The tragic mulatta was a stock figure in nineteenth-century American literature, an attractive mixed-race woman who became a casualty of the color line. The tragic muse was an equally familiar figure in Victorian British culture, an exotic and alluring Jewish actress whose profession placed her alongside the “fallen woman.” In Transatlantic Spectacles of Race, Kimberly Manganelli argues that the tragic mulatta and tragic muse, who have heretofore been read separately, must be understood as two sides of the same phenomenon. In both cases, the eroticized and racialized female body is put on public display, as a highly enticing commodity in the nineteenth-century marketplace. Tracing these figures through American, British, and French literature and culture, Manganelli constructs a host of surprising literary genealogies, from Zelica to Daniel Deronda, from Uncle Tom’s Cabin to Lady Audley’s Secret. Bringing together an impressive array of cultural texts that includes novels, melodramas, travel narratives, diaries, and illustrations, Transatlantic Spectacles of Race reveals the value of transcending literary, national, and racial boundaries.
Presents a chronologically-arranged reference to catastrophic events in American history, including natural disasters, economic depressions, riots, murders, and terrorist attacks.
Written within the perspective of Africana critical studies, this book presents a transatlantic voyage and the depths of historical Black experience in Liverpool, England. The author addresses the narrative of the Black Atlantic propounded by Paul Gilroy and further reveals a firsthand account of a largely hidden aspect of Black British history.
NEW YORK TIMES BESTSELLER • LONGLISTED FOR THE MAN BOOKER PRIZE • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY KIRKUS REVIEWS In the National Book Award–winning Let the Great World Spin, Colum McCann thrilled readers with a marvelous high-wire act of fiction that The New York Times Book Review called “an emotional tour de force.” Now McCann demonstrates once again why he is one of the most acclaimed and essential authors of his generation with a soaring novel that spans continents, leaps centuries, and unites a cast of deftly rendered characters, both real and imagined. Newfoundland, 1919. Two aviators—Jack Alcock and Arthur Brown—set course for Ireland as they attempt the first nonstop flight across the Atlantic Ocean, placing their trust in a modified bomber to heal the wounds of the Great War. Dublin, 1845 and ’46. On an international lecture tour in support of his subversive autobiography, Frederick Douglass finds the Irish people sympathetic to the abolitionist cause—despite the fact that, as famine ravages the countryside, the poor suffer from hardships that are astonishing even to an American slave. New York, 1998. Leaving behind a young wife and newborn child, Senator George Mitchell departs for Belfast, where it has fallen to him, the son of an Irish-American father and a Lebanese mother, to shepherd Northern Ireland’s notoriously bitter and volatile peace talks to an uncertain conclusion. These three iconic crossings are connected by a series of remarkable women whose personal stories are caught up in the swells of history. Beginning with Irish housemaid Lily Duggan, who crosses paths with Frederick Douglass, the novel follows her daughter and granddaughter, Emily and Lottie, and culminates in the present-day story of Hannah Carson, in whom all the hopes and failures of previous generations live on. From the loughs of Ireland to the flatlands of Missouri and the windswept coast of Newfoundland, their journeys mirror the progress and shape of history. They each learn that even the most unassuming moments of grace have a way of rippling through time, space, and memory. The most mature work yet from an incomparable storyteller, TransAtlantic is a profound meditation on identity and history in a wide world that grows somehow smaller and more wondrous with each passing year. Look for special features inside. Join the Random House Reader’s Circle for author chats and more. “A dazzlingly talented author’s latest high-wire act . . . Reminiscent of the finest work of Michael Ondaatje and Michael Cunningham, TransAtlantic is Colum McCann’s most penetrating novel yet.”—O: The Oprah Magazine “One of the greatest pleasures of TransAtlantic is how provisional it makes history feel, how intimate, and intensely real. . . . Here is the uncanny thing McCann finds again and again about the miraculous: that it is inseparable from the everyday.”—The Boston Globe “Ingenious . . . The intricate connections [McCann] has crafted between the stories of his women and our men [seem] written in air, in water, and—given that his subject is the confluence of Irish and American history—in blood.”—Esquire “Another sweeping, beautifully constructed tapestry of life . . . Reading McCann is a rare joy.”—The Seattle Times “Entrancing . . . McCann folds his epic meticulously into this relatively slim volume like an accordion; each pleat holds music—elation and sorrow.”—The Denver Post
This is a reprint of ISBN 978-0-901357-46-5 Disasters: learning the lessons for a safer world is both a tribute to the victims of past safety failures and a warning against complacency and cutting corners today. It also recognises the achievements of health and safety professionals and others in learning the lessons of past mistakes. As Trevor Kletz has written, "Someone has paid the 'tuition fess'. There is no need for you to pay them again." Illustrated throughout in colour, the book looks at over 90 accidents, incidents and safety failures. Some, like Aberfan, Chernobyl and Hillsborough, are known simply by a single place name. Others have now faded from our collective consciousness but still have important lessons for us today, such as the early fires, explosions and mining disasters that paved the way for better safety management. Disasters: learning the lessons for a safer world offers: a description of events from 1800 to the present day a wide range of incidents, from explosions and fires to floods, pollution and human and animal ill health information on the background to each incident, what happened and the lessons that were learnt an exploration of the politics of disaster and risk reduction
In this book, Emily Griffiths Jones examines the intersections of romance, religion, and politics in England between 1588 and 1688 to show how writers during this politically turbulent time used the genre of romance to construct diverse ideological communities for themselves. Right Romance argues for a recontextualized understanding of romance as a multigeneric narrative structure or strategy rather than a prose genre and rejects the common assumption that romance was a short-lived mode most commonly associated with royalist politics. Puritan republicans likewise found in romance strength, solace, and grounds for political resistance. Two key works that profoundly influenced seventeenth-century approaches to romance are Philip Sidney’s New Arcadia and Edmund Spenser’s The Faerie Queene, which grappled with romance’s civic potential and its limits for a newly Protestant state. Jones examines how these works influenced writings by royalists and republicans during and after the English Civil War. Remaining chapters pair writers from both sides of the war in order to illuminate the ongoing ideological struggles over romance. John Milton is analyzed alongside Margaret Cavendish and Percy Herbert, and Lucy Hutchinson alongside John Dryden. In the final chapter, Jones studies texts by John Bunyan and Aphra Behn that are known for their resistance to generic categorization in an attempt to rethink romance’s relationship to election, community, gender, and generic form. Original and persuasive, Right Romance advances theoretical discussion about romance, pushing beyond the limits of the genre to discover its impact on constructions of national, communal, and personal identity.
A story of tragedy at sea where every desperate act meant life or death The small ship making the Liverpool-to-New York trip in the early months of 1856 carried mail, crates of dry goods, and more than one hundred passengers, mostly Irish emigrants. Suddenly an iceberg tore the ship asunder and five lifeboats were lowered. As four lifeboats drifted into the fog and icy water, never to be heard from again, the last boat wrenched away from the sinking ship with a few blankets, some water and biscuits, and thirteen souls. Only one would survive. This is his story. As they started their nine days adrift more than four hundred miles off Newfoundland, the castaways--an Irish couple and their two boys, an English woman and her daughter, newlyweds from Ireland, and several crewmen, including Thomas W. Nye from Fairhaven, Massachusetts--began fighting over food and water. One by one, though, day by day, they died. Some from exposure, others from madness and panic. In the end, only Nye and the ship's log survived. Using Nye's firsthand descriptions and later newspaper accounts, ship's logs, assorted diaries, and family archives, Brian Murphy chronicles the horrific nine days that thirteen people suffered adrift on the cold gray Atlantic. Adrift brings readers to the edge of human limits, where every frantic decision and desperate act is a potential life saver or life taker.
What does it mean to read Greek tragedy in a pandemic, a global crisis? How can Greek tragedy address urgent contemporary troubles? One of the outstanding and most widely read theorists in the discipline, Mario Telò, brings together a deep understanding of Greek tragedy and its most famous icons with contemporary times. In close readings of plays such as Alcestis, Antigone, Bacchae, Hecuba, Oedipus the King, Prometheus Bound, and Trojan Women, our experience is precariously refracted back in the formal worlds of plays named after and, to an extent, epitomized by tragic characters. Structured around four thematic clusters – Air Time Faces, Communities, Ruins, and Insurrections – this book presents timely interventions in critical theory and in the debates that matter to us as disaster becomes routine in the time-out-of-joint of a (post-)pandemic world. Violently encompassing all pre-existing and future crises (relational, political and ecological), the pandemic coincides with the queer unhistoricism of tragedy, and its collapsing of present, past, and future readerships.
Setting Fires is the gripping story of Annie Fishman Waldmas, a documentary filmmaker, wife, and mother of two young children, who uses her professional skills to unravel the shocking secrets behind the two fires that come to dominate and haunt her life. The novel begins with a pair of phone calls that shatter Annie's contentment forever. The first brings news that Annie's country house in Connecticut has burned, in an area where two other Jewish-owned buildings have also recently burned down. The second and far more distressing call informs Annie that her beloved father -- the family patriarch, burdened by a lifelong shame that Annie will soon uncover -- has been diagnosed with cancer. Gradually, as Annie and her father forge a new and closer bond, he is able to acknowledge his history of poverty, his struggle for survival, and the near-tragedy it led to. Annie's determination to help her father find peace and forgiveness before dying meshes inextricably with her determination to find and expose the anti-Semitic arsonist who threatens her own family. Annie's passionate search reaches back four generations from the early roots of the Fishman clan in Russia and New York to the modern-day lives of Annie, her siblings, and their divorced parents. At the same time, it throws Annie's relationships with her own husband and children into chaos, and rocks the family life on which she has always depended for stability and support. Not until Annie discovers and resolves the final truths -- by her own wit, perseverance, and self-knowledge -- can she reestablish the harmony she treasures. Kate Wenner, an award-winning former producer of 20/20, makes a startling fiction debut in this powerful novel about a courageous woman's struggle to come to terms with a complex family history.
Richard Gebhart traces little-known voyages of Great Lakes ships that sailed the Atlantic beginning in the 1850s. They bore cargoes to and from the lakes and as far as Constantinople. Gebhart recovers the voices of long-ago ship captains, along with their cargo manifests and itineraries. Drawing on deep research in old newspapers and maritime archives, he traces the construction of new ships and shipyards, and the comings and goings and travails of the lakes’ workhorses. Included is a mournful visit to a boneyard where many ships’ lives ended. Among many other lost tales, Gebhart brings to light the rise of oil tankers, marking the great twentieth-century energy transition in shipping. A must-read for Great Lakes shipping fans.
