“Of all the world’s major musical cultures, that of China may well be the least thoroughly understood and most often misunderstood by Western scholars and music lovers,” writes J. Lawrence Witzleben. Witzleben adds to the understanding of this musical culture with the first book-length study of one of China’s most influential regional musical traditions. The first Western ethnomusicologist admitted to a Chinese conservatory, Witzleben presents a multifaceted study, based on more than two years of fieldwork in the early 1900s, of “silk and bamboo” string and wind music (Jiangnan sizhu) in Shanghai. Although Jiangnan sizhu is a regional tradition, enjoyed by only a small part of the population, an indepth look at it reveals much about Chinese musical culture. Through his varied experiences as student, performer, and participant-observer, Witzleben is able to present and discuss the perspectives of musicians in Shanghai and of Chinese scholars and teachers, as well as those of a Western-trained ethnomusicologist. The result is a comprehensive understanding of Jiangnan sizhu its musical sounds and concepts; the people who play, teach, and learn the music; and the environment in which it is and has been played, heard, and discussed.

“Many of the poems in Rosemary Willey’s Intended Place are flawless meditations on possibility and denial. The voice in these poems is straightforward, and there isn’t an emotional placebo behind the terse syntax and the believable imagery… From the very first few pages, we realize that this voice embodies empathy and a to-the-point inquiry. Rosemary Willey cannot keep her mind off the real things of this world, touching life where it feels good and where it pains, always snapping the chanced wishbone, and we are more blessed and richer for her daring talent.”—Yusef Komunyakaa, Judge

Author Glen N. Wiche has compiled all of Allen’s Civil War dispatches to the U.S. State Department and provides well-documented commentary to place Allen’s activities in the wider context of the “Atlantic campaign” of the Civil War. Dispatches from Bermuda paints a detailed picture of these activities and offers a rare account of this blockade-running traffic from a northern perspective.

This exploration of the artistry of Romeo Celleghin reveals the pressing need to undertake research and documentation of religious and sacred artwork before records and art pieces are lost or forgotten forever. Whitelaw’s discoveries help illuminate the path for others and have not only recovered the beauty of Celleghin’s art, but remind us to be vigilant in honoring and preserving the significant works of art that enhance our houses of worship.

“Energy, dynamic energy emanates from Mary Weems’ careful, observing eyes into her language. These poems offer immediacy, intelligent response, and rich repartee with the difficult urban world of a gentle warrior.”—Diane Wakoski

Invoking the sacred and the profane, Juliana Gray Vice speaks to the reader with a powerful voice. The poetry of History in Bones catechizes the reader with the mundane and the extraordinary.

Built by Daniel R. Hanna as a tribute to his theater-loving father, Marcus Hanna, the Hanna Theatre opened its doors on March 28, 1921, with an adaptation of Mark Twain’s The Prince and the Pauper starring William Faversham. Billed as a “Broadway-style theater,” the Hanna was located not on Euclid Avenue but around the corner on the side street of East 14th. Its interior decor was opulent, finished in what was described as a combination of Italian Renaissance and Pompeian style, and the stage was described as “large enough . . . to present the best plays offered; but intimate enough to present the quietest comedy or drama to the best advantage.”

Spotting a trend in the early 1950s of staging summer theater in the round under tents, Clevelander John L. Price Jr. decided to give it a try. Consulting a local statistician to determine the geographical center of the culturally inclined population, the bull’s-eye fell in Warrensville Heights, a Cleveland suburb that was also the home to Thistledown Race Track. Price opened his Musicarnival there, on the grounds of the race track, with a production of Oklahoma! in the summer of 1954. The Music Went ’Round and Around tells the story of this unique summer theater and of its ebullient founder, John L. Price Jr.

This work takes the reader from the city’s first professional theatrical presentation in 1820, through the heyday of vaudeville, to the grand reopening of the newly renovated Allen Theater in 1999 and the return of touring Broadway shows to Cleveland. In 1820 Cleveland was able to draw a visit from a troupe of professional actors. With no theater in which to perform, the troupe made do with Mowrey’s Tavern on Public Square.

This first volume in the new Teaching Hemingway Series is a collection of richly nuanced, insightful, and innovative essays on teaching A Farewell to Arms from authors with varied backgrounds, including all levels of secondary and higher education. Read separately, the essays contribute to an enhanced understanding and appreciation of this master work. These seasoned instructors offer practical and creative classroom strategies, sample syllabi, and other teaching tools. Contributors include J. T. Barbarese, Brenda Gaddy Cornell, Peter L. Hays, Jennifer Haytock, Ellen Andrews Knodt, Any Lerman, James H. Meredith, Kim Moreland, Jackson A. Niday II, Charles M. (Tod) Oliver, Mark P. Ott, David Scoma, Gail D. Sinclair, Tom Strychacz, Frederic Svoboda, and Lisa Tyler.