Cultural Books

The writer dares to go where others fear! I am very familiar with the writing process and the issues that this writer must have faced with the story he told. A monumental task to say the least. His words flow and tell a wonderful story of love, traditon and life without the rose colored glasses. It is a great book and deserves six stars.

Mr. Little Eagle has done something that very few writers have ever done. Taken me to the inside of a place I would never have had the opportunity to visit. What is amazing is that he does it with such ease and understanding. The places I went included the real world Native America, the deep and personal emotions of dealing with a serious illness and the lost of a loved one, his wife. The pace was easy, short chapters made the reading a gentle process. However, I found myself not taking a break. The next chapter lead to the next event which lead to the next enlightment.

Little Eagle's relationships and friends along the way are fasinating and unforgetable. Steve Old Coyote played a signifcant role in the first part of the book as well as Arvol Looking Horse and the Kitchen Boss. The second part of the book dealt with the remarkable events surrounding the death of his wife, Tammy. He also returns to Greengrass and other Rezervation loation and meets more people like Tom Calfrobe the Cloud Watcher, Marie Not-Help-Him and the dynamic Pete Catches. His love and dedication to his wife is so evident and he willing shares those emotions. The third part he once again returns to Greengrass and encounters the mystery of life. Of special note is the connection between Little Eagle and the Kitchen Boss.

Throughout the entire book you witness powerful and magical ceremonies and rituals. Sweatlodges, Sundance and Yuwipis. Aother standout in the story is the ledgendary Pipe Bag of Crazy Horse. So much stuff. I am looking forward to future books by Little Eagle.

Do not pass this book by. You will truly miss out on wonderful story and life.
Phil

Greengrass Pipe Dancers is both a story of pain and death and a search for healing and transformation. The first focus is on the history, safekeeping and restoration of a holy pipe bag, perhaps once belonging to Crazy Horse. The underlying text is the author's experience of healing and acceptance in mourning the passing of his beloved young wife Tammy through witnessing the rite of the Sun Dance and pipe dancers with the Lakota of Greengrass, South Dakota. Lionel Little Eagle sees his own totem animal and receives his sacred message from the experience. Straight from the heart, Greengrass Pipe Dancers is the author's testament to the power and beauty of Lakota spirituality, and the miraculous healing essence of the beautiful pipe bag he is given to carry and protect until a sacred resting place is found.

The true story of the pipe bag is recounted according to Lionel Little Eagle's wife Tamara and other traditional sources. The pipe bag was originally given by a Lakota chief to Dr. H. A. Brown (Tamara Brown's grandfather) in 1895 after he saved his son from pneumonia. This tale has been told in another book, Warriors of the Rainbow, written by Dr. Brown's son, Vinson. In Greengrass Pipe Dancers, Lionel Little Eagle, a Micmac Native American, continues the sacred obligation of being the pipe bag bearer while presenting its history and his wife's story. The wonderful thing about the pipe bag history is it is directly connected to the founding of Naturegraph, a publishing house founded by Vinson Brown to publish Warriors of the Rainbow. Naturegraph continues to publish works on Native American history, spirituality and culture, thus fulfilling the dreams of both the original Oglala chieftain pipe bag bearer and Dr. Brown.

The author introduces the main elements of the story simply. They are Tammy, the Healing, the People, the Pipe Bag, and the Dance. Each element is key, but it is their interplay, the dance of words, visions, and songs that emblazons the heart of the book. Greengrass Pipe Dancers is voiced from the essence of sacred enlightenment, which includes death, pain, and deep celebration of life. Partly because of its simple, unassuming style, Greengrass Pipe Dancers may be read as a sort of personal journal of seeking spiritual enlightenment. The subtext is clear and undeniable, a brilliant witnessing of light and healing.

Nancy Lorraine, Reviewer

"Greengrass Pipe Dancers" starts out with an intriguing story of how the author came to be the caretaker of Crazy Horse's pipe bag, and continues with a powerful story of Lionel Little Eagle's journey to return the pipe bag and to seek spiritual guidance dealing with his wife's cancer. The reader will join Little Eagle in Native American ceremonies both fascinating and uplifting. A sense of family and belonging in a community is strong throughout this book. Many emotions surface as Little Eagle searches for the next caretakers of the holy pipe bag while separating the pain of losing his wife from the realization that she also is to return to her spiritual beginning, just as the pipe bag must. Ultimately, the wonderful cycle of life vividly described here leaves you wishing Little Eagle will write again soon.

This book tells a WONDERFUL story of a white medical doctor caring for an indian child with pneumonia. When the child began his recovery; the boy's father tried to pay the doctor, and Dr. Brown refused payment because of the way the indians had been cheated and mistreated by the government that made treaties and habitually broke them, and white settlers.

The boy's father was stunned by the doctors kindness, and insisted on giving him a pipe bag with bead and quill work. (A pipe bag is traditionaly made from leather with two segments or pockets if you prefer. Traditionaly; the pipe bowl, and stem are kept separate, and are only put together when you pray with the pipe.). This book tells the story of this pipe bag (allegedly belonging to Crazy Horse), and the story of the three people that cared for this pipe bag before returning it the Sioux.

This book also tells the story of Lionel Little Eagle (the third keeper of the pipe bag), and his beloved wife "Tammy" that was dying of cancer.

This book takes you on a roller coaster of emotions. In some places you will laugh hystericaly (as in 'Hey You' on page 37, 'Old Coyote's encounter with the kitchen boss' on page 46 and others. In other places prepare to find tears welling up in your eyes where Mr. Little Eagle relates the story of his wife's passing. and teaching "Trapper" (the son of Mr. Little Eagle, and Tammy" why they use the pipe (like making a telephone call to God), and Trapper picks up the pipe and puts it to his ear like a phone and wants to talk to his mom.

There are many nice illustrations.

On pages 59-62; Mr. Little Eagle relates one of the best versions I have seen of the White Buffalo Woman legend that I have seen.

In my humble opinion; if this book does not reach you; you do not have an open mind and heart.

However; with the platitudes mentioned above; I am disappointed with some portions of this book.

1. On page 47-48 Mr. Little Eagle relates the words of an elder that states in olden times the pipe was much larger about the size of a child's head, and his anger about non indians having the pipe. Mr. Little Eagle does not seem to share the attitudes of the elder because on page 9; he refers to himself as "a simple member of the human race" which is quite similar to mine "A human being; doing the best I can."

a. I know a gentlman that mines the sacred stone in the pipestone quarries (He sent me a photocopy of his permit to mine the stone). According to my acquaintance; it is extremely unusual to find veins of pipestone (Catlinite) more than 3 inches thick, and in order to get the sacred stone; they sometimes have to go through veins of quartzite up to 8 feet thick to reach the three inch vein.

b. Attitudes of anger and bigotry as expressed by the elder is making the problem worse not better. I want to see Nick Black Elk's vision of the flowering tree, and people living together in peace and harmony come to pass. People (indian or not, elder or not that have anger and hatred for non indians carrying the pipe in a sacred manner is causing disharmony. Evelyn Eaton the author of "I Send A Voice" relates her encounter with Native American anger and bigotry that was directed toward her because she carried a pipe. I have received many vitriolic comments from alleged indians after reading some of my reviews.

2. On page 142; Mr. Little Eagle tells of his meeting Wallace Black Elk the "grandson" of Sioux Holy Man Nick Black Elk. Wallace Black Elk is NOT the grandson of Nick Black Elk. I have VERY much respect for wicasa wakan (holy man) Nick Black Elk. I have NO respect for this new age flim flam man that inflates his ancestry to make himself look better. I know a man that was named by Ben Black Elk (the son of Nick Black Elk), and I know the real family of Nick Black Elk have been confronting this myth for years. Nick, and Wallace are not even member of the same Sioux sub tribe. Ben Black Elk acted as the interpreter for the two authors (Joseph Epes Brown "The Sacred Pipe", and John G. Neihart "Black Elk Speaks" because his father spoke almost no english, and the authors did not speak the Sioux language.

3. on page 209 another bigoted elder states "The people who blindly and deliberately scar and hurt Mother Earth. who line our sacred Black Hills with black pavement. They are the enemy! That is where our fight lies. (Isn't this inciting people to riot and commit violence? In my humble opinion; the BEST way to reach harmony is to put the past behind us, and go forward into the future; there all races teach one another, and explain why things are considered sacred, and what it means to use a pipe in a sacred manner. We can only do this if we open our hearts and minds, and allow the past injustices to remain in the past. I walk the red road because this path answers my spiritual questions and works for me.

Other than these problems; the book conveys a wonderful story, and shares some Native American Philosophy.

Wah doh Ogedoda (We give thanks Great Spirit)

Amazing collection of photos from a era that seems so long ago but still here today. Very well done! Great presentation of the people, horses and caravans.

Great book I was sad when I finished it. Beautiful photos ans nice description about the journey to Appleby fair. This would make a wonderful
TV special. Beautiful Gypsy Horses. It will be a pleasure to keep this book in my collection forever. This is definitely a coffee table book.
If you love horses you will love this book. Expensive but well worth the cost.

This book is absolutely beautiful! The pictures are incredible and the information about the Romani people is intriguing. Even if you are not a horse lover, you will be awed by the incredible landscapes and beauty of these horses. Beautifully done.

Gypsy Horses and the Traveler's Way: The Road to Appleby Fair is a delightful book. The photographs are superb, and lovers of these gorgeous colored horses will be captivated by Mr. Hockensmith's eye for detail and his ability to capture mood. The horses are heart-stoppingly beautiful and Mr. Hockensmith's portrayals of them reflect his enthusiasm for this lovely breed. The people Hockensmith travels with are presented with respect and a refreshing lack of over-familiarity so often found in the work of those who write about, but cannot really know the Romany people.
The titular road is lovingly described, as is the destination. The burgeoning popularity of the "Gypsy Vanner" has made Appley Horse Fair an increasingly popular tourist destination, and no doubt there is much to see there. Here again, we see flowing manes and tails aplenty, but there is more. The minutia of Appleby is lovingly portrayed - but not varnished with romantic stereotyping,
The book is available in two bindings. There is a slipcased special editon available from the publisher's website, (Fine Art Editions Press), and the edition offered by Amazon which has a beautiful dustjacket and an attractive cloth binding. Either edition is well worth the asking price. Step for awhile into the world of Appleby, the people and the horses there. You will want to visit again and again.

Gypsy Horses and the Travelers' Way
By John Hockensmith
Hockensmith Fine Arts
146 E. Main St.
Georgetown, KY 40324
ISBN: 1599755971
Price: $49.95
Page Count: 184
December 8, 2006
Reviewer: Ann Allyn Slessman

While this is John Stephen Hockensmith's first book, it won't be his last. This beautiful book is what most would categorize as a "coffee table" book with one exception - Hockensmith's brilliant prose. One has to wonder why this man hasn't published before now. He writes as if he is having an intimate talk with his readers. And he hits the mark if this was his intention. I cannot imagine anyone panning this book. If they did so, it would surely be an act of jealousy. You will find after reading and perusing this book that his poems continue to live within your heart and mind.

John Stephen Hockensmith is well known in the Midwest for his photography skills. He has photographed the Kentucky Derby Winners' Print and Winners' Circle prints since the year 2000. He owns an art gallery in Georgetown, KY which exhibits equine and animal images sought after by collectors throughout the world.

This book is a treat for the reader's eyes as well as a great source of information on the Romani Gypsies and their beautifully bred Gypsy Horses. The imagery is without comparison and the prose is well written and quite visual in itself. The quality of this work dictates that it will surely outlive Hockensmith.

As the reader journeys through the images and prose of Gypsy Horses and The Travelers' Way they will find it hard not to be lured by the gypsy way of life. Their mysterious cavalier ways seem quite enchanting when compared to nine to fivers. The test - can a reader find their way back home after visiting this work? Read it and find out!

Wow,Wow, I just finished reading this book and it is really an excellent book. First of all let me tell you a little about me, I am a senior who loves Jazz, The Harlem Renaissance, and history. This book brought all of the above subjects to light while telling the story of Hazel Scott. Like so many Americans, I knew of Ms. Scott, however; I was unaware of all of her contributions. Ms. Chilton does an excellent job of letting us know the real Hazel Scott.

This is the kind of book that can be used in an undergraduate or graduate class at any University. Ms. Chilton research is effective and it appears as if at times it is Ms. Scoot actually speaking.

This book has come on the scene at a real interesting time in our history. The fact that we have our first Black President is in real contrast with the kinds of experiences that Congressman Powell and Ms. Scott both experienced in their various careers. In fact, many students and average American citizens would really be shocked at what was going on in race relations 40 or 50 years ago. This book gives an illustrative account of race relations from the 40's up until Ms. Scott made her tranisiton in 1982.

This book will be gifts for my love ones who love to read.

Thank you,

Mrs. Beverly L. Jones

Hazel Scott's compelling story writtten by Karen Chilton captures you
immediately through adventure, extraordinary perseverance and
determination exhibited by the female characters. Karen has woven this
narrative of history, culture, gender and explicitly demonstrates how a
black woman was brave, courageous and determined to fight for her ideals
and beliefs. Hazel Scott endures pain and obstacles, yet remained
steadfast and purposeful exhibiting her talent as a child prodigy,
an unselfish wife, a devoted mother and a fierce civil rights fighter.
Karen Chilton weaves the threads that will conquer the attention,
applause and vicarious experiences with an anticipation that keeps you
reading and wishing for more as the story concludes. Book clubs will be able to have enlightening, meaningful chats after reading "Hazel Scott, The Pioneering Journey of a Jazz Pianist from Cafe Society to Hollywood to HUAC". A must read!

Just finished 'HAZEL' and I LOVED IT! Celebrity bios are my favorite literary genre and this is amongst the best I've ever read. Thanks to Karen's awesomely descriptive way with words, I feel like I've been on a fantastic journey through infinite possibilities and the pitfalls that come with them (especially during the time in which Hazel Scott reigned supreme). What HIGHs and LOWs - all at once. Sounds like my own life sometimes and yet I know the core to Hazel's essence is RESILLIENCE... and Karen tangibly outlined the depths of her FIERCENESS --- to perfection. This book should have a long-shelf-life to ensure that the millions who are into DIVAS know on whose shoulders they stand in large order. I've blogged about it a couple of times via "A DAY IN THE LIFE OF RILEY: POP CULTURE & POSSIBILITIES":[...]

Karen Chilton has masterfully written a book that has fused a genre of jazz and African American history. Moreover, Karen complements the story of her subject (Hazel Scott) by demonstrating scholarly prowess as writer. The book supplies the reader with necessary factual background to understand Scott's story, as well as supplying appropriate references to a variety of external primary and secondary sources. In sum, this is the kind of book that requires the reader to maintain several bookmarks at once for ready reference: one to keep one's place in the text, another to reminisce of a time of creativity, joy, and passion in the midst of racism, segregation, and upheaval, and a final one to mark the notes/bibliography. A must read for everyone, and gratefulness to Karen Chilton for resurrecting another African American icon.

Quite a pleasant surprise, could not put the book down. Historically accurate yet entertaining. Wonderfully written with abundant wit and humor. Compelling yet complicated story of this female Jazz Pianist.

A book full of stories of unsong heros who put their life on the line in the line of duty.
It brings home the human cost of war and leaves you wondering if any piece of land is worth the sacrfice of human lives while at the same time leaves you amazed at the courage of ordinary human man & women.
The leaders of nations that engage us in brutal wars should read this book and maybe rethink their actions.

I wish we could hear more about what is actually going on in Iraq, instead of the propaganda that comes out from the agenda driven media.

Wow, this book just blew me way. I was not the kind of person who loved reading and read during my spare time. However, my friend introduced me to this book, and to date this is the best war book that I have ever read. I would recommend this book to people of all ages but mostly to people who are in high school. The detail given in this book is outstanding and it really makes you reflect upon your life and ponder the freedom that we have, and how it was gotten by thousands and thousands of americans that put there lives on the line every day.

I am an 88-year-old WW-11 naval officer who served in the Atlantic and Pacific war zones. I was transfixed not only by the experiences these heroes endured, but by the mater-off-fact tone of their narratives. At the end of each story, I instinctively turned back to the cover picture of the author and studied the photo trying to momorize the features....portraits of true American heroes.
I was especially impressed by the individual comments about the Iraqui people, revealing them as decent, caring individuals who we would be proud to have as neighbors.
This book should be required reading for every high school boy and girl senior prior to graduation. The overall tone of the book runs counter to the torrent of negative comment directed at us by the American media. The indivuals portrayed in this book make me proud to be an American and to have served my country when virtually every living American supported our military. This book served to lessen my sadness over the limited support for present day American male and female military personal.

Al Kayworth, Author
Abenaki Warrior
Legends of the Pond
The Scalp Hunters
Iceman to the Internet

HEROES AMONG US is an inspiring collection of first-hand combat accounts by 29 Army, Marine Corps, Navy and Air Force servicemen awarded either the Silver Star, Navy Cross, Air Force Cross, Distinguished Service Cross or Medal of Honor for heroism in Afghanistan or Iraq. Over 1 1/2 million men and women have served in those beleaguered countries but fewer than 500 have been awarded the above decorations. The men in this book are some hardchargers!

The two dozen award winners who contributed accounts for this book range from line doggies to Marine Recon, truck drivers to Navy Corpsmen, Air Force F-15 backseaters to Army Rangers. The group includes career soldiers and reservists. There's even a set of identical twins, both of whom served in Army Engineer battalions who were awarded Silver Stars. Sadly several awards were posthumous.

Some of the battles described in this book were absolutely hellacious affairs, pitting U.S. troops against swarms of enemy soldiers and irregulars all too willing to die for Saddam Hussein and/or Allah. Yet the accounts themselves are related in a matter-of-fact tone, a reflection of each individual's professionalism in the face of ferocious combat. What comes across in these narratives is not only that spirit of professionalism but also the dedication and commitment of each individual to the mission and their buddies.

For a first-hand, unvarnished look at modern combat, HEROES AMONG US can't be beat! Highly recommended.

Simply put, across the late 19th Century the newly consolidate ruling class of industrial and financial magnates seized control over the definitions of culture, established an iron wall between high and low culture, moved to change the relationship between audience and performer, and between performers and those who dicated culture and owned cultural institutions, and changed museums and libraries from institutions established to broaden knowledge for all into places where the elite contemplate perfection.

Levine is one of the great historians, having done his featured work on African American history and culture. Yet, he writes in clear, understandable language. The book is extremely well referenced with every section's notes being the beginning for scholarship and knowledge on what he speaks.

Published in 1990, the book can hardly be taken to task for developments that have come to fruition since then. Music and culture once seen as alternatives to the Eurocentric approaches to high culture Levine outlines, seem to have proceded along the same lines. Free and post-modern Jazz, once the product of an iconoclast approach to mainline Jazz, has tended to take the view that it is "high art" to be comprehended by the totally advanced versus entertainment, while a politically conservative trend to paint Jazz as the U.S/s "true" classical music demand that Jazz emulate European "classical" music with a canon and repertory orchestras aimed at reproducing that canon. Meanwhile, they expel Jazz artists with strong links to Black popular music and dance from their definitions of Jazz. Few tend to share the views of Art Blakey and others about the need to reestablish Jazz as a form of dance and entertainment music for African Americans.

My own focus has been on traditional Black and European American string band music, marketed as "Old Time Music" by record companies in the 1920s. This music was originally produced as pure entertainment for dancing and amusement for the most humble workers, farmers, share croppers, and small businesspeople of the South. Yet, in OTM there is often such an emphasis on knowledge of the history, folkways, and cultural references that one might think that like the art and drama Levine shows to have been "high browed," some believe that OTM can only be appreciated or performed by those who have amassed sufficient knowledge.

Indeed, the entire hipster approach that emerged in the Jazz age with Jazz, Blues, folk, and other alternative musics mirrors the high brow approach used around high culture. Implict in being a hipster is the belief that whatever may be popular is intrinsictly inferior to that "hip" sound that only a small sector of the knowing can appreciate. Hipsters usually move on once music they deemed "hip" becomes popular.

O

Really. This book is so fine, so well written, so fascinating, that I actually re-read it! Mr. Levine, please write more. I've recommended this book to many friends, including scientists who had never shown an interest in literary subjects. I practically forced my best friend--a professional wrestler (!)--to read it. The result: Mr. Levine now has a motley crew of new admirers.

Levine's study indeed had its influence in helping the general public understand the highbrow vs. lowbrow culture; however, there are more vital elements added into the popular culture over changes of time. Whoever appreciates Levine's work will find a greater enjoyment in Swirski's latest book "From Lowbrow to Nobrow". Its up-to-date and valuable insights will help us gain a much deeper understanding about the popular culture of today. It presents more diversities, more profound explanations and more hard evidences. The analysis is sharp and the writing is enjoyabel and neat. If you like Levine, you shouldn't miss Swirski.

Spanning over one hundred and fifty years, Lawrence W. Levine's Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America, charts the development of culture beginning in the late eighteenth century to the early twentieth century. In Highbrow/Lowbrow, Levine tells the reader through various examples how the United States began with forms of culture celebrated by most of the countryside's population through the years where cultural classes developed and finally to the point where some cultural subjects nearly died off. Through narrow fields of entertainment, he is able to define what was and was not popular culture; how various forms of cultural entertainment were performed and watched or listened to by the general public; and how several key people in the late nineteenth century helped preserve art forms that still exist today. Three distinct areas are covered in the book's three chapters: Chapter One, "William Shakespeare in America" focuses on the popularity and decline of the performance of Shakespeare's works; Chapter Two, "The Sacralization of Culture" highlights the development and developing highbrow status of symphonies and orchestras; and Chapter Three, "Order, Hierarchy and Culture" describes how culture evolved from entertainment for many to culture for few. Lastly, an epilogue from the author briefly expands on culture today versus culture in the past century.

"William Shakespeare in America" chronicles the rise and fall of the performance of Shakespearean plays in the United States from after the Revolutionary War until the end of the nineteenth century. Dramatic performances of Shakespeare were not the norm for the most part, but "...burlesques and parodies...constituted a prominent form of entertainment..." throughout the country. His plays were so popular that they constituted a large portion of theater presented throughout the early-to-mid nineteenth century with the most popular actors and actresses from Europe and America performing. These performances were not limited to the big cities of the eastern seaboard either; they were even performed in small cities throughout the Midwest and western states, like Mud Springs, Cherokee Flat and Rattlesnake in California and mine towns like Silver City, Dayton and Carson City. They were shown with a simple formula: Shakespeare was shown with "...afterpieces and divertissements that surrounded his plays...." Also, the draw to see these plays was strong "...because the people wanted to see great actors who in turn insisted on performing Shakespeare to demonstrate their abilities...." Another point of interest that Levine describes is that plays were seldom true Shakespearean works. Oftentimes the plays were ad-libbed or modified to satisfy the crowd, or the title and content slightly changed to bring about other meanings. For example, a version of Richard III was revised "...by cutting one-third of the lines, eliminating half of the characters, [and] adding scenes from other Shakespearean plays...." However, those who were the self-appointed guardians of high-end theater towards the end of the century, converted Shakespeare "...from a popular playwright whose dramas were the property of those who flocked to see them, into a sacred author who had to be protected from ignorant audiences...."

Next, in "The Sacralization of Culture," Levine does an excellent job of describing how many of the most popular opera houses and symphony orchestras in America were formed. Two big names in the music industry of the day, John Philip Sousa, who is known for his patriotic marches and Henry Lee Higginson, who formed the Boston Symphony Orchestra, are just two of the many cultural revolutionaries Levine discusses in the text. Sousa appealed to the masses, saying that the public would come to appreciate "`high class'" music more if it was interlaced with popular tunes. By contrast, Higginson believed that it was sacrilege to play anything other than classical music in its original form and pandered to the more cultured of society. Even though Higginson made great strides for musicians like paying salaries and starting pensions, he held so strongly to his beliefs for pure music that he operated the symphony at a loss and needed benefactors to keep it afloat. Throughout the chapter, similar subjects are also addressed, such as who should and should not enter museums, what they should wear and how they should conduct themselves once inside.

In "Order, Hierarchy, and Culture," Levine explains how attending events like plays and concerts evolved from "Whispering, talking, laughing, coughing...sneaking snacks, [and] spitting tobacco..." to a "...general success in disciplining and training audiences..." in more respectful behavior. Moreover, museum staffs were dedicated to developing the manners and behaviors of their patrons. One example was the ejecting of a plumber who not only wore his work clothes to the New York Metropolitan Museum of Art but visited the museum directly from work. The museum did not want patrons who smelled bad or who had oil and grease stains on their clothes. This policing was not limited to events held indoors. New York's Central Park had so many regulations as to where one could sit, for example, that it was almost not enjoyable to spend any time there. This effort to raise the cultural standards was intended to raise the cultural awareness of society at large.

The epilogue concludes the text stating that isolating certain cultural themes, like opera for example, has diminished its importance overall. Allan Bloom, the author of The Closing of the American Mind, is quoted as saying, "Classical music...is [now] `dead among the young'...."

As was said earlier, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America does an excellent job of describing the rise and fall of Shakespearean drama in America and further gives an excellent portrayal of the development of opera and orchestral music. Additionally, the chapter dealing with the education and development of the viewing and listening public emphasizes how several art forms fell out of vogue with the general public, being labeled too highbrow for many. Although written in 1988, the reader can easily see parallels to today with the popularity of certain art forms like hip-hop music. The stereotypes still exist which classify those who enjoy that form of entertainment as lowbrow. In contrast, those who attend the symphony are seen as a higher social class. It is unfortunate that the highbrow intellectuals of the late nineteenth century were allowed to classify people and their entertainment tastes to such an extreme. Because of their beliefs, opera, classical music, and Shakespearean plays will never be exposed to many in America who would benefit by and truly enjoy them.

Academia often will mark anything dated ten to fifteen years prior to the present as "dated" simply by the mere fact that its conception took place more than a decade ago. Levine's 1988 tome testifies that this attitude is shortsighted and moreover, erroneous. Levine has written a book that serves both as a history lesson as well as a hopeful plea to reconsider our cultural biases as constructs of our own doing.

Levine does not simplify the situation by presenting a black and white portrait of the American development of high vs. low culture. Instead he offers a well-researched argument supporting a flux in cultural ideas wherein we travel through various redefinitions of culture, both high and low. Investigating the societal milieu surrounding Shakespeare, opera and orchestral music in nineteenth-century America, Levine aptly demonstrates how we arrived at our current struggle to accommodate contrasting ideas about culture.

One need not be an expert in the arts to appreciate the severity of Levine's message. The comprehension of "cultural hierarchy" is absolutely fundamental to understanding our societal existence. One can moreover applaud Levine for tackling the subject in a way that is accessible and easily comprehended by those not ensconced in academic dialogue. His writing is bold and charismatic, making this book a refreshing change from many academic missives which aim to keep the discourse within the walls of the ivory tower. Levine invites us outside those walls by presenting us with an uncracked mirror by which we can clearly see our own responsibilities and reactions to culture in America.

If your interest in gay literature is just starting (and there is no need anymore to explain why) this book will give you a head start. You can find here information on a vast variety of books which you may pick up to expand your knowledge, curiosity, or simply spend you time reading for pleasure. Woods draws an interesting panorama of homesexual themes in literature from the Antiquity to the Present.
However, if you are quite far in the subject, you may find this volume a little bit too simplistic and disagree with some of Woods conclusions - e.g. the use of the word "gay" in the title may be quite disputable in the context. But still you may find many pieces of information you haven't yet heard.

Woods' phenomenological journey through literature, in which he examines a plethora of perspectives that are aguable "gay," is far more than a literary survey across epochs of history: It asks the question philosophers ask: What is gay? For the most part, that question may never be answered, except in the most biological of terms. Same-sex affection and eroticism. Human diversity is truly extraordinary, and all efforts to achieve a definition, identity, and distinction beyond this expansive single feature only limits what "gayness" subverts. But such an indefinite state is difficult to maintain, if only because erotic longings draw us together in concrete ways. In every age, we need more to hold onto something more enduring, if only because our unique sexuality, standing against the grain, finds such indeterminancy intolerable, if not terribly lonely. After all, men who desire men need love, too. Or at least many of us do.

Beginning at the beginning, and traversing millennia and cultures, Woods selects representative examples of homo-erotic literature, enormously exhaustive, acknowledging at the outset that his representative samples may not reflect what many today suppose to be "gay." The post-Stonewall moment heralded an intolerance of concealment, an unwillingness to be persecuted, and a new narrative that may occurred (forced or natural) in the Seventies was hardly emblematic in history. The so-called Castro Clone, hairy men in masculine garb with well-defined features and perhaps a little excess of macho bravado, might have been the dominant craze at the time. But what did this species of same-sex orientation have in common with the pederast (boy-crazy) male of antiquity? According to literature, not much.

But the Castro Clone has already passed into history, and Queer Theorists are bent on a new narrative. The effect, perhaps, of AIDS. Certainly, a little microbe has changed the same-sex dynamics considerably; a latex sheath now invades our love, and it seems to have changed our narrative and created distance among us. But we're all stronger and more open than all our historical predecessors ever imagine. The "closet" has ever been the refuge of adult gay men, and after millennia of persecution, we're no longer content to dwell in darkness. And perhaps the re-emergence of political homophobia requires a new story. Perhaps the militant subversion of the Other needs to experience what true Others have felt for ages. Whatever the impetus, more gay men are understandably reacting, often with unparalleled defiance, which may be more adaptive, but it seems foreign to me. Whatever excesses occurred in the Seventies, and they are legion, for the first time in recorded history adult male love, however elusive, was boldly believed.

Few books on a "gay" theme have touched me as deeply as this one, because none, despite its failings, has been bold enough to admit that our narratives change to fit the situation, and few narratives reflect the same story. In the final chapter of this otherwise non-polemical inquiry, Woods deliberately casts off his "impartial narrator" and engages in the polemics of paradox (a frequent theme among post-modernists), a variable in the deconstructionist "play" of differance, and one of Foucault's subversions of power. As my anger at his apotheosis of paradox grew (another Pope John Paul II, I thought), he slid home safely. "Paradox," he writes in the final sentences, "may be subversive, but it makes unsound political discourse if ever required to move the very public it defies. Beware of orators bearing paradox: they are unlikely to be democrats" (388).

For many, being "gay" is an act of defiance, an act of being ostracized as well as ostracization, and another act of being compromised as well as compromising. In my defense, I lived wherever the margins took me, and disregarded the consequences (and in my case those margins were far and few between). But those days when the love that dared not speak its name (and those days have been interminably long), when paradox and defiance spoke for us as staples of survival (however clandestine), came to an end with Stonewall. However small our numbers, we were liberated by a simple act, not of defiance alone, but of truthful pride. For all the angry contempt heaped on our persecutors, there was a time when we simply did not care to give them any notice. My only hope is that the new wave of persecution does not jade us to love's possibilities, but alas the video record suggests love is a commodity we can consider if we survive.

But we've always survived. We're an intrinsic part of nature, for heaven's sake. The Stonewall liberation, however, was truly unique; it allowed us to love openly and passionately, perhaps indiscriminately, and we'll always be open to love, unless the hate of our antagonists prevails. Very, very sadly, I see hate in our own eyes, so virulent, so understandable, and so self-defeating. "They" have already won, because we accepted their binary terms of opposition. In our anger, however justified, we've become one of them. Hate can conquer love, and once again "they" have proved it. What narrative follows next I know not. I only thank Fate for allowing me to experience an extraordinary moment in time. It may never pass again.

Gregory Woods, in A History of Gay Literature, The Male Tradition, has written a comprehensive examination of gay male literature through the centuries and around the globe. It looks at text and subtext and context to find the gay meaning or the meaning for gays in the annals of historical literature. Along the way the reader will learn new aspects of literature (such as the chapter on African poetry, to name one example from my own ignorance) and new ways to look at familiar books and poems. For all its breadth, it is wonderfully readable and somewhat addictive. It had me searching out various books to read them for myself. The writing is so good that I was equally fascinated reading about the books I had not read or did not even know about as I was reading about the others. This is a very good survey and a fun read.

This is a very readable book. However I was extremely astonished at the scantiness of space on Japanese same-sex relation. Since after ancient Greek, only Japanese could have enhanced male-homoeroticism to highly ethical valued SHUDO i.e. the way of male love and there is a great number of GAY literature,documents, arts etc. in Japan. I recommend two books for readers THE LOVE OF THE SAMURAI by Watanabe Tsuneo & Iwata Jun'ichi, et MALE COLORS by Gary P. Leupp. And I hope many people study Japanese culture, history and literature more.

Poet and author Gregory Lewis has given us one of the more readable compendiums tracing the birth and maturation of gay themes and styles in literature. Many authors have approached this task as a sensational "outing" of famous writers whose true sexual preferences will always be shrouded by the curtain of history. Lewis has chosen to deal with actual portions of writings in a scholastic method that creates a credible case for his choices of inclusion in the lineage of gay writers. Infused with brief descriptions of the social history of the times he is describing (Greek, Roman, Middle Ages, Shakespeare/Marlowe, Melville, Whitman, Wilde, Forster, Genet, Gide, Holleran, Leavitt, Monette, Auden, Rechy, etc), he lays the timely mores for interpreting the written word and in doing so does not preach to his readers. And though this book is heavily footnoted, researched, and extensive in its coverage of known and less known writers, it is eminently readable! Lewis is not afraid to let us know when his "opinion" versus "cold fact" is being stated; he allows us to grow to understand his method of decision making and is generous in his quotations of passages that support his claims. For the reader who wants a gossipy book of "Secrets of the Closeted Writers" this is not the resource. For those who want to examine the works of Thomas Mann, Shakespeare, E.M. Forster, Henry James, Plato, Socrates (the list is endless) in an erudite manner, welcome to the feast. Lewis is a gifted historian, social commentator, and gentle philosopher. And this book is one to read over an unhurried, extended period of time. There are riches here to savour as you read and for later as a reference volume of considerable significance.

In nine chapters Marilyn Yalom covers European and American attitudes and use of the female breast from the earliest cities of the Near East to the end of the 20th century. The book is very Western in it's focus, so not a comprehensive history. However, if you know that then you will find a good solid historical approach to an symbol and a body part that has played a huge role in art, literature, politics, religion, and even economies. Generous use of images and quotations are helpful in demonstrating how historians reason and use evidence without making the book very appealing to those looking for a sexual thrill. Overall the book is arranged both thematically and chronologically when possible. This is a book I could have undergraduates read as a feasible example of how history can be interesting and still be focused on the discipline's methods.

Yalom's book meets the highest standards for careful academic work, and, as a source, will turn out to be the standard for investigation into the subject in the future. But the appeal is broad and will engage the general reader, the historian, the physician. In short it is a good history, a good cultural study, and a good read. Fine writing, intriguing illustrations dilated to include such diversity as the political breast, the surgical breast, the nursing breast, the pornographic breast. An excellent analysis.

With a wonderful blend of serious history and modern humor where appropriate, the author presents a thought provoking run down on the history over 25 centuries and the photos of Annie Sprinkles Bosom Ballet on page 268 made the purchase worth every cent.

As the author wisely notes that Westerners assumptions about the breast is often wrong, and that Non western cultures have their own fetishes be it small feet in China, the nape of the neck in Japan, the buttocks in Africa and the Caribbean. That through out western history the breast has been viewed as good and bad, and by men mostly and religious men in particular.

The book is excellent in showing how the breast has been used to depict power and justice be it in war posters (Bosoms For The Nation) or the lady of justice with one breast exposed. To breasts used to sell products or alas slaves. (The commercialized Breast) How the whole idea that breasts were owned according to some by the husband, or were considered babies domain. That it wasn't until the women's movement that women demanded that what was on their bodies belonged to them to do with as they wished, be it nipple piercing, nudity, no bra etc. (The liberated Breast)

There are photos of mastectomy survivors and lord knows dozens of bare, exposed, all size breasts, which I assume the reader would expect in a serious book about the human breast.

It is a book I am so glad I bought. Also check out her excellent History Of The Wife book.

Marilyn Yalom has a fascinating way of blending history, culture and personal stories in her new book. It reminds me of what Ken Burns has done in some of his documentaries, where you learn as much about life in the times as you do about the specific topic. The book is a wonderful and easy way to learn about the wife in different times, cultures and religions, and also the possibilities of what it might mean to be a wife in the future. Excellent reading.

Marilyn Yalom (her latest work, History of the Wife, is spectacular) shows her characteristic style of humor and scholarship in history of the breast. Relying on both art and personal accounts, Yalom goes era by era detailing various Western cultures' attitudes toward the female body and specifically the breast. She spends a great deal of effort detailing modern concerns like breast cancer treatment and breastfeeding controversies and with the background in the first half of the book, the reader is easily able to see how current attitudes have been shaped throughout history. An excellent book for the social historian, women's studies person, or art historian.

The comment that came with the book's advert was: NEW. Thus, I was and still exceedingly happy that the book (The History of the Yorubas) you sent to me via UPS is indeed NEW. Secondly, I am very surprised that this book (The History of the Yoruba) was shipped to me immediately, which made me get it within three to four days! Thank you very much. I really enjoy your customer service! Please keep it up going.

There are considerably information about Yoruba's History and Religion.
If you are a priest or worshipper of Orixa , you need to buy this book.

This book is one of the foundation materials that informs the depth of the Omoluabi Matrix. Inbetween the pages of this volume we can trace the concept of Omoluabi civilzation which is the single factor responsible for the continued survival and advancement of our race. Ignoring the obvious Oyo bias of the author this resource material alongside others, details the incontrovertible evidence of an ancient African civilization on which the principles of democracy could rest. It details the cultural concepts that helped to overcome the colonial beast and gives a name to terrorism in ancient times. The only draw back is that the book did not investigate the insidious root of the word "Yoruba" - an abusive 18th century coinage of ancient terrorists. The original Olukumi tag would have furthered the cause of our national reawakening.

I remember reading this book when I was in secondary school over 25 years ago and I can still recall how amazed I was to discover that we Yorubas had organized govermental inititutions. I found out why we as a people are so defragmented, the origin of the Yoruba people and different tribes, the power and might of various tribal empires. I don't think there is another book that has this amount of detail regarding the Yoruba people. Now I need a copy for my library and is now difficult to get hold of.

The author of this classic work is not to be confused with Samuel Johnson (1709-84), the English essayist, poet, and lexicographer usually known as "Dr Johnson". This Samuel Johnson (1846-1901) was an Anglican vicar of African descent. He was born in Freetown, Sierra Leone, but spent his adult life in Nigeria. His peace-efforts in the 1870s contributed to the eventual end of the Yoruba wars in 1886.

In 1880 Samuel Johnson became a deacon and was ordained a vicar in 1888. Claiming Yoruba ancestry, he was concerned that his people were losing their own history and completed the original manuscript of his history of the Yoruba people from his notes in 1897. Whether by accident or design, this completed manuscript was sadly lost. However, after his death, his brother, Dr Obadiah Johnson, produced this work from his notes. It was at last published in 1921. Unfortunately, Obadiah died in 1920 so neither he nor Samuel saw the finished product.

It remains a key resource for the understanding of Yoruba history.

Every once and awhile a reader is forturnate to come by a book that might seem uninteresting but upon reading it finds it to be one of the best books ever. Such is HOLDING STONE HANDS which I bought several years back from University of Nebraska as one of their sale books. Turned out to have been one of the wiser buys of my time.

One of the very first things that struck me as I began this book was the flat out courage it would take to do what the author has done. Leave home, leave safety, walk upwards of 1500 miles, live, eat, and sleep out of doors much of the time. Another thing that quickly came to me was the interest people, mostly Cheyenne, still held for this historical happening. And they wanted to aid the author in his quest.

I have read some on this subject but things such as the Northern Cheyenne life coming to an abrupt end in December, 1876, was a surprise. Also that Lone Wolf's name was not that but 'Lone Coyote', or that Dull Knife's name was not that but 'Morning Star'. Also that both of these heroic and historic personages of the Northern Cheyenne, each in his own way, ended life mostly an outcast. Remembered today, yes, but only in a tempered way. Many still find fault with some decisions Dull Knife made. And with Lone Wolf murdering a fellow tribesman, his later life of blindness and isolation had to be very unrewarding.

No matter the reason for reading this wonderful book, a reader has struck a true classic of western history. And the main thrust of the book goes beyond history to be one of mission and people. Great reading as usual from University of Nebraska Press.

Semper Fi.

As my title states, this is a very powerful book. Mr. Boye walked the trail that the Cheyennes travelled in their tragic journey to get back home (from Oklahoma to Montana). Along the way the author meets up with two Cheyenne men who travel with him for the better part of the journey. When they leave he meets a mid-20s Japanese man who travels with him for a while. Why is this Japanese man touring the American West? Read the book to find out. Despite my praise for this book, my rating is a 4.5 out of 5. Why? I will give two examples (not that there are many more):
1 - On p. 225 he states that hundreds of Indians were killed at the Battle of the Blue Water (the number was about 86 and his own source--Utley, Frontiersmen in Blue--states 85).
2 - Following Little Wolf's capture his followers shortly after became scouts for General Miles to fight the Sioux. Boye only mentions his surrender. He should have gone on to include this important detail.

Having said that, the book is still a very good read and I really enjoyed his journey and his dramatic retelling of the Cheyennes' escape from Fort Robinson. I would like to know more about the film made by some Cheyenne's as mentioned in the book. Final verdict: Recommended.

I'm not much for history as it is taught in our schools, but this book is great. It is a perfect blend of history, present day (in the form of the author's trip), and thoughts and stories from the author's personal life.

I recommend this tome to anyone that likes travel stories. Especially if you dont know, or want to know more about, the Cheyenne Exodus. Expensive, but worth the money.

This is a story of heartache and strength, of hope and struggle...it is the story of a man's love of the land and a people's fight to keep their homeland. Boye is a gifted and talented writer whose words flow as he leads us from page to page, back into the past and then gently into the present. He is a writer that truly cares about his story and the people that inhabit it. He opens his heart and the words come tumbling out. A wonderful MUST READ for all nature lovers and history buffs.

This is a magical walk through a dark time in American History...Alan's own experiences are so materfully intertwined with history on this voyage, the past truly comes alive as you feel every step and face every fear. With each step, with every encounter along the way, you can feel the ghosts of the Cheyenne people walking in your own shadow. Make no mistake, HOLDING STONE HANDS is a Masterpiece...you'll feel the pain of endless walking, the anger for what the Cheyenne people were forced to endure, and the sorrow for the pointless death as they tried to make their way to the only land they would ever call home.

I liked this book a lot. It's well researched and engaging. I also appreciated Herman's balanced view of hunting. Though the book tilts toward political correctness in places, Herman, unlike the PETA crowd, doesn't posture about the evils of hunting.

There are some problems in Herman's book. For one thing, it's unfortunate that Herman cites Michael Bellesiles' Arming America two or three times. Herman seems to have bought Bellesiles' arguments about how scarce guns were in early American history (maybe Herman sent his book to press before Clayton Cramer shot down Bellesiles' "facts" in American Rifleman).

On the other hand, I was convinced by Herman's arguments that early Americans had mixed attitudes about hunting. Colonists thought that white men who became full-time hunters were too much like Indians, especially since farming, for colonists, justified the acquisition of Indian hunting grounds. Herman's argument that Enlightenment philosophers and statesmen often regarded hunting as uncivilized and/or cruel also has merit (here's a little fact that Herman could have used: Thomas Jefferson kept a deer park but never hunted the deer!).

More importantly, Herman's central theme - that in the nineteenth century hunters became indigenous American heroes, or as Herman says, "American Natives" - is on the mark. The best chapters in the book are about Lewis and Clark and Daniel Boone as "American Natives." The chapter on the first promoter of sport hunting in America, Henry William Herbert, is also fascinating, as is Herman's discussion of women hunters in chapter 16.

If you like history, Hunting and the American Imagination is provocative and well worth reading.

Herman has written a fascinating book that examines how Americans have thought about hunting over the centuries. He shows that colonial Americans were ambivalent about hunting; that Revolutionary patriots celebrated hunters as defenders of natural rights; and that popular writers made hunter heroes into paragons of both modernity and tradition during the nineteenth-century market revolution. Herman (like historian John Reiger) also shows that hunters loved land and animals long before the word "environmentalism" was ever heard.

As someone who has given some thought to hunting's history, I would add a few things that Herman left out: for one, Herman might have discussed the attitudes of Jefferson Davis and Abraham Lincoln toward hunting. Both men deplored it. I'm not sure that I buy Herman's argument that the nineteenth-century popularity of sport hunting and the eagerness for the Civil War were related, given the attitudes of Davis and Lincoln.

Herman also should have given more information on settlers' tendency to kill off or drive away game from Indian hunting grounds. Thomas Jefferson commented on this, as did Tocqueville, William Henry Harrison, Philip Schuyler, and numerous others. More info on this would have strengthened Herman's arguments.

Those are small flaws. My judgment is: if you are a hunter or a history buff, you should read this book. It's well-researched, nicely written, and philosophical.

My wife gave me this book because I was a deer hunter before I retired. I read the book and enjoyed it, although I had to look up a word now and then. This is a scholarly work. Some chapters are more readable than others. Herman certainly knows about the history of gun hunting, but I wish he had discussed the history of archery, which is how I hunted. Regardless, this book was a good addition to my library. The illustrations are great and the writing is accessible.

Herman is not so much interested in hunting itself as in ideas about hunting. He traces the path by which Americans--especially Theodore Roosevelt and others of the Progressive Era--came to think of themselves as a people who had been made great through hunting. Herman deftly draws on critical theory and on a vast repertoire of secondary literature yet he grounds his story (or, more properly, his series of stories) firmly in history rather than in literary criticism. The result is scholarship at its best.

In Hunting And The American Imagination, Daniel Herman (assistant professor of history, Central Washington University) reveals that American hunting traditions are not based colonial or frontier cultures. In fact, the colonists and frontiersmen defined themselves as farmers and bringers of civilization to the wilds. Hunting was an integral part of frontier life, but was primarily viewed as a matter of subsistence rather than identity. It was in a post frontier era that the mythos of hunting was seized upon in the popular imagination and such democratic legends as those of Daniel Boone, Davy Crockett, Meriwether Lewis, and Native American cultures as the basis for America's sports hunters assuming a mantle of hunting oriented stewardships over the land and the wildlife. From John Smith to Theodore Roosevelt, what emerged in the 20th Century was a rich legacy of imagery and lore that gave rise to today's widely held, middle-class ideas about American hunting rights, privileges, and mores.