Virginia Connally, first female physician in Abilene, has been a pioneer in many areas of her life. She is a graduate of Hardin Simmons, member of First Baptist Church of Abilene, and founding member of the Texas Baptist Missions Foundation. She has many accomplishments, honors and has garnered respect from policiticians and pastors alike.
Texas is as well known for its diversity of landscape and culture as it is for its enormity. But West Texas, despite being popularized in film and song, has largely been ignored by historians as a distinct and cultural geographic space. In West Texas: A History of the Giant Side of the State, Paul H. Carlson and Bruce A. Glasrud rectify that oversight. This volume assembles a diverse set of essays covering the grand sweep of West Texas history from the ancient to the contemporary. In four parts—comprehending the place, people, politics and economic life, and society and culture—Carlson and Glasrud and their contributors survey the confluence of life and landscape shaping the West Texas of today. Early chapters define the region. The “giant side of Texas” is a nineteenth-century geographical description of a vast area that includes the Panhandle, Llano Estacado, Permian Basin, and Big Bend–Trans-Pecos country. It is an arid, windblown environment that connects intimately with the history of Texas culture. Carlson and Glasrud take a nonlinear approach to exploring the many cultural influences on West Texas, including the Tejanos, the oil and gas economy, and the major cities. Readers can sample topics in whichever order they please, whether they are interested in learning about ranching, recreation, or turn-of-the-century education. Throughout, familiar western themes arise: the urban growth of El Paso is contrasted with the mid-century decline of small towns and the social shifting that followed. Well-known Texas scholars explore popular perceptions of West Texas as sparsely populated and rife with social contradiction and rugged individualism. West Texas comes into yet clearer view through essays on West Texas women, poets, Native peoples, and musicians. Gathered here is a long overdue consideration of the landscape, culture, and everyday lives of one of America’s most iconic and understudied regions.
The accomplishments of pioneering doctors such as John Peter Mettauer, James Marion Sims, and Nathan Bozeman are well documented. It is also no secret that these nineteenth-century gynecologists performed experimental caesarean sections, ovariotomies, and obstetric fistula repairs primarily on poor and powerless women. Medical Bondage breaks new ground by exploring how and why physicians denied these women their full humanity yet valued them as “medical superbodies” highly suited for medical experimentation. In Medical Bondage, Cooper Owens examines a wide range of scientific literature and less formal communications in which gynecologists created and disseminated medical fictions about their patients, such as their belief that black enslaved women could withstand pain better than white “ladies.” Even as they were advancing medicine, these doctors were legitimizing, for decades to come, groundless theories related to whiteness and blackness, men and women, and the inferiority of other races or nationalities. Medical Bondage moves between southern plantations and northern urban centers to reveal how nineteenth-century American ideas about race, health, and status influenced doctor-patient relationships in sites of healing like slave cabins, medical colleges, and hospitals. It also retells the story of black enslaved women and of Irish immigrant women from the perspective of these exploited groups and thus restores for us a picture of their lives.
In this social history of the development of modern gynecology in the mid-19th century, McGregor (history, women's studies, U. of Illinois-Springfield) reflects the attitudes and practices of the day through the controversial career of J. Marion Sims, the father of gynecology. Includes illustrations of early medical practitioners and establishments (in particular, New York's Woman's Hospital). Annotation copyrighted by Book News, Inc., Portland, OR
For more than seventy-five years, the airwaves of Texas have buzzed with broadcast signals, beginning with a play-by-play Morse code transmission of the football game played by the University of Texas and Texas AandM on Thanksgiving Day, 1921.
In 1881, the Texas & Pacific Railroad described Abilene as the "Future Great City of the West." While the train line was laying rails west out of Fort Worth, a group of ranchers, wanting the new town to become a prominent cattle-shipping point, selected the name Abilene after Abilene, Kansas, which was a main cattle-shipping town in the 1870s. With the arrival of the railroad to Abilene, this part of Texas opened up for settlement. Families rushed to establish the town and set up new businesses, but it was the military coming to Abilene that really made the city's population explode. Lost Abilene documents the early homes, businesses, schools, and entertainment that helped shape the city.
It's 1942. The novelist John Steinbeck needs character witnesses to sign his application to carry a gun in New York. He's received a threatening phone call and feels the need for self-protection. He's a relative newcomer to the Empire State - most of his close friends live back in California, so finding people to sign could be difficult for the controversial author. Feeling time is of the essence, he begins his search for character witnesses in the idyllic village of Palisades, where he makes his home. The Application is one of sixteen tales in Steinbeck: The Untold Stories examining the emotional and psychological toll extracted for writing the truth as Steinbeck saw it, in works such as Of Mice and Men and The Grapes of Wrath. From his days in Salinas and Los Gatos and Pacific Grove on California's Monterey Peninsula to his later years in New York, we meet the people who were important in his life as well as the dark specters of those who opposed him and what he was writing. The stories look at his friends and contemporaries and those who outlived him. Henry, for instance, a boyhood pal who decades later sees John again in a visit to Henry's Salinas service station under cover of darkness. Or Lily, an old high school classmate who invites him to an impromptu reunion that turns dangerous for John and the other participants gathered in a park. Artists, too, were important in his world. The young couple he gave money to so they could explore Mexico and "learn to paint out loud." The painter, a giant of a man, who on a summer night carried Steinbeck out of his home after an argument on labor issues. The famous film actress who accompanies him on a nervous drive, from Los Angeles up the Salinas Valley in the light of day. There were those who had little or no contact with him but were influenced and moved by his work. Beau, a charismatic chainsmoking cowboy who proudly felt he inspired the creation of a Steinbeck character. The terminally ill book collector Paul, who finds temporary escape from his worries and responsibilities by searching for Steinbeck first editions. The wanderer Bill who arrives in Monterey and is befriended by those who knew Steinbeck and instruct him in the legacy. Or the gentle woman who looks back seventy years recalling her famous marine biologist father's relationship with the writer - as well as with his own children. These and other stories are further brought to life by the gritty, character-driven illustrations of artist C. Kline. Images such as John's mother Olive gathering flowers while remembering a sad day in her youth. A young sailor off an aircraft carrier drinking with two American strangers in a Greek bar while a political coup is underway. A Big Sur trapper tearfully parting with a mountain lion named Flora. Or the writer explaining to a ghost he has no home and never did. These stories and characters provide pathos and humor to the portrait of a great writer dealing with his memories and fears. And - as Steinbeck once described it in a letter to a friend - the powerful desire to begin again and return to the ocean tide pools and star-gazing of his youth.
John Steinbeck is a towering figure in twentieth-century American literature; yet he remains one of our least understood writers. This major reevaluation of Steinbeck by Gavin Jones uncovers a timely thinker who confronted the fate of humanity as a species facing climate change, environmental crisis, and a growing divide between the powerful and the marginalized. Driven by insatiable curiosity, Steinbeck's work crossed a variety of borders – between the United States and the Global South, between human and nonhuman lifeforms, between science and the arts, and between literature and film – to explore the transformations in consciousness necessary for our survival on a precarious planet. Always seeking new forms to express his ecological and social vision of human interconnectedness and vulnerability, Steinbeck is a writer of urgent concern for the twenty-first century, even as he was haunted by the legacies of racism and injustice in the American West.
During the 1870s, there was wondrous change in West Texas. The area was ripe for settlement, and as the Texas and Pacific Railroad pushed west from Fort Worth, towns began springing up along the tracks. Ranchers coming to the area took advantage of the vast grasslands, and the new arrival of settlers was the beginning of a town named Abilene. Deriving its namesake from the town of Abilene, Kansas, the locals hoped the city would become a shipping point for cattle on their way to eastern markets. The town has since grown to be one of West Texass most thriving metropolitan areas. The citywhich is home to Dyess Air Force Baseis also well known for its numerous parks, schools, universities, and historic neighborhoods that are enjoyed by its 120,000 residents.
Winner of the 2021 Los Angeles Times Book Prize for Biography A Publishers Weekly Best Book of 2020 in Nonfiction A resonant biography of America’s most celebrated novelist of the Great Depression. The first full-length biography of the Nobel laureate to appear in a quarter century, Mad at the World illuminates what has made the work of John Steinbeck an enduring part of the literary canon: his capacity for empathy. Pulitzer Prize finalist William Souder explores Steinbeck’s long apprenticeship as a writer struggling through the depths of the Great Depression, and his rise to greatness with masterpieces such as The Red Pony, Of Mice and Men, and The Grapes of Wrath. Angered by the plight of the Dust Bowl migrants who were starving even as they toiled to harvest California’s limitless bounty, fascinated by the guileless decency of the downtrodden denizens of Cannery Row, and appalled by the country’s refusal to recognize the humanity common to all of its citizens, Steinbeck took a stand against social injustice—paradoxically given his inherent misanthropy—setting him apart from the writers of the so-called "lost generation." A man by turns quick-tempered, compassionate, and ultimately brilliant, Steinbeck could be a difficult person to like. Obsessed with privacy, he was mistrustful of people. Next to writing, his favorite things were drinking and womanizing and getting married, which he did three times. And while he claimed indifference about success, his mid-career books and movie deals made him a lot of money—which passed through his hands as quickly as it came in. And yet Steinbeck also took aim at the corrosiveness of power, the perils of income inequality, and the urgency of ecological collapse, all of which drive public debate to this day. Steinbeck remains our great social realist novelist, the writer who gave the dispossessed and the disenfranchised a voice in American life and letters. Eloquent, nuanced, and deeply researched, Mad at the World captures the full measure of the man and his work.
