From “one of the great short story writers of our time—of any time” (The Philadelphia Inquirer)—comes the original manuscript of the seminal 1981 collection, What We Talk About When We Talk About Love. Raymond Carver is one of the most celebrated short-story writers in American literature—his style is both instantly recognizable and hugely influential—and the pieces in What We Talk About…, which portray the gritty loves and lives of the American working class, are counted among the foundation stones of the contemporary short story. In this unedited text, we gain insight into the process of a great writer. These expansive stories illuminate the many dimensions of Carver’s style, and are indispensable to our understanding of his legacy. Text established by William L. Stull and Maureen P. Carroll
The forgotten history of American terrorists who, in the name of God, conspired to overthrow the government and formed an alliance with Hitler. On January 13, 1940, FBI agents burst into the homes and offices of seventeen members of the Christian Front, seizing guns, ammunition, and homemade bombs. J. Edgar HooverÕs charges were incendiary: the group, he alleged, was planning to incite a revolution and install a Òtemporary dictatorshipÓ in order to stamp out Jewish and communist influence in the United States. Interviewed in his jail cell, the frontÕs ringleader was unbowed: ÒAll I can say isÑlong live Christ the King! Down with communism!Ó In Nazis of Copley Square, Charles Gallagher provides a crucial missing chapter in the history of the American far right. The men of the Christian Front imagined themselves as crusaders fighting for the spiritual purification of the nation, under assault from godless communism, and they were hardly alone in their beliefs. The front traced its origins to vibrant global Catholic theological movements of the early twentieth century, such as the Mystical Body of Christ and Catholic Action. The frontÕs anti-Semitism was inspired by Sunday sermons and by lay leaders openly espousing fascist and Nazi beliefs. Gallagher chronicles the evolution of the front, the transatlantic cloak-and-dagger intelligence operations that subverted it, and the mainstream political and religious leaders who shielded the frontÕs activities from scrutiny. Nazis of Copley Square offers a grim tale of faith perverted to violent ends, and its lessons provide a warning for those who hope to stop the spread of far-right violence today.
For almost twenty years, new historicism has been a highly controversial and influential force in literary and cultural studies. In Practicing the New Historicism, two of its most distinguished practitioners reflect on its surprisingly disparate sources and far-reaching effects. In lucid and jargon-free prose, Catherine Gallagher and Stephen Greenblatt focus on five central aspects of new historicism: recurrent use of anecdotes, preoccupation with the nature of representations, fascination with the history of the body, sharp focus on neglected details, and skeptical analysis of ideology. Arguing that new historicism has always been more a passionately engaged practice of questioning and analysis than an abstract theory, Gallagher and Greenblatt demonstrate this practice in a series of characteristically dazzling readings of works ranging from paintings by Joos van Gent and Paolo Uccello to Hamlet and Great Expectations. By juxtaposing analyses of Renaissance and nineteenth-century topics, the authors uncover a number of unexpected contrasts and connections between the two periods. Are aspects of the dispute over the Roman Catholic doctrine of the Eucharist detectable in British political economists' hostility to the potato? How does Pip's isolation in Great Expectations shed light on Hamlet's doubt? Offering not only an insider's view of new historicism, but also a lively dialogue between a Renaissance scholar and a Victorianist, Practicing the New Historicism is an illuminating and unpredictable performance by two of America's most respected literary scholars. "Gallagher and Greenblatt offer a brilliant introduction to new historicism. In their hands, difficult ideas become coherent and accessible."—Choice "A tour de force of new literary criticism. . . . Gallagher and Greenblatt's virtuoso readings of paintings, potatoes (yes, spuds), religious ritual, and novels—all 'texts'—as well as essays on criticism and the significance of anecdotes, are likely to take their place as model examples of the qualities of the new critical school that they lead. . . . A zesty work for those already initiated into the incestuous world of contemporary literary criticism-and for those who might like to see what all the fuss is about."—Kirkus Reviews, starred review
You've never seen Aristotle like this! In If Aristotle's Kid Had an iPod: Ancient Wisdom for Modern Parents, Conor Gallagher dusts off Aristotle's Ethics and reveals a vibrant, illuminating philosophy no less powerful and profound than when it was first penned. Aristotle's philosophy of man has endured for millenia. The truth of Aristotle's insights has been acknowledged by saints and scholars, illustrated in literature and pop culture, even empirically demonstrated by modern science. But you've never seen it like this. Gallagher masterfully weaves Aristotle, scientific studies, pop culture, and parenting tales together making If Aristotle's Kid Had an iPod: Ancient Wisdom for Modern Parents a funny, rich, and informative read, and an indispensible guide for any parent who wants to pass on the secrets of a happy life to their kids.
More than 60,000 books have been published on the Civil War. Most Americans, though, get their ideas about the war--why it was fought, what was won, what was lost--not from books but from movies, television, and other popular media. In an engaging and accessible survey, Gary W. Gallagher guides readers through the stories told in recent film and art, showing how these stories have both reflected and influenced the political, social, and racial currents of their times.
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A masterful history of a long underappreciated institution, How the Post Office Created America examines the surprising role of the postal service in our nation’s political, social, economic, and physical development. The founders established the post office before they had even signed the Declaration of Independence, and for a very long time, it was the U.S. government’s largest and most important endeavor—indeed, it was the government for most citizens. This was no conventional mail network but the central nervous system of the new body politic, designed to bind thirteen quarrelsome colonies into the United States by delivering news about public affairs to every citizen—a radical idea that appalled Europe’s great powers. America’s uniquely democratic post powerfully shaped its lively, argumentative culture of uncensored ideas and opinions and made it the world’s information and communications superpower with astonishing speed. Winifred Gallagher presents the history of the post office as America’s own story, told from a fresh perspective over more than two centuries. The mandate to deliver the mail—then “the media”—imposed the federal footprint on vast, often contested parts of the continent and transformed a wilderness into a social landscape of post roads and villages centered on post offices. The post was the catalyst of the nation’s transportation grid, from the stagecoach lines to the airlines, and the lifeline of the great migration from the Atlantic to the Pacific. It enabled America to shift from an agrarian to an industrial economy and to develop the publishing industry, the consumer culture, and the political party system. Still one of the country’s two major civilian employers, the post was the first to hire women, African Americans, and other minorities for positions in public life. Starved by two world wars and the Great Depression, confronted with the country’s increasingly anti-institutional mind-set, and struggling with its doubled mail volume, the post stumbled badly in the turbulent 1960s. Distracted by the ensuing modernization of its traditional services, however, it failed to transition from paper mail to email, which prescient observers saw as its logical next step. Now the post office is at a crossroads. Before deciding its future, Americans should understand what this grand yet overlooked institution has accomplished since 1775 and consider what it should and could contribute in the twenty-first century. Gallagher argues that now, more than ever before, the imperiled post office deserves this effort, because just as the founders anticipated, it created forward-looking, communication-oriented, idea-driven America.
In the spring of 1864, in the vast Virginia scrub forest known as the Wilderness, Ulysses S. Grant and Robert E. Lee first met in battle. The Wilderness campaign of May 5-6 initiated an epic confrontation between these two Civil War commanders--one that would finally end, eleven months later, with Lee's surrender at Appomattox. The eight essays here assembled explore aspects of the background, conduct, and repercussions of the fighting in the Wilderness. Through an often-revisionist lens, contributors to this volume focus on topics such as civilian expectations for the campaign, morale in the two armies, and the generalship of Lee, Grant, Philip H. Sheridan, Richard S. Ewell, A. P. Hill, James Longstreet, and Lewis A. Grant. Taken together, these essays revise and enhance existing work on the battle, highlighting ways in which the military and nonmilitary spheres of war intersected in the Wilderness. The contributors: --Peter S. Carmichael, 'Escaping the Shadow of Gettysburg: Richard S. Ewell and Ambrose Powell Hill at the Wilderness' --Gary W. Gallagher, 'Our Hearts Are Full of Hope: The Army of Northern Virginia in the Spring of 1864' --John J. Hennessy, 'I Dread the Spring: The Army of the Potomac Prepares for the Overland Campaign' --Robert E. L. Krick, 'Like a Duck on a June Bug: James Longstreet's Flank Attack, May 6, 1864' --Robert K. Krick, ''Lee to the Rear,' the Texans Cried' --Carol Reardon, 'The Other Grant: Lewis A. Grant and the Vermont Brigade in the Battle of the Wilderness' --Gordon C. Rhea, 'Union Cavalry in the Wilderness: The Education of Philip H. Sheridan and James H. Wilson' --Brooks D. Simpson, 'Great Expectations: Ulysses S. Grant, the Northern Press, and the Opening of the Wilderness Campaign'
Inventing counterfactual histories is a common pastime of modern day historians, both amateur and professional. We speculate about an America ruled by Jefferson Davis, a Europe that never threw off Hitler, or a second term for JFK. These narratives are often written off as politically inspired fantasy or as pop culture fodder, but in Telling It Like It Wasn’t, Catherine Gallagher takes the history of counterfactual history seriously, pinning it down as an object of dispassionate study. She doesn’t take a moral or normative stand on the practice, but focuses her attention on how it works and to what ends—a quest that takes readers on a fascinating tour of literary and historical criticism. Gallagher locates the origins of contemporary counterfactual history in eighteenth-century Europe, where the idea of other possible historical worlds first took hold in philosophical disputes about Providence before being repurposed by military theorists as a tool for improving the art of war. In the next century, counterfactualism became a legal device for deciding liability, and lengthy alternate-history fictions appeared, illustrating struggles for historical justice. These early motivations—for philosophical understanding, military improvement, and historical justice—are still evident today in our fondness for counterfactual tales. Alternate histories of the Civil War and WWII abound, but here, Gallagher shows how the counterfactual habit of replaying the recent past often shapes our understanding of the actual events themselves. The counterfactual mode lets us continue to envision our future by reconsidering the range of previous alternatives. Throughout this engaging and eye-opening book, Gallagher encourages readers to ask important questions about our obsession with counterfactual history and the roots of our tendency to ask “What if...?”
Ethan Allen and HGTV may have plenty to say about making a home look right, but what makes a home feel right? In House Thinking, journalist and cultural critic Winifred Gallagher takes the reader on a psychological tour of the American home. By drawing on the latest research in behavioral science, an overview of cultural history, and interviews with leading architects and designers, she shows us not only how our homes reflect who we are but also how they influence our thoughts, feelings, and actions. How does your entryway prime you for experiencing your home? What makes a bedroom a sensual oasis? How can your bathroom exacerbate your worst fears? House Thinking addresses provocative questions like these, enabling us to understand the homes we've made for ourselves in a unique and powerful new way. It is an eye-opening look at how we live . . . and how we could live.
