[P726.Ebook] Ebook The Fair Women: The Story of the Woman's Building at the World's Columbian Exposition of 1893, by Jeanne Madeline Weimann, Anita Miller

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The World's Columbian Exposition included amazing exhibits of the results of women's activities -- in the arts, industry, science, politics and philanthropy. Most of these were housed in the Woman's Building, which was designed, decorated and administered entirely by women. Show Less

• Sales Rank: #2046024 in Books
• Brand: Brand: Academy Chicago Pub
• Published on: 1981-01-01
• Original language: English
• Number of items: 1
• Dimensions: 10.50" h x 8.75" w x 1.50" l,
• Binding: Hardcover
• 611 pages

Features

• Used Book in Good Condition

Review
"Weimann's splendid research recaptures the 1893 Chicago exposition... a strong narrative line makes the book readable even for nonspecialists..." — Library Journal

About the Author
Miller is a founding editor of Academy Chicago Publishers.

Most helpful customer reviews

20 of 21 people found the following review helpful.
This is one of the most valuable books I know.
By Doris Weatherford
I am the author of a half-dozen books on American women, and THE FAIR WOMEN is one of the sources to which I return again and again. Jeanne Weimann did an absolutely masterful job, and the photos are incredible. It provides a terrific overview of the status of women in many places at the turn of the century, and it's full of bios of barely-known women. I would not sell my copy for any price.
Doris Weatherford
Executive Editor, WOMEN'S ALMANAC

7 of 7 people found the following review helpful.
The Story of a Milestone in Women's History
By Barbara J. Mitchell
Seems like I've been reading this book forever, but I did enjoy it. Otherwise I wouldn't have stuck with it when I came across parts that were guilty of too much information. I think Jeanne Madeline Weimann must share one of my faults. You do so much research for a book like this that it's tempting to include every little item. If anyone thinks of writing a paper about the Women's Building of the 1893 Chicago World's Fair, this is an excellent source, bibliography and all.

The 1890s saw a social change in the U.S. for women, former slaves and their families, and for the upper classes as well. It was a time of bloomer girls, "typewriters" girls who typed in an office, and Susan B. Anthony still fighting for suffrage but Mrs. Stanton at home exhausted from the effort and not well. Artists such as Mary Cassatt were finding Europe much more open to their art than people who bought art here who insisted on more classical styles, certainly no nudity. There were a few female architects (one designed the Women's Building) and doctors and dentists, but very few.

The president of the commission in charge of the women's exhibitions at the fair was Bertha Palmer, wife of Potter Palmer who owned the Palmer House Hotel in Chicago. Bertha was the cream of Chicago society but found herself belittled by a visiting Spanish princess because she was "the wife of an innkeeper." Palmer worked harder than anyone to make the exhibition a success; she sincerely wanted to enlighten people to the fact that women are capable of great things and should be considered equal to men. On the other hand, at times she offended some commission members and exhibitors by her superior attitude. The long effort exhausted her and when the fair was over she pretty much washed her hands of what happened to everything as her husband took her on a year-long world tour.

The sad fact is that the fair buildings weren't built to be permanent so when the fair closed in the fall of 1893 all of the exhibitors took their paintings, crafts, etc. home and whatever was left was put in storage. Unfortunately, during that removal two enormous murals, one by Cassatt, were lost. Then two fires destroyed all evidence of the fair. A quadrangle of lawn at the University of Chicago, is all that remains of the Midway for instance, where the first ferris wheel ran during the fair. (The ferris wheel had cars rather than the seats used now. Each carried a dozen people.)

When I finally finished the book, I felt bereft like the people who worked so hard to put the fair on must have felt when it was suddenly just gone, like Brigadoon.

2 of 2 people found the following review helpful.
Excellent book
By aslann
Very detailed history of this Fair. Excellent research and capturing of the time in history, what this fair meant to America, and the politics of bringing it to the people.

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[X353.Ebook] Fee Download Natural Affection, A Play, by William INGE

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• Sales Rank: #9203726 in Books
• Published on: 1963
• Binding: Hardcover

Most helpful customer reviews

5 of 5 people found the following review helpful.
Behind the Wall
By Kevin L. Nenstiel
The magnitude of distrust and anger bound up in William Inge's Natural Affection is shocking, but perhaps not surprising. In his preface, Inge mentions widespread news coverage of youth violence in the late 1950's and early 1960's as his chief motivation, but the violence in this play is not limited to youth. Juvenile delinquency, Inge implies, is the product of a corrupted society in which violence is what teens on the cusp of adulthood have modeled for them in the home and in their communities.

Donnie is a disaffected teen, and it's easy to see him as a leather-jacketed punk with a ducktail 'do and two-tone shoes. But this image is unjust to how his inner turmoil reflects that of his world. His mother admits he's bounced from orphanage to work camp all his life. Now he's home on conditional release--a situation which implies that the law expects him to offend again. He's a bomb waiting to explode, so he fits in nicely with the "home" to which he returns.

Sue Barker and Bernie Slovenk are about as far from a "traditional" couple as Chicago's white working class can probably stand in 1962. She's older than him, makes more money than him, has a child out of wedlock, and the two of them live together without having exchanged rings. Why the law, always a staid institution, would entrust a kid to this household beggars description, but Sue and Bernie's unconventionality thinly conceals a rich vein of anger, and not just at each other or the world. They hate themselves with Homeric scope, and express that self-hatred through easy violence.

In the early 1960's, women's roles are in flux. Neither Rosie the Riveter nor Harriet Nelson are sufficient role models anymore, as women return to the workforce, but without the acclaim that made them heroines during the war. Sue Barker has to cram her traditional role as a mother into her life alongside the more hard-bitten demands of a modern business woman. But because stodgy wartime attitudes never let her learn to be a mommy, she displaces appropriate maternal impulses into the same kind of affection she feels for Bernie. And just as her love for Bernie vacillates between lust and warfare, that's what manifests in her make-do relationship with her son.

During his time in the work camp, a guard named "Stubby" left Donnie with flaming scars from repeated beatings and, it is implied, probably sexually victimized him too. Since Donnie has never known his father nor been nurtured by his mother, his perfectly reasonable aversion to authority manifests in an inability to get along. He subtly challenges his mother by spending her money recklessly, cranking the music up to loud, and refusing to get along with Bernie. In other words, he throws down the gauntlet in the passive-aggressive way teens have at least since the end of World War II. No longer a boy but not yet a man, he takes power the only way he can, by being sullen and disobedient.

As if all this unresolved attention weren't enough, Sue and Bernie, clueless what else to do, pull Donnie into their friendship, if you can call it that, with Vince and Claire Brinkman. These two seem to have frighteningly elastic sexual standards in which Vince's demonstrative appetites and Claire's transparent infidelities collude. The remarkably blasé attitude that not only the Brinkmans but Sue and Bernie have to this orgiastic excess is stunning at first blush. But on further consideration, perhaps this approach shouldn't be so surprising. If the role of women, and of men in relation to women, is in flux, then marriage itself is also up in the air. Vince and Claire aren't immoral or sexually careless; they're just at the vanguard of what marriage will be about in coming years.

Whole books could be drafted deconstructing the elaborate sexual politics tying Sue, Bernie, and the Brinkmans together. The intricate balance of what is said and what remains unsaid between them puts Donnie in the awkward position of standing insimultaneously for Vince with Claire, and for Bernie with Sue. When Bernie accuses Sue, saying "It looks to me like you had the hots for him yourself," the language may be provocative and harsh, but that doesn't make it any less so. Sue only knows one way to relate to men, and to people in general, so if she relates to her son that way, repulsive though that may be, it's tough to blame her.

Of course there's no earthly way Donnie can comprehend all this and remain healthy. His whole life has been described by the privations of the orphanage and the work farm, where he has a specific role and his actions are defined for him. That may not be much of a childhood, but it's surely more comprehensible than the minefield he's now required to walk. Who can blame him, then, for lashing out with appalling violence when everything comes to a head? There's no way he could not know the consequences for his actions, but maybe he's courting those consequences because they're better than the alternative. He can't go back to the work farm and Stubby, but he can't stay where he is--behind the wall may be the easier way.

Inge was castigated for his level of violence when this play debuted, and no doubt this play is very reactionary in its distrust of change and the dawning era. But in a world where old ways are constantly falling away, most people feel themselves to be in a nightmare world like Inge's, at least from time to time. The violence that buffets us from all sides make us want to hit back. Donnie does so, and leaves us stunned. But perhaps he stuns us because we know how close we are to his place at any moment, and we fear he's closer to us than we care to admit.

4 of 4 people found the following review helpful.
Excellent introduction to Inge's work
By alex bushman
This play is about a single mother who has had her juvenile son taken from her and has started a new relationship with a man who doesn't know too much about him. The son is sent back to her without the woman's knowledge and what happens is heartbreaking. It's sad to know that Inge based this story off of something that he read in the paper and things like this happen. It's an extreme introduction to the harsh realism of his other plays, but it prepares you for the other plays and makes them seem like a cakewalk considering most of them are leavened with humor and this one has very little if at all.

4 of 5 people found the following review helpful.
Much underrated play by William Inge
By D. Jonnes
Anyone with interest in American drama of the postwar era will want to read Inge's now almost-forgotten "Natural Affection." Despite a string of Broadway hits (including "Picnic" and "Bus Stop," which live on to some degree in their film versions) and much critical acclaim, Inge was target of broadside by Robert Brustein in Harper's which effectively--and unjustly--torpedoed Inge's career as playwright, or at least produceable playwright. Brustein, whatever his accomplishments--he went on to found the Yale Repertory Theater--, did American drama grave disservice with his comments about Inge's "emasculated" males and formulaic plots. Inge was a "realist," but with a twist. He was in tune with much of what was happening to America culturally in the Cold War years, in particular in terms of the impact movies, radio, television and popular music were having on the collective mind. This sensitivity to what preoccupied Americans is again on display in "Natural Affection."

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Frank C. Feschino, Jr., the authority of the "Braxton County Monster" incident has returned with an Updated and Expanded version of his 2012 book. His ongoing and diligent 21-year investigation into this case reveals an invasion of gigantic aliens that occurred over America on September 12, 1952. Feschino meticulously reconstructed a timeline of events and recreated the scenario of that terrifying day, which includes the "Flatwoods Monster" and "Frametown Monster" incidents, a massive wave of Ufo sightings and crashes and the cover-up of a Usaf jet fighter that disappeared that night. This book contains new documentation about the "Braxton County Monster" case and startling Ufo events of that day and includes additional witness information, newly discovered sightings, crashes, landings and more. It contains more than 225 visuals, including new articles, photos, maps, graphics and illustrations, which credit Feschino as the world's most thorough investigator of this Ufo incident in history.

• Sales Rank: #349091 in Books
• Published on: 2013-08-25
• Released on: 2013-08-25
• Original language: English
• Number of items: 1
• Dimensions: 9.68" h x .86" w x 7.44" l, 1.49 pounds
• Binding: Paperback
• 378 pages

Most helpful customer reviews

7 of 7 people found the following review helpful.
An excellent read.
By MichaelLouk
A thorough and untainted look into one heck of a scary set of circumstances. Excellent photos to go with the descriptions the witnesses give and also of the places where all the action took place. No grammatical errors, no "filler", no redundant information and most importantly no bs. (Personally I was very pleased with this purchase despite the rather high price and found it in the end to be worth every penny. I hope Mr.Feschino derives a profit from his hard work and determination to get to the bottom of yet another government cover up.)

6 of 6 people found the following review helpful.
The final word on the Flatwoods (Braxton County) Monster.
By Creepy Green Light
The author should be recognized for providing the most detailed, accurate, and up to date information regarding this case. If you have heard of this case over the years, I would forget what you already heard. Chances are, you received at least some (if not all) erroneous information. Something definitely happened that night. And to think that many eye witnesses saw a standard barn owl and confused it with a giant lizard/robot creature is ludicrous. I highly recommend this book.

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THE COMPANION BOOK TO THE PBS DOCUMENTARY SERIES

Latino Americans chronicles the rich and varied history of Latinos, who have helped shaped our nation and have become, with more than fifty million people, the largest minority in the United States. This companion to the landmark PBS miniseries vividly and candidly tells how the story of Latino Americans is the story of our country.

Author and acclaimed journalist Ray Suarez explores the lives of Latino American men and women over a five-hundred-year span, encompassing an epic range of experiences from the early European settlements to Manifest Destiny; the Wild West to the Cold War; the Great Depression to globalization; and the Spanish-American War to the civil rights movement.

Latino Americans shares the personal struggles and successes of immigrants, poets, soldiers, and many others—individuals who have made an impact on history, as well as those whose extraordinary lives shed light on the times in which they lived, and the legacy of this incredible American people.

• Sales Rank: #120040 in Books
• Brand: Suarez, Ray
• Published on: 2013-09-03
• Released on: 2013-09-03
• Original language: English
• Number of items: 1
• Dimensions: 9.20" h x .70" w x 6.10" l, .90 pounds
• Binding: Paperback
• 272 pages

Review

“This companion book for the PBS series of the same name also stands on its own as a source of valuable information about this large, and growing, group of Americans. . . . [Suarez] does a terrific job. . . . [He] succeeds in his stated goal of getting listeners to think differently about this country and to appreciate the Latino contributions to our history.”
      —AudioFile

“Suarez . . . reads with passion about his subject. Recommended to fans of the documentary series or those looking for a powerful overview of Latino Americans’ substantial contribution to American history.”
      —Library Journal

About the Author
Broadcast journalist Ray Suarez is a senior correspondent for PBS NewsHour, and host of the public radio show America Abroad. He has also been host of Talk of the Nation on NPR and a correspondent for CNN. He lives in Washington, DC, with his family.

Most helpful customer reviews

43 of 46 people found the following review helpful.
Well Research and Fascinating History
By Eric Selby
As a senior citizen American who was given a white-man-is-supreme dose of history in public school--Native Americans being "Indians" who took scalps of the "good" white guys--I knew so little about the real America. For the past many years I have lived in south Florida, in a county where 80% of the people speak Spanish as their native language. So this book, written by one of the NewsHour journalists, Ray Suarez, of Puerto Rican descent really interested me. I had no idea that Latinos have been here and part of our culture in ways that should have seemed more obvious.
The book is very clear and filled with fascinating little pieces of information including the difficulties citizens of Puerto Rico, for example, had when their island became part of the United States after the Spanish-American War. They couldn't enter the mainland even though they were technically American citizens until one woman took the case all the way to the Supreme Court.
And here's another, one that is somewhat personal for me. My 9th great grandfather, William Bradford, was the leader of the so-called first settlers, the Plymouth Colony ones. But well before 1620, St. Augustine, Florida, was settled by the Spanish and would remain a Spanish-speaking city well into the 19th century. The name Florida, of course, comes from the Spanish word for flowers: flora. So when Span-o-phobes (my term) speak about preserving English as the only language, they should be reminded that in Florida Spanish was spoken well before the English arrived to settle it. That is a little piece of history that, in my opinion, should be used more often when discussing immigration issues, for example.
For a person who would like to learn more about this important element of American history, this is just the book for you. So readable. And by the way, PBS is doing a documentary series based on this book.
It is just a wonderful book to read--and Mr. Suarez is a really good writer.

16 of 19 people found the following review helpful.
An Incisive Introduction
By Alejandro Benes
Despite the ridiculous title chosen by the clueless publisher and which the author has repudiated or should, this book serves as a supremely useful foundation for understanding the contributions, the breadth and the growth of the multiple Latino national and cultural groups that have been part of the USA for more than 500 years. Further, assuming they will read this excellent work by Ray Suarez, Puerto Rico's most important contribution since Roberto Clemente (and maybe Yadier Molina) to our culture, journalists might better understand and treat the significance of the Latinos in the USA rather than simply seeing "the Latino vote" as a monolithic voting bloc. Suarez's crisp writing and concise explanatory style does not suffer from a lack of passion or academic torpor. This is a tome that informs, entertains, stimulates and inspires. One can only hope that Suarez continues to produce work like this in media that appreciate his talents.

5 of 5 people found the following review helpful.
searching for the history and soul of "Americanos"
By tjsloss
This volume richly deserves the excellent reviews published here. The author's passion is social justice and his scenes and characters emphasize the struggles of the Latinos among us. Suarez eloquently reminds us who was here first. And he peoples his wide panorama with remarkable men and women of whom few but Latinos are aware. I am a white, fourth generation Californian and a graduate of the University of California whose library is named Bancroft for a respected scholar who would have had us believe there was no culture here before Manifest Destiny (and gold) shoved all else aside. Suarez notes that a large Spanish/Mexican presence stretched from Texas to the Pacific long before any but ship captains from around the globe stopped on California shores to provision ... and later trade. With the folks who were here. Latinos. (the Native Californians were subsistence hunter/fisher/gatherers who had no understanding of commerce.)

Suarez also highlights the ambivalence with which New Spain and then Mexico viewed the new United States. Consider the old refrain, variously attributed, "Pity poor Mexico ... so far from God and so close to the United States". Texas was a bitter beginning. The Spanish rulers of Mexico warmly invited western moving "Americans" into their sparsely populated northern fringe. Folks who brought cattle to the open ranges and cotton to the wide river plains. But when Mexico won its freedom from its vassal status to Spain, it outlawed slavery. This was their reaction to the old, Spanish "encomienda" system which pretty much bound all the natives to labor for life at the wishes of Spanish overlords. In Mexico, that system was overthrown by a bloody revolution which resulted in independence in 1821.

Early on, Suarez recounts the story of Texas because it illustrates the plight of a whole culture caught not at the edge but in the middle of monumental change. As he notes, Mexicans often remind us that the United States created a border which once didn't exist. Santa Fe, New Mexico, is an older community than New York or Boston ... or even Jamestown. This is a book about the birthright of people, like the Native Americans, who were already "here". Who were a part of the fabric of this country from long before the Alamo and discovery of gold in California.

For Suarez' book, that is only a preamble to the remarkable achievements of the "Americanos" among us. Living for decades in Southern California and for ten years teaching (history) in high school classrooms which Santa Ana Unified School district called 93% "Hispanic" (I prefer the author's word, Latino), I wish Suarez had published this insightful book a few years ago. I would have had even more respect for the trials faced by my Americano students.

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[J843.Ebook] Download PDF Tor: Set Up Tor in 2016! #1 Guide On IP Address, Blocking The NSA, Internet Privacy and More! (computer hacking, programming languages, hac

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• Sales Rank: #1529915 in Books
• Published on: 2016-09-22
• Original language: English
• Dimensions: 9.00" h x .10" w x 6.00" l,
• Binding: Paperback
• 44 pages

Most helpful customer reviews

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This groundbreaking study looks beyond biblical texts, which have had a powerful influence over our views of women's roles and worth, in order to reconstruct the typical everyday lives of women in ancient Israel. Carol Meyers argues that biblical sources alone do not give a true picture of ancient Israelite women because urban elite males wrote the vast majority of the scriptural texts. Also, the stories of women in the Bible concern exceptional individuals rather than ordinary Israelite women. Drawing on archaeological discoveries and ethnographic information as well as biblical texts, Meyers depicts Israelite women not as submissive chattel in an oppressive patriarchy, but rather as strong and significant actors within their families and in their communities. In so doing, she challenges the very notion of patriarchy as an appropriate designation for Israelite society.

• Sales Rank: #624332 in eBooks
• Published on: 2012-11-26
• Released on: 2012-11-26
• Format: Kindle eBook

Review

"Through a thorough analysis of biblical and extra-biblical literature, Meyers uncovers the enormously meaningful roles women played and shows how their active participation within and outside the household shaped Israelite society...Meyers' revised work is rich in content, well documented, and a welcome addition to her earlier contribution on this important topic."--Journal for the Evangelical Study of the Old Testament

"[T]his is an excellent and extremely important book, to a large extent the starting point of any current and future discussion of gender issues in ancient Israel--and Carol Meyers is to be thanked for offering this important volume to students of ancient Israel in particular and the ancient world in general." --Review of Biblical Literature

"[Meyers] breaks new ground with a fresh examination of roles of the ancient Israelite women...With numerous expansions and multiple new perspectives, even those familiar with Meyers' 1988 work will find Rediscovering Eve a welcome new monograph in the field of feminist research in biblical studies." --Interpretation: A Journal of Bible and Theology

"Carol Meyers' Discovering Eve was a milestone in feminist scholarship when it was published in 1988, bringing together disciplines that had not previously had much contact. Now, after nearly twenty-five years of further work in feminist and gender studies, archaeological and ethnographic analysis, Meyers' Rediscovering Eve provides a superb study that retrieves the material and cultural conditions of ordinary Israelite women, as well as shedding new light on how to read and understand the account of the mythic Eve. This book is essential reading for introductory courses on Hebrew Bible/Old Testament."--Carol A. Newsom, Charles Howard Candler Professor of Old Testament, Candler School of Theology

"Meyers elegantly documents the Hebrew Bible's minimalist and misogynist views of women in ancient Israel. More importantly, she then proceeds to document this using perceptive new insights into the biblical texts; the pertinent but neglected archaeological data on household activities; and especially a considerable body of ethnographic data unfamiliar to many scholars in our respective fields. This pioneering work goes a long way toward rescuing ancient Israelite women from obscurity, ably demonstrating that they played far more significant roles than we had imagined in the domestic arena, in communal and public life, in the cult, and even in cultural and political life. This is feminist scholarship at its best--neither doctrinaire nor defensive, but simply factual, honest, incisive, bold scholarship...a landmark publication. It will change the way we view women in ancient Israel, in the church and synagogue, and in the academy." --William G. Dever, University of Arizona

"Rediscovering Eve is thus an enlightening update of a classic work of Biblical and Feminist scholarship as well as a worthwhile read for sophisticated and casual readers alike." --Jewish Book Council

"More than a revision, the new book represents a significant theoretical and methodological advancement in its own right... Meyers is to be commended for her willingness to question, challenge, and reformulate her previously published ideas, instead of using the new edition as a platform to rehash an old theory. Heterarchy holds a great deal of promise for biblical studies, and scholars and students alike will benefit from the introduction she provides. It is to Meyers' credit, moreover, that the book is eminently readable and accessible to a wide audience." --Biblical Interpretation

About the Author
Carol Meyers holds the Mary Grace Wilson Professorship in Religion at Duke University. A specialist in biblical studies and archaeology, she is a prominent scholar in the study of women in the biblical world and a trustee of the American Schools of Oriental Research and of the Albright Institute of Archaeological Research. She also serves on the board of directors of the Dead Sea Scrolls Foundation and is president-elect of the Society of Biblical Literature.

Most helpful customer reviews

6 of 6 people found the following review helpful.
an interesting look at women in the biblical world
By Tyler Jarvis
By and large, Meyers does an excellent job of moving past the cultural lenses we've created in order to get a more honest picture of the role of women in the biblical world. The book is easy to read, informative, and presents a good challenge to the general understanding of women as oppressed in the biblical world.

There are times that I feel like Meyers is unable to escape her own cultural bias, and reads equality and position into texts that don't seem to actually be there. Many of her arguments that women had a greater influence than generally believed are very convincing, but particularly when she tries to argue that Adam was genderless, and the Israelite people did not view men as being created first, it just seems that she's reading her modern feminist theological perspective onto the Creation narrative. For the record, theologically, I'm fine with the assertions she makes, but sociologically, I'm not convinced by some of her arguments.

Overall, it was certainly worth the read and I would recommend to anyone trying to understand the role of women in the biblical world.

0 of 0 people found the following review helpful.
It is a good reconstruction of Eve
By Kamelle
Gives one a different insight on Women in the Scriptures and an understanding on the role of women in Ancent Israel. It is a good reconstruction of Eve.

2 of 7 people found the following review helpful.
Academic Exercise
By J. M. Walker
The writing is repetitive: the same thought is often repeated three or four times, often in the same words, sometimes within the same paragraph.
The argument is perfunctory, without telling observations, careful logic, or penetrating insights.
Academic quibbles and sub-quibbles are the main topics.
I have given up (at least temporarily) about 20% through.

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"Forty years old and flourishing—a remarkable record for a small nonprofit press—Alice James Books deserves praise and admiration."—Maxine Kumin

A compilation of archival materials accompanies this collection of forty years of Alice James Books poetry. Nearly 150 authors are represented in chronological order. Maxine Kumin states, "the list of authors is remarkable for its breadth, variety, and passion. The assortment is idiosyncratic, the range of voices and styles embraces the familiar personal narrative voice and the innovative." Contributors include Jane Kenyon, Fanny Howe, Forrest Gander, Jean Valentine, B.H. Fairchild, Matthea Harvey, Brian Turner, and Cole Swensen.

Anne Marie Macari's most recent book She Heads into the Wilderness was published in 2008 by Autumn House Press. She is also the author of Gloryland (Alice James Books, 2005), and Ivory Cradle, which won the APR/Honickman First Book Prize in 2000. Macari founded and teaches in the low-residency MFA program in poetry and poetry in translation at Drew University.

Carey Salerno is the executive director of Alice James Books. She earned an MFA in poetry from New England College and teaches in the BFA program at the University of Maine at Farmington. Her first poetry collection, Shelter, won a 2007 Kinereth Gensler Award and was published in 2009.

Former US Poet Laureate Maxine Kumin, winner of the Pulitzer and Ruth Lilly prizes, is the author of Where I Live: New & Selected Poems 1990–2010 (W. W. Norton & Company), her seventeenth volume, which won the 2011 Los Angeles Times Book Prize in Poetry.

• Sales Rank: #2163115 in Books
• Published on: 2013-02-05
• Original language: English
• Number of items: 1
• Dimensions: 8.90" h x 1.10" w x 6.00" l, 1.40 pounds
• Binding: Paperback
• 384 pages

Review

“Alice James Books has been one of the major forces in American poetry for the past four decades…. This is an essential book for readers who want to understand and enjoy contemporary American poetry.” —Publishers Weekly, starred review

". . . a wild stretching voice through time and knowledge. . . . Lit from Inside is an enticing pick for any literary poetry collection. . ." —The Midwest Book Review

“The history of American poetry is the history of the small press, and Alice James Books, true to its origins in the Seventies as a collective operation, is a large and very distinctive chapter in that history, well deserving of this anthology showcasing its poets and work, both experimental and traditional, that ranks among the most important of the past four decades. The next time a student poet asks me for an anthology that will teach her the art in its most exemplary and current state, this is the one I will hand her.” —B.H. Fairchild

“The founding members of Alice James Books welcomed me, in 1975, to a crew of feisty individuals committed to poetry. Unfettered by demands of market or profit, the press published—for forty years— tantalizing collections. Culture; family; feminism; friendship; history; passion; racism; war: it’s all in this anthology, a rewarding testimony to the independent spirit.” —Robin Becker

About the Author

Anne Marie Macari's most recent book, She Heads Into the Wilderness, was published in 2008 by Autumn House Press. She is also the author of Gloryland (Alice James Books, 2005), and Ivory Cradle, which won the APR/Honickman First Book Prize in 2000. Macari’s work has been widely published in magazines including Poetry International, The American Poetry Review, Five Points, TriQuarterly, Bloomsbury Review, Shenandoah, The Cortland Review, The Iowa Review, and in anthologies including From the Fishouse (Persea Books, 2009) and Never Before: Poems About First Experiences (Four Way Books). Macari founded and teaches in the low-residency MFA program in poetry and poetry in translation at Drew University.

Carey Salerno is the Executive Director of Alice James Books. She earned an MFA in Poetry from New England College, and teaches for the BFA program at the University of Maine at Farmington. Her first poetry collection, Shelter, won a 2007 Kinereth Gensler Award and was published in 2009. Salerno lives in western Maine with her husband and two dogs, Daisy and Gatsby.

Former US Poet Laureate, Maxine Kumin, winner of the Pulitzer and Ruth Lilly prizes, is the author of Where I Live: New & Selected Poems 1990-2010 (Norton), her 17th volume, which won the 2011 L.A. Times poetry book prize. She has taught at MIT, Brandeis, Princeton, Columbia, Washington University of St. Louis, and served on the Bread Loaf Writers Conference faculty for seven years. She and her husband live on a farm in New Hampshire.

Excerpt. © Reprinted by permission. All rights reserved.
Introduction
by Maxine Kumin

Forty years old and flourishing—a remarkable record for a small nonprofit press-- Alice James Books deserves praise and admiration. Founded in 1973 by seven idealists—five women and two men, all of whom are represented herein—their stated goal, to involve the poets themselves in the publishing process, and to provide a venue for women at a time when such access to publication was extremely limited, has been handsomely fulfilled. (Men are also represented, though in small numbers.) The Press takes its name from the sister of luminaries William and Henry, whose own gifts went unremarked in her lifetime.

Alice James has remained a cooperative. It sponsors two annual book competitions: The Kinereth Gensler Award and the Beatrice Hawley Award, whose winners are named to the editorial board and take part in selecting ensuing collections. The Kundiman Prize, open to all Asian American poets with any number of published books, was inaugurated in 2010 and the AJP Translation series preceded it in 2008.

Arranged chronologically, the list of authors is remarkable for its breadth, variety, and passion. This is a big book: a reader needs fortitude to undertake its 207 pages, but anthologies are meant to be sipped, not gulped thirstily. Nevertheless, in gradual and measured swallows, I have downed the entire collection, 130-odd disparate celebratory, elegiac, lyrical, lofty, comic, surreal, imagist, formalist, postmodern bards. The assortment is idiosyncratic, the range of voices and styles embraces the familiar personal narrative voice and the innovative, often dissonant music of more experimental poets.

It has been pointed out that the poet’s vocation is in itself a declaration of independence. It has, as Stanley Kunitz once remarked, no market value. Hence, it is all but incorruptible. This anthology owes allegiance to none, other than the poets who have been selected by the cooperative board. Ed Ochester, introducing a forty-year anthology of University of Pittsburgh poets, sagely described the university and small independent presses as “the garage bands of the publishing industry.”

Now let us strike up the music. What could be more incongruent than the juxtaposition of seriocomic, irreverent, loquacious David Kirby with his long narrative line and lyrical, elliptical poet of brevity, Jane Mead? Thanks to their coincident publication dates, Kirby’s The Temple Gate Called Beautiful (2008) and Mead’s The Usable Field of the same year, they abut in the table of contents. Kirby’s title poem opens:

It says HELL IS HOT HOT HOT HOT/and NO SEX WITH MEN ALOUD/ and NO ICE WATER IN HELL/ on the hundreds of washers and dryers/ and air conditioner housings that stud/ the land around outsider artist W. C. Rice’s house...

And Mead’s “The Origin” – the title runs right into the poem:

of what happened is not in language—/ of this much I am certain./Six degrees south, six east----//and you have it: the bird/with the blue feathers, the brown bird---/same white breasts....

On to elegiac poems—isn’t all poetry elegiac au fond? All poems are rooted in the mortality we bemoan; if we were immortal we would have no need to record human feelings in poetry.
So many poems here moved me, but none more profoundly than Kathleen Sheeder Bonanno, whose poems about the murder of her daughter that gave rise to Slamming Open the Door, are masterly. The title poem opens:

In his Russian greatcoat,
slamming open the door
with an unpardonable bang,
and he has been here ever since.

and concludes:

Even as I sit here,
he stands behind me
clamping two
colossal hands on my shoulders
and bends down
and whispers to my neck:
From now on,
you write about me.

Other elegies I found notable include “Washing Beans,” by Rita Gabis; E. Miller Laino’s poem, “No Stone;” Catherine Barnett’s “The Disbelieving,” and David Williams’s “Available Light.”

And what would an anthology be without some poems about poets writing poems? Here are four:

“Lowell Reading,” by John Hildebidle; “Wait,” by Susan Snively; “To Plath, to Sexton,” by Jean Valentine, and Lee Rudolph’s “The Fireman’s Ball,” a hilarous plea for poets to pressure the public the way firefighters do as they hawk tickets to their dance: “...does anyone/ admire the poets’ long brass stanzas,/ their black, pliant, waterproof metaphors...?”

Poems about family and poems about relationships abound. In the ironically titled “Father’s Day,” Suzanne Matson describes

[o]ne father, mine, sits far away and waits to die, mumbling
old grudges to his tireless self.... he sits

pissed off and bony, a gray silt of whiskers
and wild brows and flaking skin....

But let us not dwell
on that. Let us dwell on the rhythmic ringing notes

of his hammer in the backyard thirty years ago

...And everything was green:
the big house, the little house, the backyard and our tightly
furled lives.

Miriam Goodman’s “Argument for Parting” ends “And I don’t marry./ I don’t buy land./ I get older by myself” and Tom Absher’s “The Hermit”closes with “Winter and I have a talent for emptiness--/ this is going to be a sweet exile”; these two poets suggest the rejection of earlier relationships and the acceptance of an independent hermetic life. Ellen Dore Watson’s “One of the Ones” and Frank X. Gaspar’s “One Thousand Blossoms” seem to be cries from the heart; Watson writes “I won’t forget you and you and you, each/ with a brutal truth to send away/ in a little boat, let me be one of the ones/ to keep it afloat...” Gaspar declares “You don’t want less love—this ground has been covered before--/ you want more love, even when you can’t say what it means.” In “Prairie” Robin Becker describes “[t]wo women in a field/ in the middle of our lives, / while the whole wrecked world/ slides into tomorrow./ Her hands come to my body and I would rest/ in that simplicity, this field this night....”

Poems about war deserve more space than I can allot them here. Both Doug Anderson, author of The Moon Reflected Fire and Brian Turner, of Here, Bullet, have seen combat and their poems have been wrung from it. In “Short Timer” Anderson reports “I syringed the long gash with sterile water/...the man saying Oh God and already the slur,/ the drool.../ What was in the 20cc’s of brain he lost?” Turner’s title poem arrests us with “And I dare you to finish/ what you’ve started, Because here, Bullet,/ here is where I complete the word you bring/ hissing through the air, here is where I moan/ the barrel’s cold esophagus,triggering / my tongue’s explosives...” Theodore Deppe, formerly a nurse, writes in “The Book of God” about the photo of a crucified girl, “one of several Bosnian children nailed to the doors/ of their own homes to frighten the parents away.” These poets have excoriating tales to tell; we need to listen.

Three poets—Kazim Ali, Anne Marie Macari, and Henrietta Goodman-- are represented here with poems about faith. Ali, a Muslim, writes about the Hagar and Ismael story. Macari cites Mary and Luke. Goodman states, “God as an engine seems right. Not God/ to make promises to, or in front of, /but God to grind promises up// burn them like gas.”

Two interesting poems about occupations deserve mention. Erica Funkhouser’s title poem, “Women Who Clean Fish,” opens: The women who clean fish are all named Rose...// Under plastic aprons their breasts/ foam and bubble...//they pack the bodies in, ten per box,/ their tails crisscrossed as if in sacrament.// It is the iridescent scales that stick...lighting up hours late in a dark room.”
Memorable too, is B.H. Fairchild’s “Keats,” which opens: “I knew him. He ran the lathe next to mine./ Perfectionist, a madman, even on overtime... and I remember the red hair flaming/ beneath the lamp, calipers measuring out/ the last cut, his hands flicking iron burrs/ like shooting stars through the shadows.”

One dream poem startled me. (I am sure there are others, but nothing quite so dramatic.) It is a persona poem, from Night Watches, Carole Oles’s collection about the mid-nineteenth century American woman astronomer, Maria Mitchell. Full of foreboding about her reception in academia, Mitchell dreams, “I am delivered to Harvard/ in a black carriage with curtains// The lecture hall churns// I open my mouth to begin/ and my teeth spill out/ powdery as chalk.” Dear reader, I’ve been there; possibly some of you have, too.

In addition to finding widely diverging thematic concerns, I searched for varying prosodic approaches. I needed to look no further than the first poem in the collection, “Mallard,” by Cornelia Veenendaal for the ballast of metaphor. The bird is “a pilot of the inland waters”; he uses his “brilliant paddles” during migration to “row over whole states....”

Many poets use stanza breaks to shift time or place or mood. Linnea Johnson moves from her own “crosscut handsaw” to “yours” in the second stanza, then leaps to “I am in love with you from the neck down” in the third.

And then there is the deliberate density of lines that do not invite scansion but run pellmell without punctuation, capitalizing the first letter of each line to lend the poem a formal aspect. Se...

Most helpful customer reviews

0 of 0 people found the following review helpful.
To Sexton" by Jean Valentine is a wonderful tribute to two woman poets
By Allen Hagar
Anne Marie Macari & Carey Salerno have succeeded in anthologizing forty years of poetry publication. I have favorites. "Field Exercise" by Kinereth Gensler is a winner, with the image of picking flowers in a mine field. "To Plath, To Sexton" by Jean Valentine is a wonderful tribute to two woman poets. "The Choice" by Nancy Lagomarsino is a difficult choice, a difficult conclusion. "Equinox: The Goldfinch" by Cheryl Savageau falls in love with yellow. "Amber" by Amy Dryansky is fun. And "Aubade" by Catherine Barnett is surprising. A fine collection of work!

Allen Hagar

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