In 1805, at the height of the period of early religious excitement in Kentucky, three members of the Shaker community in New Lebanon, New York, came to the Commonwealth of Kentucky to recruit converts. Soon there were little communities of Believers at Pleasant Hill in Mercer County and at South Union in Logan County. These settlements survived into the twentieth century as centers of worship and communal life; the buildings the Shakers erected here and many of their tools and artifacts remain to delight the eye today. But it is the life of the Shakers as well as the monuments they left that Julia Neal explores. Using the detailed journals and other records kept at both communities, she recounts the early struggles against poverty and persecution, the high hopes of the 1850s when the Shaker idea of communal life seemed to have borne fruit at last, and the hardship and violence of Civil War and Reconstruction days, from which the Kentucky Shakers were never to recover. This absorbing account of the Shakers at Pleasant Hill and South Union is, like so much else associated with the Shakers, simple, functional, and beautiful.

Victorian fiction has been read and analyzed from a wide range of perspectives in the past century. But how did the novelists themselves read and respond to each other's creations when they first appeared? Jerome Meckier answers that intriguing question in this ground-breaking study of what he terms the Victorian realism wars. Meckier argues that nineteenth-century British fiction should be seen as a network of intersecting reactions and counteractions in which the novelists rethought and rewrote each other's novels as a way of enhancing their own credibility. In an increasingly relative world, thanks to the triumph of a scientific secularity, the goal of the novelist was to establish his or her own credentials as a realist, hence a reliable social critic, by undercutting someone else's -- usually Charles Dickens's.Trollope, Mrs. Gaskell, and especially George Eliot attempted to make room for themselves in the 1850s and 1860s by pushing Dickens aside. Wilkie Collins tried a different form of parodic revaluation: he strove to outdo Dickens at the kind of novel Dickens thought he did best, the kind his other rivals tried to cancel, tone down, or repair, ostensibly for being too melodramatic but actually for expressing too negative a world view.For his part, Dickens -- determined to remain inimitable -- replied to all of his rivals by redoing them as spiritedly as they had reused his characters and situations to make their own statements and to discredit his.Thus Meckier redefines Victorian realism as the bravura assertion by a major novelist (or one soon to be) that he or she was a better realist than Dickens. By suggesting the ways Victorian novelist read and rewrote each other's work, this innovative study alters present day perceptions of such double-purpose novels as Felix Holt, Bleak House, Middlemarch, North and South, Hard Times, The Woman in White, and The Mystery of Edwin Drood.

Marine Corps Fighter Squadron 214 was hastily organized in the field during World War II to meet the urgent need for another combat squadron in the South Pacific. The squadron, self-named the "Black Sheep," went on under the leadership of the swashbuckling "Pappy" Boyington to become the most famous in Marine Corps history. Now comes the true story of the Black Sheep Squadron and the men who wrote its record in the Pacific skies. Once They Were Eagles tells how and why the squadron was formed, provides brief sketches of every member, and creates a vivid picture of the exciting but deadly aerial sorties over the South Pacific. Frank E. Walton located the thirty-four survivors of the fifty-one original Black Sheep. In a unique series of interviews, former "Eagles" share their recollections of those days of high adventure and their experiences in the years to follow.

In this study of Kentucky pioneer life, Charles R. Staples creates a colorful record of Lexington's first twenty-seven years. He writes of the establishment of an urban center in the midst of the frontier expansion, and in the process documents Lexington's vanishing history. Staples begins with the settlement of the town, describing its early struggles and movement toward becoming the "capitol" of Fayette County. He also presents interesting pictures of the early pioneers and their livelihood: food, dress, houses, cooking utensils, "house raisings," religious meetings, horse races, and other types of entertainment.First published in 1939, this reprint provides those interested in the early history of Kentucky with a comprehensive look at Lexington's pioneer period. Staples recreates a time when downtown's busiest streets were still wilderness and a land rich with agricultural potential was developing commercial elements. Because he wrote during a period when much of pioneer Lexington remained, he provides a wealth of primary information that could not be assembled again.

Ten years in the making, The Kentucky Breeding Bird Atlas presents the results of a seven-year survey of all birds that nest in the Bluegrass State, providing photographs of each species. This work summarizes the distribution and abundance of these bird species, and describes such recent phenomena as the invasions of the Blue Grosbeak and House Finch and the notable decline of other familiar species.Introductory material outlines the methodology used to complete the survey and summarizes its results. Of particular interest, this work helps to document the effect human alteration of the landscape has had on our bird populations. Some of the most common and widespread species in Kentucky today, for example, may have been among the most rare only two hundred years ago.Information for each species includes its current and historical status in the state, habitat preferences, specific details of the construction and placement of nests, and other pertinent aspects of nesting biology. Results of the survey are organized by physiographic region and degree of forestation. For rare or locally distributed species, more specific details concerning individual breeding records are given. Accompanying maps plot each species' distribution and abundance within the state. An additional section briefly summarizes the former status of twelve extinct or extirpated species.The Kentucky Breeding Bird Atlas is sponsored by the Kentucky State Nature Preserves Commission and the Nongame Wildlife Program of the Kentucky Department of Fish and Wildlife Resources in cooperation with the Kentucky Ornithological Society.

Chains carved from a single block of wood, cages whittled with wooden balls rattling inside -- all "made with just a pocketknife" -- are among our most enduring folk designs. Who makes them and why? what is their history? what do they mean for their makers, for their viewers, for our society? Simon J. Bronner portrays four wood carvers in southern Indiana, men who had been transplanted from the rural landscapes of their youth to industrial towns. After retiring, they took up a skill they remembered from childhood. Bronner discusses how creativity helped these men adjust to change and how viewers' responses to carving reflect their own backgrounds. By recording the narratives of these men's lives, the stories and anecdotes that laced their conversation, Bronner finds new insight into the functions and symbolism of traditional craft. Including anew illustrated afterword in which the author discusses recent developments in the carver's art, this new edition will appeal to carvers, scholars, and anyone interested in traditional woodworking.

Kentucky's rich archaeological heritage spans thousands of years, and the Commonwealth remains fertile ground for study of the people who inhabited the midcontinent before, during, and after European settlement. This long-awaited volume brings together the most recent research on Kentucky's prehistory and early history, presenting both an accurate descriptive and an authoritative interpretation of Kentucky's past.The book is arranged chronologically -- from the Ice Age to modern times, when issues of preservation and conservation have overtaken questions of identification and classification. For each time slice of Kentucky's past, the contributors describe typical communities and settlement patterns, major changes from previous cultural periods, the nature of the economy and subsistence, artifacts, the general health and characteristics of the people, and regional cultural differences.Sites discussed include the Green River shell mounds, the Central Kentucky Adena mounds and enclosures, Eastern Kentucky rockshelters, the important Wickliffe site at the confluence of the Mississippi and Ohio rivers, Fort Ancient culture villages, and the fortified towns of the Mississippian period in Western Kentucky.The authors draw from a wealth of unpublished material and offer the detailed insights and perspectives of specialists who have focused much of their professional careers on the scientific investigation of Kentucky's prehistory. The book's many graphic elements -- maps, artifact drawings, photographs, and village plans -- combined with a straightforward and readable text, provide a format that will appeal to the general reader as well as to students and specialists in other fields who wish to learn more about Kentucky's archaeology.

Because they're small, they're easy to overlook. Because their voices don't carry far, it's hard to hear them. We'd rather not look too closely or listen too carefully. And if we don't see them, maybe they'll just go away.But the invisible homeless cannot simply fly away to never-never land, or pull themselves up by their bootstraps, or make a wish upon a star. These homeless people are children, and they are not always in the inner cities, as Yvonne Vissing shows in this poignant study of families, housing, and poverty. As many as a third of our nation's homeless are found in rural and small-town America. They are all too commonly out of sight-and out of mind.Homelessness in small towns and rural areas is on the rise. Drawing on interviews with and case studies of three hundred children and their families, with supporting statistics from federal, state, and private agencies, Vissing illustrates the impact this social problem has upon education, health, and the economy. Families vividly describe the ways they have fallen through cracks in the social structure, from home ownership into homelessness. Looking toward the future, Vissing asks if homeless children are destined to become dysfunctional adults and provides a sixteen-year-old girl's moving testimony of the vagabond life her homeless family led.While the economy and the very nature of the family have changed over past decades, housing, education, and human service industries have failed to adapt. Vissing provides a planning model for improving support networks within communities and challenges Americans with a fundamental philosophical question: Do homeless children merit fullscale social intervention? Ultimately, Out of Sight, Out of Mind compels us not merely to voice concerns for family and community values, but also to assert this commitment consciously through improved essential services.

The most colorful member of Kentucky's most illustrious family, Cassius Marcellus Clay is a legendary figure in the Bluegrass. This lively biography records both the traditions surrounding Clay and the historical facts of his life, which are themselves the stuff of legend. Although Clay was a dedicated emancipationist, his real interest lay in broad issues of human freedom. The story of Clay's True American, his service in the Mexican War, his accomplishments as Lincoln's minister to Russia, and his active post-Civil War political life are all told against the background of the climactic events of a lifetime that spanned almost a century of American history.

A unique chronicle of the war from the perspective of a sensitive twenty-four-year-old sergeant who wrote for the Army's in-house paper, Yank, the Army Weekly and a tale of the South Pacific that will not soon be forgotten. Correspondent Mack Morriss reluctantly left his diary in the Honolulu Yank office in July 1943. "Here is contained an account of the past eight and one-half months," he wrote in his last entry, "a period which I shall never forget. " The next morning he was on a plane headed back to the South Pacific and the New Georgia battleground.Morriss was working out of the press camp at Spa, Belgium, in January 1945, when he learned that the diary he had kept in the South Pacific had arrived in a plain brown wrapper at the New York office. He was so happy "to know that this impossible thing had happened," he wrote to his wife, that he helped two friends "murder a quart of scotch." What was preserved and appears in print here for the first time is a unique chronicle of the war in the South Pacific from the perspective of a sensitive twenty-four-year-old sergeant.This is an intensely personal account, reporting the war from the ridge known as the Sea Horse on Guadalcanal, from the bars and dance halls of Auckland to a B-17 flying through the moonlit night to bomb Japanese installations on Bougainville. Morriss thought deeply and wrote movingly about everything connected with the war: the sordiness and heroism, the competence and ineptitude of leaders, the strange mixture of constant complaint and steady courage of ordinary GIs, friendships formed under combat stress, and, above all, what he perceived to be his own indecisiveness and weaknesses.Ronnie Day introduces Morriss's diary and illuminates the work with extensive notes based on private papers, government documents, travel in the Solomon Islands, and the recollections of men mentioned in the diary.

" Winner of the Best Aeronautical Book Award from the Reserve Officers Association of the United States "The sky was full of dying airplanes" as American Liberator bombers struggled to return to North Africa after their daring low-level raid on the oil refineries of Ploesti. They lost 446 airmen and 53 planes, but Philip Ardery's plane came home. This pilot was to take part in many more raids on Hitler's Europe, including air cover for the D-Day invasion of Normandy. This vivid firsthand account, available now for the first time in paper, records one man's experience of World War II air warfare. Throughout, Ardery testifies to the horror of world war as he describes his fear, his longing for home, and his grief for fallen comrades. Bomber Pilot is a moving contribution to American history.

Lady Mary Wroth (c. 1587-1653) wrote the first sonnet sequence in English by a woman, one of the first plays by a woman, and the first published work of fiction by an Englishwoman. Yet, despite her status as a member of the distinguished Sidney family, Wroth met with disgrace at court for her authorship of a prose romance, which was adjudged an inappropriate endeavor for a woman and was forcibly withdrawn from publication. Only recently has recognition of Wroth's historical and literary importance been signaled by the publication of the first modern edition of her romance, The Countess of Mountgomeries Urania.Naomi Miller offers an illuminating study of this significant early modern woman writer. Using multiple critical/theoretical perspectives, including French feminism, new historicism, and cultural materialism, she examines gender in Wroth's time. Moving beyond the emphasis on victimization that shaped many previous studies, she considers the range of strategies devised by women writers of the period to establish voices for themselves.Where previous critics have viewed Wroth primarily in relation to her male literary predecessors in the Sidney family, Miller explores Wroth's engagement with a variety of discourses, reading her in relation to a broad range of English and continental authors, both male and female, from Sidney, Spenser, and Shakespeare to Aemilia Lanier, Elizabeth Cary, and Marguerite de Navarre. She also contextualizes Wroth's writing in relation to a variety of nonliterary texts of the period, both political and domestic. Thanks to Miller's sensitive readings, Wroth's writings provide a lens through which to view gender relations in the early modern period.

In this engaging and personal photographic essay Dianne Hagaman presents and interprets fifty-nine photographs that will interest anyone concerned with how images convey meaning.A photojournalist bored with the constraints of photographing for a daily newspaper, Hagaman set out to do a project that would be freer and more complete. She began by photographing alcoholics on the Seattle streets, went from there to taking pictures in the missions where her subjects seek food and shelter, then moved on to the churches whose members volunteer to work in the missions. This in turn led her to consider the nature of religion in America more generally -- including the role of the media, hierarchy, sexism, and evangelism -- and to make photographs that embodied her increasingly complex view of these organizations and activities. As her understanding of her subjects grew more complicated, she found that she had to change the way she photographed and, more important, her conception of what constituted a "good photo." The story of this transition, and what she learned along the way, is told in both her text and her photos.Dianne Hagaman begins this account of her personal odyssey by describing the practices of contemporary photojournalism. Then, using photographs from her project, she reveals the process by which she painfully unlearned all the professional skills that had served her as a journalist but that prevented her full visual analysis of social reality. She also analyzes her photographs to reveal the compositional and other devices through which they communicate with viewersNo other book combines such an intimate knowledge of photography with a critical view of the organizational basis for its practice. Hagaman's detailed analysis of individual pictures and their interrelationships, combined with her step-by-step account of the creation of a complex photographic essay, is unique, as is her trenchant critique of contemporary journalism.

Janice Holt Giles had a life before her marriage and writing career in Kentucky. Born in Altus, Arkansas, Giles spent many childhood summers visiting her grandparents there. After the success of her historical novel The Kentuckians in 1953, she planned to write a second frontier romance. But a visit to Altus caused her imagination to drift from Kentucky in 1780 to western Arkansas in 1913.At age forty-eight -- the same age as Giles at the writing of the novel -- the heroine Katie Rogers recalls her first visit alone to her grandparent's home in Stanwick, Arkansas. Eight-year-old Katie spends her summer climbing the huge mulberry tree and walking with her wise grandfather, a veteran of bloody Shiloh. She is fascinated, not frightened, by the grave of an unknown child in the nearby plum thicket. Throughout the visit Katie helps Aunt Maggie plan her wedding and looks forward to the three-day Confederate Reunion. But the Reunion -- and the summer -- end violently, as guilt, repression, and miscegenation are unearthed. "That summer was the end of a whole way of life," Katie realizes, for she can never again dwell in the paradise of childhood.In Katie Rogers, Giles voiced her own lament for "the beautiful and the unrecoverable past." To her publisher Giles wrote, "Out of my forty-odd years of living, much of whatever wisdom I have acquired has been distilled into this book." This new edition of The Plum Thicket gives Giles's many fans a powerful, moving glimpse into the mind and heart of this beloved author.Janice Holt Giles (1905-1979), author of nineteen books, lived and wrote near Knifley, Kentucky, for thirty-four years. Her biography is told in Janice Holt Giles: A Writer's Life.

Of the great epic poets in the Western tradition, Luis Vaz de Camões (c. 1524- 1580) remains perhaps the least known outside his native Portugal, and his influence on literature in English has not been fully recognized. In this major work of comparative scholarship, George Monteiro thus breaks new ground, focusing on English-language writers whose vision and expression have been sharpened by their varied responses to Camões. Introduced to English readers in 1655, Camões's work from the beginning appealed strongly to writers. The young Elizabeth Barrett's Camonean poems, for example, inspired Edgar Allan Poe to appropriate elements from Camões. Herman Melville's reading of Camões bore fruit in his career-long borrowings from the Portuguese poet. Longfellow, T.W. Higginson, and Emily Dickinson read and championed Camões. AndCamões as epicist and love poet is an éminence grise in several of Elizabeth Bishop's strongest Brazilian poems. Southern African writers have interpreted and reinterpreted Adamastor, Camões's Spirit of the Cape, as both a symbol of a dangerous and mysterious Africa and an emblem of European imperialism.Recognizing the presence of Camões leads Monteiro to provocative rereadings of such texts as Dickinson's "Master" letters, Poe's "Raven," Melville's late poetry, and Bishop's Questions of Travel.

Pee Wee King's birth on February 18, 1914, into a Milwaukee working-class Polish family named Kuczynski was hardly an indicator that he would grow up to become a pioneer and superstar of country and western music. Certainly no one in the Polish-German community of his youth could have foreseen his influence on the direction of American popular music or his enduring fame on the stage of the Grand Ole Opry. Even Pee Wee King himself is incredulous at the unlikely twists and turns of his life and career. Pee Wee King is best remembered today as the co-writer of the most popular country music song of all time, The Tennessee Waltz. He is just as important, however, for his vital role in expanding the horizons, and the market potential, of country and western music. He took the polka and waltz rhythms of his youth, mixed them with the sounds of the big bands of the thirties and forties, and flavored it all with the balladry and moods of the Western cowboy. He combined this new sound with folk and country traditions rooted in places like Louisville, Knoxville, and Nashville. The result was a smooth, listenable, danceable, up-to-date sound that has become the most popular form of music in the United States.Recipient of numerous awards, including induction into both the Songwriters Hall of Fame and the Country Music Hall of Fame, Pee Wee King has been one of the most important figures in country music for over sixty years. Told in King's own voice and words, this biography, based on many hours of taped conversations, is the first account of King's incredible life and career. Featuring a star-studded cast of characters from the history of music -- Eddy Arnold, Minnie Pearl, Roy Acuff, Hank Williams, Gene Autry, Patti Page, and many others -- this memorable book is a must-read for any fan of country music.