Originally published in 1997 and now back in print, Making the American Self by Daniel Walker Howe, the Pulitzer Prize-winning author of What Hath God Wrought, charts the genesis and fascinating trajectory of a central idea in American history. One of the most precious liberties Americans have always cherished is the ability to "make something of themselves"--to choose not only an occupation but an identity. Examining works by Benjamin Franklin, Jonathan Edwards, Abraham Lincoln, Frederick Douglass, Henry David Thoreau, Ralph Waldo Emerson, Margaret Fuller, and others, Howe investigates how Americans in the 18th and 19th centuries engaged in the process of "self-construction," "self-improvement," and the "pursuit of happiness." He explores as well how Americans understood individual identity in relation to the larger body politic, and argues that the conscious construction of the autonomous self was in fact essential to American democracy--that it both shaped and was in turn shaped by American democratic institutions. "The thinkers described in this book," Howe writes, "believed that, to the extent individuals exercised self-control, they were making free institutions--liberal, republican, and democratic--possible." And as the scope of American democracy widened so too did the practice of self-construction, moving beyond the preserve of elite white males to potentially all Americans. Howe concludes that the time has come to ground our democracy once again in habits of personal responsibility, civility, and self-discipline esteemed by some of America's most important thinkers. Erudite, beautifully written, and more pertinent than ever as we enter a new era of individual and governmental responsibility, Making the American Self illuminates an impulse at the very heart of the American experience.

Errata slip inserted. Includes bibliographical references and index.

"Oracle carefully explores the dangers and benefits of diet and exercise books, sex manuals, and self-actualization schemes. It is a timely and fascinating work, and will be of great interest to health-care providers and thoughtful consumers." --Joseph D. Matarazzo,American Psychological Association

This is a story of hope, but also of peril. It began when our nation’s polarized political class started conscripting everyday citizens into its culture war. From their commanding heights in political parties, media, academia, and government, these partisans have attacked one another for years, but increasingly they’ve convinced everyday Americans to join the fray. Why should we feel such animosity toward our fellow citizens, our neighbors, even our own kin? Because we’ve fallen for the false narrative, eagerly promoted by pundits on the Left and the Right, that citizens who happen to vote Democrat or Republican are enthusiastic supporters of Team Blue or Team Red. Aside from a minority of party activists and partisans, however, most voters are simply trying to choose the lesser of two evils. The real threat to our union isn’t Red vs. Blue America, it’s the quiet collusion within our nation’s political class to take away that most American of freedoms: our right to self-governance. Even as partisans work overtime to divide Americans against one another, they’ve erected a system under which we ordinary citizens don’t have a voice in the decisions that affect our lives. From foreign wars to how local libraries are run, authority no longer resides with We the People, but amongst unaccountable officials. The political class has stolen our birthright and set us at one another’s throats. This is the story of how that happened and what we can do about it. America stands at a precipice, but there’s still time to reclaim authority over our lives and communities.

This in-depth exploration of photography in relation to race and racial identity in America is the companion to a national touring exhibition--opening at the International Center of Photography in New York--a Web site, a symposium, and a project archive.

A distinguished collection of scholarly essays that reflect the recent academic growth of American Studies as well as various approaches to understanding American culture, ideology and character, developing such diverse themes as myths of America, grass-roots religious movements, cowgirl heroines and Mark Twain as an entertainer.

In this previously untold story of African American self-education, Heather Andrea Williams moves across time to examine African Americans' relationship to literacy during slavery, during the Civil War, and in the first decades of freedom. Self-Taught traces the historical antecedents to freedpeople's intense desire to become literate and demonstrates how the visions of enslaved African Americans emerged into plans and action once slavery ended. Enslaved people, Williams contends, placed great value in the practical power of literacy, whether it was to enable them to read the Bible for themselves or to keep informed of the abolition movement and later the progress of the Civil War. Some slaves devised creative and subversive means to acquire literacy, and when slavery ended, they became the first teachers of other freedpeople. Soon overwhelmed by the demands for education, they called on northern missionaries to come to their aid. Williams argues that by teaching, building schools, supporting teachers, resisting violence, and claiming education as a civil right, African Americans transformed the face of education in the South to the great benefit of both black and white southerners.

A gripping portrait of black power politics and the struggle for civil rights in postwar Oakland As the birthplace of the Black Panthers and a nationwide tax revolt, California embodied a crucial motif of the postwar United States: the rise of suburbs and the decline of cities, a process in which black and white histories inextricably joined. American Babylon tells this story through Oakland and its nearby suburbs, tracing both the history of civil rights and black power politics as well as the history of suburbanization and home-owner politics. Robert Self shows that racial inequities in both New Deal and Great Society liberalism precipitated local struggles over land, jobs, taxes, and race within postwar metropolitan development. Black power and the tax revolt evolved together, in tension. American Babylon demonstrates that the history of civil rights and black liberation politics in California did not follow a southern model, but represented a long-term struggle for economic rights that began during the World War II years and continued through the rise of the Black Panthers in the late 1960s. This struggle yielded a wide-ranging and profound critique of postwar metropolitan development and its foundation of class and racial segregation. Self traces the roots of the 1978 tax revolt to the 1940s, when home owners, real estate brokers, and the federal government used racial segregation and industrial property taxes to forge a middle-class lifestyle centered on property ownership. Using the East Bay as a starting point, Robert Self gives us a richly detailed, engaging narrative that uniquely integrates the most important racial liberation struggles and class politics of postwar America.

Cent peintres autodidactes américains du vingtième siècle - incluant Victor Duena, la Soeur Gertrude Morgan, Henry Darger et Freddie Brice, avec 260 reproductions toutes en couleurs de leurs oeuvres.

Discover the moving, entertaining, never-before-told story of how one man found his calling: to see that those who defend this country and its freedoms are never forgotten. As a kid in suburban Chicago, Gary Sinise was more interested in sports and rock 'n' roll than reading or schoolwork. But when he impulsively auditioned for a school production of West Side Story, he found his true purpose--or so it seemed. Within a few years, Gary and a handful of friends created what became one of the most exciting and important new theater companies in America. From its humble beginnings in a suburban Chicago church basement and eventual move into the city, the Steppenwolf Theatre Company launched a series of groundbreaking productions, igniting Gary's career along with those of John Malkovich, Joan Allen, Gary Cole, Laurie Metcalf, Jeff Perry, John Mahoney, and countless others. Television and film came calling soon after, and Gary starred in Of Mice and Men (which he also directed) and The Stand before taking the role that would change his life in unforeseeable ways: Lieutenant Dan in the Academy Award-winning Forrest Gump. The military community's embrace of the character of the disabled veteran was matched only by the depth of Gary's realization that America's defenders had not received all the honor, respect, and gratitude their sacrifices deserve. In the aftermath of the September 11 attacks, this became Gary's new calling. Grateful American, now a New York Times bestseller, documents Gary's dedication to working tirelessly on behalf of those who serve this country, sharing stories about how he has: Entertained more than a half million troops around the world playing bass guitar with his Lt. Dan Band Raised funds on behalf of veterans Founded the Gary Sinise Foundation with a mission to serve and honor America's defenders, veterans, first responders, their families, and those in need Grateful American is the moving, entertaining, profoundly gripping story of how one man found his life's work: to see that those who defend this country and its freedoms are never forgotten. Praise for Grateful American: "Gary Sinise writes as he lives, and as the artist and actor he has always been: with American authenticity, purpose, and a conviction that is inseparable from his nature." --Tom Hanks, actor and filmmaker "No entertainer alive today has visited and performed more for our troops at veterans hospitals and military bases all over the world than Gary Sinise. For years his foundation has built 'smart homes' for our troops that were severely wounded in combat. The book is called Grateful American, and I promise that after you read it you will be grateful for what Gary has accomplished and contributed to our country. He's truly one of a kind." --Clint Eastwood, actor, director, producer, and musician