Illinois Books

Dune provides a reasonably objective account of the October Revolution and the Civil War without embellishment or historical name-dropping (Lenin and Trotsky are hardly mentioned). The editors have done history a service by making his writing available in this format.

Dune provides a reasonably objective account of the October Revolution and the Civil War without embellishment or historical name-dropping (Lenin and Trotsky are hardly mentioned). The editors have done history a service by making his writing available in this format.

In CATCHING LIGHT, Kathryn Stripling Byer weaves yet again her own brand of poetic magic. Poems in the voice of an aging woman named Evelyn take us into the life and imagination of a woman who refuses to give up, refuses to let go of life. In lyrics with delicate yet strong movement and closure, she gathers her reader into the web that only language well used can weave. Byer continues to grow as a poet, and I look forward to future volumes. The terms Southern and Appalachian no longer apply to such work; it has moved beyond the regional and into a realm accessible to anyone who cares about poetry, regardless of its regional roots. All good poems begin in the particulars of their worlds, of course, but too often poems termed regional, especially Southern or Appalachian, are met with condescension from the more entlighted literati in NYC, Provincetown, and else where. Byer's poems rebuke such a constricted view of American poetry.

When the Southeastern Bookseller's Association selected this book for their 2002 Book of the Year in Poetry, they knew what they were doing. Kathryn Stripling Byer's fourth book of poetry takes on the subject of a woman's old age, her last days, and how she reacts to them. By turns stark, witty, lyrical, elegiac, these poems seem determined to rise to the challenge issued by Eavan Boland in several of her poems and essays that writing about an aging woman is difficult if not downright impossible in the Western poetic tradition. In the voice of a woman by the name of Evelyn, and growing out of a collaboration with photographer Louanne Watley, whose Evelyn Series illuminated the last days of an eccentric old woman, these poems take the reader into Evelyn's interior world, her fears, her sexuality, her memories. It's quite a journey and one well worth taking, not only for its insights but also for the beauty and clarity of its poetry.

This book is a much needed contribution to the historical record, to undo all the mindless junk that's been said for years about what the Hollywood Ten was all about. Dmytryk's memoir is candid, honest and gets to what the heart of the matter was all about. And because he was the only one of the Ten who recognized that, he is treated now as a pariah by those who seem to think that fealty to the American Communist Party is more noble than "naming names", even when in Dmytryk's case it forced him into prison in the name of beliefs he no longer held.

Probably the best memoir of one man's break from American communism since Whittaker Chambers's masterpiece "Witness."

In 1947 Edward Dmytryk, a rising young director of such films as "Murder, My Sweet" and "Crossfire," along with 11 other Hollywood writers and executives, was called to testify before the House Un-American Activities Committee, known to history as HUAC. HUAC's stated purpose for calling these 12 men was to expose the corrupting presence of communists in the entertainment industry and, it hoped, bar them from further employment in Hollywood. Ten, the famous Hollywood Ten, did indeed testify, were found in contempt of congress for their unwillingness to fully cooperate with the House committee and were duly punished for their intransigence. Subsequent to his appearance before congress in 1947, Dmytryk was sentenced to spend six months in a minimum security federal facility.

"Odd Man Out" is Dmytryk's story of that time. It is a unique story. Most if not all of the people who were banned by the HUAC influenced Hollywood blacklists were indeed communists, or had joined the party at some point in the past. As Dmytryk writes, naming names was the ultimate sin. And, although "HUAC was out to expose a movement rather than nail a tiny group of individuals, and in that, however illegal, unethical, and un-American it was, they obviously succeeded," the blacklisted individuals were supposed to maintain a united front. After prison and a couple of years in the wilderness, though, Dmytryk had a change of heart. Never a True Believer, it seems, it became obvious to him "the Ten had been sacrificed to the Party's purpose as a pipeline for the Comintern's propaganda... and ... if I were going to be a martyr, I wanted the privilege of choosing my martyrdom, and making my family suffer to protect the American representatives of a foreign agency would certainly not be it." And so, as a condition for reinstatement, in 1951 Dmytryk testified again for HUAC, this time as a friendly witness.

Time has exposed the communist witchhunt as a dark blemish on America's record, and those who were blacklisted have become noble martyrs. Dmytryk started out a hero but became the turncoat villain in this story. His second testimony in 1951, even though he named no new names, was never completely forgiven. Towards the end of the book Dmytryk recounts an encounter with another blacklisted director, Jules Dassin, who refused to share a stage with him and yet felt free to excoriate him during a round-table discussion of the blacklist era. Dassin's reaction wasn't untypical, and even today the blacklisted individuals are revered without quarter. Save for the turncoat Dmytryk, who, unfortunately, was forced to deal with the devil and testify against his former friends and denounce his past involvement in the communist party in America. "Odd Man Out" convinced me that he did the right thing, and reminded me that history is rarely a clear-cut matter of Right and Wrong. If you're interested in a different perspective on this difficult time I strongly recommend this book.

An outstanding book that communicates the joy of childhood. Well written, and outstanding art work. The story of pretend play and childhood adventures while growing up in a poor setting inspires children today. Adults will note that the gentle story honors a wonderful mother who had to overcome her own difficulties. This book makes me long for my own childhood. Great job, Mr. Stark!

What a wonderful book by Ken Stark!!! This is a great story about two brothers growing up in small town Illinois in the 1950's. It is about a simpler life than we all lead now and that is so refreshing! The illustrations are a wonder! Just gorgeous! The themes of friendship and brotherly love are so comforting! Get this book!!

Gilpin et al. aptly depict and identify what has made Yale's workers and the movement they have created so vibrant and strong. This book is all the more pertinent given last month's strike of all four unions.

I had to read this book for a US Labor History course at the University of Colorado. It was absolutely incredible. The authors trace the events leading up to the strike but, more importantly, they describe how the community of New Haven came together in order to defeat "Corporate Yale." I highly recommend this book to anyone who is interested in labor history and the struggles faced by American workers.

Many books on "the separation of church and state" tend to revolve around the issue of was America founded as a "Christian nation," a question that is loaded with a lot of political and religious baggage. McGarvie weaves through that debate and poses a simple question--how did the transformation of American law affect the separation of church authority and state/government authority in the early republic?

The question may seem a bit abstruse, but McGarvy's answers are enlightening. One Nation Under Law looks at the disestablishment struggle not as a pro- or anti-religion issue (although there is some of that from the times), but as an issue of how legal structure affected politics. The distinction is important, as it frees the debate from the perils of the "Christian nation" question. McCarvy finds that many people supported the privatization (through incorporation) of religious institutions as the US transformed from a colonial communalism to a republican ideology based on Enlightment principles of individualism. Only after this took effect did the "separation of church and state" as we know it begin to form as a response to legal changes during the country's founding generation.

Well researched, with copious mention of other legal and history scholars, and packed into a manageable 191 pages. Will not lose the attention of the lay reader, useful to scholars of history, law and religion

McGarvie explores an important topic, and addresses issues which we are currently discussing during this election year. He presents a readable text, a well researched analysis, and a thought provoking study.

This is an incredible memoir. The events the author went through when he was basically still a kid had to have been terrifying. Yet he tells his story in a very straightforward, understated way that only someone of his generation could do. He doesn't really go into the emotional toll his years of hiding, running and fear had to have taken on him. He just tells his story - and it's riveting. I'm glad he had the courage to write this down. What a wonderful way to honor his mother and 3 beautiful sisters.

I came across this escape memoir in researching my own family's escape from Antwerp during the invasion of May 1940. This is a well written, meticulous and gripping account of a 5 year odyssey through France and Italy during the war, including an account of pre-war life in Germany and Belgium. In addition to the usual depressing experiences, the writer recounts the numerous, often poor, rural (Christian) families he encountered who were incredibly helpful and generous, as well as Italian priests who aided the refugees and funneled desparately needed funds during the prolonged hiding. The author adds to his vivid, detailed first hand accounts some admirable fact and date checking, as well as references, often missing from such memoirs. A wonderful and well done book, deserving of more comment and sales than it has apparently achieved.

Mark Richardson has a profound command of the work of Robert Frost. This book was an absolute delight to read. I would recommend it not only to those readers interested in Robert Frost, but in the study of poetry in general.

Exceptionally good book, and a must-read for anyone interested in Frost, or occupied with the study of his work. Thoughtful and rewarding. Highly recommended.

If one were asked to name the definite book on the use of English as an international language this would probably be the item to go for. There are other more controversial (and thus often more popular) books written on the subject - such as Crystal's "English as a Global Language" and Phillipson's "Linguistic Imperialism". However, if one is looking for a book that avoids the polemical pitfall of oversimplification, Kachru's work (although 10 years old by now) remains the best buy.

The 1992 edition (the first one came out in 1982) contains contributions by (nearly) all the big names in the field such as Joshua Fishman (sociology), Peter Strevens, Larry E. Smith (intelligibility), Peter Lowenberg (testing), Ayo Bamgbose (Nigerian English), Edwin Thumboo (literature) and Cecil Nelson (communicative competence) to name only a few. Of course there are contributions by Kachru as well, most notably perhaps his article on teaching world Englishes which teachers might find highly useful.

The multitude of perspectives is the book's biggest advantage; it leaves it to the reader to form his/her own opinion instead of trying to sway him towards a preconceived thesis (as in Crystal's and Phillipson's work). All in all, this book can be recommended to beginners and professionals, students and teachers, in short to everyone who has an interest in World Englishes.

If you're interested in getting some insight into English on the world stage, this book is an excellent place to start. Kachru has collected some of the best articles on the changes that have taken place in the English language. As English is adopted by more and more people in countries where it isn't a native language, it is changed and molded. An interesting point which is brought up is that when native speakers use deviant language, it is termed as dialect, creativity, or a slip, but when non-natives use the language, it is called an error. In this book, it is argued that English belongs to all those that use it. In other words, to use a language means to have mastery over it, so it can be used as the owner pleases. To provide further support for non-native varieties, many authors say that non-native Englishes are not necessarily for use with natives, but with other non-natives.

A lot of the points brought up in this book are very interesting. I recommend it for all who are studying Sociolinguistics and for those who are interested in English's role in the world and its possible future.

McMillin:Emerson::hula-hoops:Elvis Presley.

Let me explain. Couched in the idea of "inspiration" may be the notion of the opening of doors (or the cleansing of them, as Huxley would have it). To be inspired may involve, rathen than an infusion of the divine, a new openness to the forces whech press upon us. Inspiration in this sense would be the bestowal of new an unimagined (and imaginable) freedom. It was the hula-hoop that "inspired" the success of Elvis Presley. Without the hula-hoop a particular generation would have never been open to shaking their rumps. It is my hope that this book will inspire as much in the "circles" of its influence.

McMillin's singular vision and wit qualitfy this book to escape from the domain of the merely "scholarly" and "academic". Sadly, others may not have the vision to assure this book becomes the classic it deserves to be -- but I have no doubt that it's influence will be woven inexricably into the web of American thought and literature.

McMillin:Emerson::hula-hoops:Elvis Presley.

Let me explain. Couched in the idea of "inspiration" may be the notion of the opening of doors (or the cleansing of them, as Huxley would have it). To be inspired may involve, rathen than an infusion of the divine, a new openness to the forces whech press upon us. Inspiration in this sense would be the bestowal of new an unimagined (and imaginable) freedom. It was the hula-hoop that "inspired" the success of Elvis Presley. Without the hula-hoop a particular generation would have never been open to shaking their rumps. It is my hope that this book will inspire as much in the "circles" of its influence.

McMillin's singular vision and wit qualitfy this book to escape from the domain of the merely "scholarly" and "academic". Sadly, others may not have the vision to assure this book becomes the classic it deserves to be -- but I have no doubt that it's influence will be woven inexricably into the web of American thought and literature.