Ingram
Все книги издательства IngramBreakfast at O'Rourke's
<P>Since 1941, O'Rourke's Diner has been a beloved eatery and a second home to generations of Middletown families, Wesleyan students, and diners from all over the Connecticut River Valley. Capturing the magic of the diner itself—classic, hip, eclectic, and full of positive energy—Breakfast at O'Rourke's is a trove of hearty gourmet recipes from one of Connecticut's most beloved diners. The book features menus for twenty-three complete O'Rourke's breakfasts and over eighty recipes, including Irish Soda Bread, Eggs Galway, Bread Pudding French Toast with Caramel Sauce, Firecracker Omelet, Breakfast Cheesecake, Pumpkin Brie Quiche, and Red Flannel Hash. Each main dish is paired with a side, baked good, and sauce—so that cooks at home can recreate their favorite O'Rourke's brunch. The book is lavishly illustrated with over fifty photographs from food photographer Tom Hopkins, and includes many vegetarian options. This is a must-have cookbook for diner aficionados and food lovers everywhere.</P>
Carmen, a Gypsy Geography
<P>The figure of Carmen has emerged as a cipher for the unfettered female artist. Dance historian and performance theorist Ninotchka Bennahum shows us Carmen as embodied historical archive, a figure through which we come to understand the promises and dangers of nomadic, transnational identity, and the immanence of performance as an expanded historical methodology. Bennahum traces the genealogy of the female Gypsy presence in her iconic operatic role from her genesis in the ancient Mediterranean world, her emergence as flamenco artist in the architectural spaces of Islamic Spain, her persistent manifestation in Picasso, and her contemporary relevance on stage. This many-layered geography of the Gypsy dancer provides the book with its unique nonlinear form that opens new pathways to reading performance and writing history. Includes rare archival photographs of Gypsy artists.</P>
Through the Eyes of a Dancer
<P>Through the Eyes of a Dancer compiles the writings of noted dance critic and editor Wendy Perron. In pieces for The SoHo Weekly News, Village Voice, The New York Times, and Dance Magazine, Perron limns the larger aesthetic and theoretical shifts in the dance world since the 1960s. She surveys a wide range of styles and genres, from downtown experimental performance to ballets at the Metropolitan Opera House. In opinion pieces, interviews, reviews, brief memoirs, blog posts, and contemplations on the choreographic process, she gives readers an up-close, personalized look at dancing as an art form. Dancers, choreographers, teachers, college dance students—and anyone interested in the intersection between dance and journalism—will find Perron's probing and insightful writings inspiring. Through the Eyes of a Dancer is a nuanced microcosm of dance's recent globalization and modernization that also provides an opportunity for new dancers to look back on the traditions and styles that preceded their own.</P>
The Heirs of Columbus
<P>"If you must read a book on Columbus," declared the Los Angeles Times in its review of The Heirs of Columbus, «this is the one.» Gerald Vizenor's novel reclaims the story of Chrisopher Columbus on behalf of Native Americans by declaring the explorer himself to be a descendent of early Mayans and follows the adventures of his modern-day, mixedblood heirs as they create a fantastic tribal nation.</P><P>The genetic heirs of Christopher Columbus meet annually at the Stone Tavern at the headwaters of the Mississippi to remember their «stories in the blood» and plan their tribal nation. They are inspired by the late-night talk radio discourses of Stone Columbus, a trickster healer who became rich as the captain of the sovereign bingo barge Santa Maria Casino, anchored in the international waters of the Lake of the Woods. The heirs' plan to reclaim their heritage enrages the government and inspires the tribal nations in a comic tale of mythic proportions.</P><P>Vizenor is a mixedblood Chippewa who writes fiction in the trickster mode of Native American tradition, using humor to challenge received ideas and subvert the status quo. In The Heirs of Columbus he «reveals not only how Indians have staved off the tidal wave of assimilation,» noted the San Francisco Chronicle, «but also how, through humor and persistence, they sometimes reverse the direction of cultural appropriation and, in the process, transform the alien values imposed on them.»</P><P>"Vizenor understands the wilder, irrational, half-mad parts of the Discoverer's soul as few people ever have," noted Kirkpatrick Sale in the Nation; «Columbus is appropriated here in an entirely new way, made to be an Indian in service to his Indian descendents.» And the Voice Literary Supplement said «Even more rousing than Vizenor's deconstruction of Columbus, though, is his alternative vision of an American identity.»</P>
Choreographing Asian America
<P>Poised at the intersection of Asian American studies and dance studies, Choreographing Asian America is the first book-length examination of the role of Orientalist discourse in shaping Asian Americanist entanglements with U.S. modern dance history. Moving beyond the acknowledgement that modern dance has its roots in Orientalist appropriation, Yutian Wong considers the effect that invisible Orientalism has on the reception of work by Asian American choreographers and the conceptualization of Asian American performance as a category. Drawing on ethnographic and choreographic research methods, the author follows the work of Club O' Noodles—a Vietnamese American performance ensemble—to understand how Asian American artists respond to competing narratives of representation, aesthetics, and social activism that often frame the production of Asian American performance.</P>
Historiography in the Twentieth Century
<P>In this book, now published in 10 languages, a preeminent intellectual historian examines the profound changes in ideas about the nature of history and historiography. Georg G. Iggers traces the basic assumptions upon which historical research and writing have been based, and describes how the newly emerging social sciences transformed historiography following World War II. The discipline's greatest challenge may have come in the last two decades, when postmodern ideas forced a reevaluation of the relationship of historians to their subject and questioned the very possibility of objective history. Iggers sees the contemporary discipline as a hybrid, moving away from a classical, macrohistorical approach toward microhistory, cultural history, and the history of everyday life. The new epilogue, by the author, examines the movement away from postmodernism towards new social science approaches that give greater attention to cultural factors and to the problems of globalization.</P>
Times Alone
<P>Antonio Machado, a school teacher and philosopher and one of Spain's foremost poets of the twentieth century, writes of the mountains, the skies, the farms and the sentiments of his homeland clearly and without narcissism: «Just as before, I'm interested/in water held in;/ but now water in the living/rock of my chest.» «Machado has vowed not to soar too much; he wants to &#8216;go down to the hells' or stick to the ordinary,» Robert Bly writes in his introduction. He brings to the ordinary—to time, to landscape and stony earth, to bean fields and cities, to events and dreams—magical sound that conveys order, penetrating sight and attention. «The poems written while we are awake&#8230;are more original and more beautiful, and sometimes more wild than those made from dreams,» Machado said. </P><P>In the newspapers before and during the Spanish Civil War, he wrote of political and moral issues, and, in 1939, fled from Franco's army into the Pyrenees, dying in exile a month later. When in 1966 a bronze bust of Machado was to be unveiled in a town here he had taught school, thousands of people came in pilgrimage only to find the Civil Guard with clubs and submachine guns blocking their way. </P><P>This selection of Machado's poetry, beautifully translated by Bly, begins with the Spanish master's first book, Times Alone, Passageways in the House, and Other Poems (1903), and follows his work to the poems published after his death: Poems from the Civil War (written during 1936–;1939).</P>
Practical Water
<P><B>Winner of the Los Angeles Times Book Award for Poetry (2009)</B><BR><B>Runner-up for the Northern California Book Award for Poetry (2009)</B></P><P>Practical Water is, like Brenda Hillman's previous two books, Cascadia and Pieces of Air in the Epic, both an elemental meditation and an ecopoetics; this time her subject is water: Taoist water, baptismal water, water from the muses' fountains, the practical waters of hydrology from which we draw our being—and the stilled water in a glass in a Senate chamber. Not since Allen Ginsberg tried to levitate the Pentagon has American poetry seen the likes of the hallucinatory wit and moral clarity that Hillman brings to Washington in her poems about Congressional Hearings on the Iraq War. Here also—because it is about many kinds of power—is a sequence of twinned lyrics for the moon, governess of tides and night vision, for visible and invisible faces. Violence and the common world, fact and dream, science and magic, intuition and perception are reconfigured as the poet explores matters of spirit in political life and earthly fate. If it is time to weep by the waters of Babylon, it is also time to touch water's living currents. No one is reimagining the possibilities of lyric poetry with more inventiveness; this is masterful work by one of our finest poets.</P>
Wesleyan University, 1910–1970
<P><B>Winner of the Homer D. Babbidge Jr. (2016)</B></P><P>In Wesleyan University, 1910–;1970, David B. Potts presents an engaging story that includes a measured departure from denominational identity, an enterprising acquisition of fabulous wealth, and a burst of enthusiastic aspirations that initiated an era of financial stress. Threaded through these episodes is a commitment to social service that is rooted in Methodism and clothed in more humanistic garb after World War II.</P><P>Potts gives an unprecedented level of attention to the board of trustees and finances. These closely related components are now clearly introduced as major shaping forces in the development of American higher education. Extensive examination is also given to student and faculty roles in building and altering institutional identity. Threaded throughout these probes within in the analytical narrative is a close look at the waxing and waning of presidential leadership. </P><P>All these developments, as is particularly evident in the areas of student demography and faculty compensation, travel on a pathway through middle-class America. Within this broad context, Wesleyan becomes a window on how the nation's liberal arts colleges survived and thrived during the last century. <BR>This book concludes the author's analysis of changes in institutional identities that shaped the narrative for his widely praised first volume, Wesleyan University, 1831–;1910: Collegiate Enterprise in New England. His current fully evidenced sequel supplies helpful insights and reference points as we encounter the present fiscal strain in higher education and the related debates on institutional mission.</P>
Carved in Stone
<P>Gravestones are colonial America's earliest sculpture and they provide a unique physical link to the European people who settled here. Carved in Stone book is an elegant collection of over 80 fine duotone photographs, each a personal meditation on an old stone carving, and on New England's past, where these stones tell stories about death at sea, epidemics such as small pox, the loss of children, and a grim view of the afterlife. The essay is a graceful narrative that explores a long personal involvement with the stones and their placement in New England landscape, and attempts to trace the curious and imperfectly documented story of carvers. Brief quotes from early New England writers accompany the images, and captions provide basic information about each stone. These meditative portraits present an intimate view of figures from New England graveyards and will be enjoyed by anyone with an interest in early Americana and fine art photography.</P>