In a lively account filled with the stories and voices of people previously left out of the historical canon, Ronald Takaki offers a fresh perspective - a re-visioning - of our nation's past.

    Seamlessly integrating coverage of social, cultural and political history, this book is presented in a flexible chronological organization, helping readers grasp the most significant developments that occurred during a single historical period, laying a useful foundation for the chapters to follow. This volume attempts to reflect the unprecedented impact of globalization on this century by featuring extensive coverage of popular culture, the relationship between Islam and the West, and the contribution of women in the history of Western Civilization. This volume contains a Special Introduction Chapter and Chs. 9-31 of the Combined Volume: " The Late Middle Ages: Social and Political Breakdown; Renaissance and Discovery; The Age of Reformation; The Age of Religious Wars; Paths to Constitutionalism and Absolutism: England and France in the 17th Century; New Directions in Thought and Culture in the 16th and 17th Centuries; Successful and Unsuccessful Paths to Power; Society and Economy under the Old Regime in the 18th Century; The Transatlantic Economy, Trade Wars, and Colonial Rebellion; The Age of Enlightenment: 18th-Century Thought; The French Revolution; The Age of Napoleon and the Triumph of Romanticism; The Conservative Order and the Challenges of Reform; Economic Advance and Social Unrest; The Age of Nation-States; The Building of European Supremacy: Society and Politics to World War I; The Birth of Modern European Thought; Imperialism, Alliances, and War; Political Experiments of the 1920s; Europe and the Great Depression of the 1930s; World War II; Faces of the Twentieth-Century: European Social Experiences; and The Cold War Era and the Emergence of the New Europe. For use by history career professionals.

    Using well-chosen examples, insightful commentaries, and an engaging writing style, this text traces the development of jazz, blues, country, rock, Motown, hip-hop, and other popular styles, highlighting the contributions of diverse groups to the creation of distinctly American styles. It combines an in-depth treatment of the music itself--including discussions of stylistic elements and analyses of musical examples--with solid coverage of the music's attendant historical, social, and cultural circumstances. The authors incorporate strong pedagogy including numerous boxed inserts on significant individuals, recordings, and intriguing topics; coverage of early American popular music; and a rich illustration program. Detailed listening charts explain the most important elements of recordings discussed at length in the text. The charts are complemented by two in-text audio CDs and--new to this edition--an iMix published at iTunes, which makes most of the songs immediately available to students and instructors. Features of the Second Edition * Integrates full color throughout * Provides more coverage of women artists, with new material on women in rock 'n' roll in Chapter 8 and a box on Queen Latifah in Chapter 14 * Reorganizes the discussion of post-1970s music: disco is now included with mainstream 70s pop, while hip-hop is treated in two chapters (12 and 14) in order to emphasize its significance and diversity * Adds new material on the recent alternative country music explosion * Includes new developments in music technology in the thoroughly revised concluding chapter * Offers revised and more vivid visual elements, including more than 100 new photos (most in full color) and an illustrated timeline * Provides redesigned listening guides, enhanced by an iMix published at iTunes (accessible at www.oup.com/us/popmusic) * Supplemented by a Companion Website at www.oup.com/us/popmusic (containing both student and instructor resources) and an Instructor's Manual and a Computerized Test Bank on CD * FREE with the purchase of this book: a 6-month subscription to Grove Music Online (www.grovemusic.com)--a $180 value Remarkably accessible, American Popular Music, Second Edition, is ideal for courses in American Popular Music, the History of Popular Music, Popular Music in American Culture, and the History of Rock 'n' Roll. Its welcoming style and warm tone will captivate readers, encouraging them to become more critically aware listeners of popular music.

    A bestseller through six editions, Writing Fiction by novelists Janet Burroway and Elizabeth Stuckey-French explores the elements of fiction, providing practical writing techniques and concrete examples. Written in a tone that is personal and non-prescriptive, the text encourages students to develop proficiency through each step of the writing process, offering an abundance of exercises designed to spur writing and creativity. The text also integrates diverse, contemporary short stories in every chapter in the belief that the reading of inspiring fiction goes hand-in-hand with the writing of fresh and exciting stories.

    His book must be read three times: the first in anger, the second in laughter, the third in respect....The wisdom is expressed with a certain ruthlessness. Scarcely a major historian escapes unscathed. Ten thousand members of the American Historical Association will rush to the index and breathe a little easier to find their names absent.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    This inexpesnive pamphlet edition is sure to be prized by Americans of all ages.

    An early traveller to the Americas who sailed on one of Columbus's voyages, Las Casas was so horrified by the wholesale massacre he witnessed that he dedicated his life to protecting the Indian community. He wrote A Short Account of the Destruction of the Indies in 1542, a shocking catalogue of mass slaughter, torture and slavery, which showed that the evangelizing vision of Columbus had descended under later conquistadors into genocide. Dedicated to Philip II to alert the Castilian Crown to these atrocities and demand that the Indians be entitled to the basic rights of humankind, this passionate work of documentary vividness outraged Europe and contributed to the idea of the Spanish 'Black Legend' that would last for centuries.

    Placing the West's failure to acknowledge the most successful slave revolt in history alongside denials of the Holocaust and the debate over the Alamo, Michel-Rolph Trouillot offers a stunning meditation on how power operates in the making and recording of history.

    + XXXVIII) ranges from Gorgias and Plato to Sigmund Freud and Mikhail Bakhtin. Each of the 147 contributions has a headnote introducing the writer and making connections to other critics, theorists and movements. An introduction surveys the history of theory and criticism.

    Lies My Teacher Told Me won the American Book Award and the Oliver Cromwell Cox Award for Distinguished Anti-Racist Scholarship.James W. Loewen, a sociology professor and distinguished critic of history education, puts 12 popular textbooks under the microscope-and what he discovers will surprise you. In his opinion, every one of these texts fails to make its subject interesting or memorable. Worse still is the proliferation of blind patriotism, mindless optimism and misinformation filling the pages.From the truth about Christopher Columbus to the harsh reality of the Vietnam War, Loewen picks apart the lies we've been told. This audiobook, narrated by Brian Keeler (The Hurricane, "All My Children") will forever change your view of the past.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    In this remarkable history of the profession, Peter Novick shows how the idea and ideal of objectivity were elaborated, challenged, modified, and defended over the last century.Drawing on the unpublished correspondence as well as the published writings of hundreds of American historians from J. Franklin Jameson and Charles Beard to Arthur Schlesinger, Jr., and Eugene Genovese, That Nobel Dream is a richly textured account of what American historians have thought they were doing, or ought to be doing, when they wrote history -- how their principles influenced their practice and practical exigencies influenced their principles."An astute and provocative account of how the historical profession in American has dealt with its founding myth and central norm -- the ideal of objectivity." -- Dorothy Ross

    The anthology offers more poetry by women (40 new poets), with special attention to early women poets. The book also includes a greater diversity of American poetry, with double the number of poems by African American, Hispanic, native American and Asian American poets. There are 26 new poets representing the Commonwealth literature tradition: now included are more than 37 poets from Australia, New Zealand, Ireland, Scotland, Wales, the Caribbean, South Africa and India.

    The real lives of this motley crew-which included cross-dressing women, people of color, and the'outcasts of all nations'-are far more compelling than contemporary myth.