginia Military Institute and West Point.
In this expansive anthology, Susan Stagno and Michael Blackie assemble an insightful group of contributors to discuss the ways in which medical professionals can powerfully engage with their students through a variety of literary texts. Examples as diverse as Charles Bukowski, Leo Tolstoy, William Carlos Williams, Sherwood Anderson, Mary Shelley, Stephen King, the comic strip Pearls Before Swine, and the sayings of Buddha will provide both teachers and students a rich cache of stories for discussion and inspiration.
In early 1864, many heavy artillery regiments in the Civil War were garrisoning the Washington defenses, including the Fifteenth New York. At the same time, newly minted Union general in chief Ulysses S. Grant sought to replenish the ranks of the Army of the Potomac, and the Fifteenth became one of the first outfits dispatched to Major General George Meade at Brandy Station.
Drawing on a wealth of previously unmined primary sources, Edward A. Altemos pays tribute to the Fifteenth, other heavy artillery regiments, and the thousands of immigrants who contributed to the Union army’s victory.
Prior to World War II, women were a rarity in the newsrooms of daily papers throughout the country. The assignments given to those few who graced the profession reflected the newspaper culture of the time—society, fashion, and school news. Doris O’Donnell proved the exception. While she began her journalism career with those routine tasks, in short order she broke those barriers and assumed more challenging duties of investigative reporting and covering the crime beat.
The Frontier Republic examines the form these conflicts took in the settlement of the Ohio Country, as thousands of Americans streamed onto the lands west of the Appalachians. These settlers had experienced revolution and migration: now the process of creating new communities and a new state in the Northwest Territory forced them to deliverate on, and define, what these upheavals had accomplished. At issue was the very nature of human society and the role of government in it. Jeffersonian Republican ideals of individual liberty and local sovereignty were at odds with the Federalist vision of a well-ordered society and political control on the national level. Disagreements arose over such topics as rights of squatters, establishment of authority of the national government, the statehood movement, and the location of the new state’s capital. The effects of the Panic of 1819 and the need for internal improvements changed the early focus on individualism to an understanding of Ohio’s place in an interdependent society. Although this first generation of settlers failed to resolve their disputes completely, they ensured that the ideological foundation of nineteenth-century Ohio would be a synthesis of their conflicting revolutionary visions of the future of the United States.
The book states plainly that both its speaker and the speaker’s mother have suffered near-deadly head injuries (“when I woke up in the hospital thirty years after you did,” “my head: / rotting pear”), resulting in loss of memory. However, rather than let a taxonomy like “family curse” sit unquestioned, Green writes toward the fugues (i.e., the condition of having one’s identity questioned) by making a kind of fugue (i.e., interweaving song). Johnathan Culler writes that “the fundamental characteristic of the lyric . . . is not the description and interpretation of a past event, but the iterative and utterable performance of an event in the lyric present, in the special ‘now’ of lyric articulation.” The lyric in Fugue Figure allows the unspeakable past to be uttered in the lyric present, and the form of diptychs and triptychs through the book place disparate lyric utterances together on the same page. While lyric addresses allow the reader to reach toward the speaker’s unknowns, the triptychs and diptychs allow the reader to reach toward the unnamable place between left and right signifiers, both adding to the vital enigma of the poems.
