From a “brilliant, one-of-a-kind maestro” (Booklist), a vibrant tapestry of memoir, research, and criticism Again, today, if I must choose between love and memory, I choose memory. What would you risk to know yourself? Which stories are you willing to follow to the bitter end, revise, or, possibly, begin all over? In this collection of five interrelated essays, Lucy Ives explores identity, national fantasy, and history. She examines events and records from her own life—a childhood obsession with My Little Pony, papers and notebooks from college, an unwitting inculcation into the myth of romantic love, and the birth of her son—to excavate larger aspects of the past that have been suppressed or ignored. With bracing insight and extraordinary range, she weaves new stories about herself, her family, our country, and our culture. She connects postmodern irony to eighteenth-century cults, Cold War musicals to a great uncle’s suicide to the settlement of the American West, museum period rooms to the origins of her last name to the Assyrian genocide, and the sci-fi novel The Three-Body Problem to the development of modern obstetrics. Here Ives retrieves shadowy sites of pain and fear and, with her boundless imagination, attentiveness, and wit, transforms them into narratives of repair and possibility.

He spent three months in New Orleans buying cotton with the legacy and shipping it to England, but he also made the most of a once-in-a-life-time opportunity by staying in America for almost a year to see as much of the country and its institutions as he could.".

Includes material on interpretation methods and presentation of research.

American Bar Association Silver Gavel Award — Winner in the Book category Independent Publishers — Winner of the Gold Medal in the Autobiography/Memoir category ForeWord Book of the Year Awards — Winner of the Bronze Medal in the Social Science category The Eric Hoffer Award - Winner in the Memoir category A public defender’ s dedicated struggle to rescue two innocent men from the recent Kafkaesque practices of our vandalized justice system “Our government can make you disappear.” Those were the words Steven Wax never imagined he would hear himself say. In his twenty-nine years as a public defender, Wax had never had to warn a client that he or she might be taken away to a military brig, or worse, a “black site,” one of our country’s dreaded secret prisons. How had our country come to this? The disappearance of people happens in places ruled by tyrants, military juntas, fascist strongmen—governments with such contempt for the rule of law that they strip their citizens of all rights. But in America? Under the current Bush administration, not only are the civil rights of foreigners in jeopardy, but those of U.S. citizens. Wax interweaves the stories of two men that he and his team represented: Brandon Mayfield, an American-born small town lawyer and family man, arrested as a suspected terrorist in the Madrid train station bombings after a fingerprint was incorrectly traced back to him by the FBI; and Adel Hamad, a Sudanese hospital administrator taken from his apartment to a Pakistani prison and then flown in chains to the United States military prison in Guantanamo Bay, Cuba. Kafka Comes to America reveals where and how our civil liberties have been eroded for a false security, and how each of us can make a difference. If these events could happen to Brandon Mayfield and Adel Hamad, they can happen to anyone. It could happen to us. It could happen to you.

With its question-and-answer format, and clear, jargon-free writing, this volume is an excellent resource for learning about the United Methodist Church. F. Belton Joyner Jr., a veteran pastor and popular author, introduces the reader to key United Methodist beliefs and practices through seventy-eight questions and answers.

The Bird's Head Peninsula of Irian Jaya has long been an area neglected by New Guinea Studies. Only in the late seventies, interest began to focus more intensively on this scientifically important border area between Austronesian and Papuan languages and cultures. In the early nineties, this led to the creation in The Netherlands of the Irian Jaya Studies programme ISIR, which organizes and coordinates multi-disciplinary research on the Bird's Head Peninsula. Within this framework, study of the peninsula has reached a peak, with research being conducted in the area by scientists from different disciplines: anthropology, archaeology, (ethno)botany, demography, development administration, geology and linguistics. The diverse perspectives of these disciplines are subject to constant internal debate. Through ISIR and other research initiatives, there is a growing body of data on and insights into the various disciplines concerned with this fascinating area, with each discipline developing its own specific perspectives on the Bird's Head. These perspectives were presented during the First International Conference Perspectives on the Bird's Head of Irian Jaya, Indonesia, organized by ISIR in cooperation with the Indonesian Institute of Sciences LIPI (Jakarta) and the International Institute for Asian Studies ILAS (Leiden) and held at Leiden University, 13-17 October 1997. Researchers were informed on current perspectives in many disciplines to facilitate integration of findings into wider, interdisciplinary frameworks and to stimulate international debate within and between disciplines. As a result of the Conference, the forty-two contributions in these Proceedings present a wealth of recent developments from various disciplines in New Guinea Studies.

Through studying images of blood in film from the mid-1950s to the end of the 1960s, this path-breaking book explores how blood as an (audio)visual cinematic element went from predominately operating as a signifier, providing audiences with information about a film’s plot and characters, to increasingly operating in terms of affect, potentially evoking visceral and embodied responses in viewers. Using films such as The Return of Dracula, The Tingler, Blood Feast, Two Thousand Maniacs, Color Me Blood Red, Bonnie and Clyde, and The Wild Bunch, Rødje takes a novel approach to film history by following one (audio)visual element through an exploration that traverses established standards for film production and reception. This study does not heed distinctions regarding to genres (horror, western, gangster) or models of film production (exploitation, independent, studio productions) but rather maps the operations of cinematic images across marginal as well as more traditionally esteemed cinematic territories. The result is a book that rethinks and reassembles cinematic practices as well as aesthetics, and as such invites new ways to investigate how cinematic images enter relations with other images as well as with audiences.