Ishiro Honda was arguably the most internationally successful Japanese director of his generation, with an unmatched succession of science fiction films that were commercial hits worldwide. From the atomic allegory of Godzilla and the beguiling charms of Mothra to the tragic mystery of Matango and the disaster and spectacle of Rodan, The Mysterians, King Kong vs. Godzilla, and many others, Honda’s films reflected postwar Japan’s real-life anxieties and incorporated fantastical special effects, a formula that appealed to audiences around the globe and created a popular culture phenomenon that spans generations. Now, in the first full account of this long overlooked director’s life and career, authors Steve Ryfle and Ed Godziszewski shed new light on Honda’s work and the experiences that shaped it—including his days as a reluctant Japanese soldier, witnessing the aftermath of Hiroshima, and his lifelong friendship with Akira Kurosawa. Ishiro Honda: A Life in Film, from Godzilla to Kurosawa features close analysis of Honda’s films (including, for the first time, his rarely seen dramas, comedies, and war films) and draws on previously untapped documents and interviews to explore how creative, economic, and industrial factors impacted his career. The authors cover Honda’s non-science fiction films for the first time in any language. Fans of Honda, Godzilla, and tokusatsu (special effects) film, and of Japanese film in general, will welcome this in-depth study of a highly influential director who occupies a uniquely important position in science fiction and fantasy cinema, as well as in world cinema.Together, the authors have provided audio commentary tracks and produced supplemental material for numerous home video releases, including Ishiro Honda’s Godzilla for the British Film Institute. They co-produced the documentary feature Bringing Godzilla Down to Size (2008).

Nearly four decades after his death, Charles Mingus Jr. remains one of the least understood and most recognized jazz composers and musicians of our time. Mingus’s ideas about music, racial identity, and masculinity—as well as those of other individuals in his circle, like Celia Mingus, Hazel Scott, and Joni Mitchell—challenged jazz itself as a model of freedom, inclusion, creativity, and emotional expressivity. Drawing on archival records, published memoirs, and previously conducted interviews, The Kind of Man I Am uses Mingus as a lens through which to craft a gendered cultural history of postwar jazz culture. This book challenges the persisting narrative of Mingus as jazz’s “Angry Man” by examining the ways the language of emotion has been used in jazz as shorthand for competing ideas about masculinity, authenticity, performance, and authority.

In To See the Earth Before the End of the World, Ed Roberson presents us with 120 new poems, each speaking in his unique voice and seen through his unique eye. Earth and sky, neighborhood life and ancient myths, the art of seeing and the architecture of the imagination are all among the subjects of these poems. Recurring images and ideas construct a complex picture of our world, ourselves, and the manifold connections tying them together. The poems raise large questions about the natural world and our place in it, and they do not flinch from facing up to those questions. Roberson’s poems range widely through different scales of time and space, invoking along the way history and myth, galaxies and garbage trucks, teapots and the history of photography, mating cranes and Chicago's political machine. This collection is composed of five sequences, each developing a particular constellation of images and ideas related to the vision of the whole. Various journeys become one journey—an epic journey, invoking epic themes. There are songs of creation, pictures of the sorrows of war, celebrations of human labor and human society, a respect for tools and domestic utensils that are well made, the deep background of the past tingeing the colors of the present, and the tragic tones of endings and laments, a pervading awareness of the tears in things. Most of all, there is the exhilaration of a grand, sweeping vision that enlarges our world.

On September 6, 1781, Connecticut native Benedict Arnold and a force of 1,600 British soldiers and loyalists took Fort Griswold and burnt New London to the ground. The brutality of the invasion galvanized the new nation, and “Remember New London!” would become a rallying cry for troops under General Lafayette. In Homegrown Terror, Eric D. Lehman chronicles the events leading up to the attack and highlights this key transformation in Arnold—the point where he went from betraying his comrades to massacring his neighbors and destroying their homes. This defining incident forever marked him as a symbol of evil, turning an antiheroic story about weakness of character and missed opportunity into one about the nature of treachery itself. Homegrown Terror draws upon a variety of perspectives, from the traitor himself to his former comrades like Jonathan Trumbull and Silas Deane, to the murdered Colonel Ledyard. Rethinking Benedict Arnold through the lens of this terrible episode, Lehman sheds light on the ethics of the dawning nation, and the way colonial America responded to betrayal and terror.

First published in 1923, just before César Vallejo left Peru for France, Scales combines prose poems with short stories in a collection that exhibits all the exuberance of the author’s early experimentalism. A follow-up to Vallejo’s better-known work, Trilce, this radical collection shattered many aesthetic notions prevailing in Latin America and Europe. Intermingling romantic, symbolist, and avant-garde traditions, Scales is a poetic upending of prose narrative that blends Vallejo’s intercontinental literary awareness with his commitment to political transformation. Written in part from Trujillo Central Jail, where Vallejo would endure some of the most terrifying moments of his life, Scales is also a testament of anguish and desperation, a series of meditations on justice and freedom, an exploration of the fantastic, and a confrontation with the threat of madness. Edited and translated from the Castilian by the scholar Joseph Mulligan, this first complete English translation, published here in bilingual format and accompanied by extensive archival documentation related to Vallejo’s incarceration, this volume gives unprecedented access to one of the most inventive practitioners of Latin American literature in the twentieth century.

Described as an artist of “prodigious imagination and intelligence” by the New York Times, Jill Sigman makes art at the intersection of dance, visual art, and social practice. An artist’s book that explores the ability of art to engage and alter our reality, Ten Huts documents a series of site-specific huts hand built from found and repurposed materials, ranging from the mundane (e-waste and plastic bottles) to the bizarre (circus detritus, moose bones, dental molds, and mugwort), in landscapes as varied as industrial Brooklyn and the Norwegian Arctic. Each of the extraordinary huts in this book is a structure, a sculpture, and an emergency preparedness kit which raises questions about sustainability, shelter, real estate, and our future on this planet. An essay by the artist and and five short scholarly pieces provide multiple entrance points to the work and link issues surrounding choreography, waste, environment, and society. Includes essays by André Lepecki (performance studies), Matthew McLendon (art history), Elise Springer (philosophy), Eva Yaa Asantewaa (dance), and Thomas Hylland Eriksen (anthropology). Includes 473 color photographs.

The Connecticut Valley Railroad once carried both passengers and freight along the west bank of the Connecticut River between Hartford and Old Saybrook. Completed in 1871, today the railroad is known throughout New England for the nostalgic steam-powered excursion trains that run on a portion of the line between Essex and Chester. Until now the history of this popular tourist attraction has been the stuff of local lore and legend. This book, written by railroad historian and former vice president and director of Valley Railroad, Max R. Miller, provides the first comprehensive history of the Connecticut Valley Railroad through maps, ephemera, and archival photographs of the trains, bridges, and scenery surrounding the line. Offering tales of train wrecks, ghost sightings, booms and busts, Along the Valley Line will be treasured by railroad enthusiasts and historians alike.

In this gorgeous book, the acclaimed photographer Rose Eichenbaum captures the spirit, beauty, and commitment of dancers along with the dancers’ own words of wisdom and guidance. More than 250 color and black and white photographs are paired with inspirational quotes from legendary and emerging dancers, including Bill T. Jones, Katherine Dunham, Ann Reinking, Mark Morris, Pina Bausch, Jawole Willa Jo Zollar, Gregory Hines, Mitzi Gaynor, Desmond Richardson, Rennie Harris, Paul Taylor, Ohad Naharin, Tiler Peck, and many more. Here, words and images explore creativity, art making, the communicative power of the human body, the challenges of balancing everyday life with the physical and practical demands of the dancer’s art, and more. In these intimate portraits, Eichenbaum reveals and celebrates the world of the dancer. Sensual and mesmerizing, these images will entrance dancer and non-dancer alike—as well as anyone who loves fine photography—with their powerful depiction of the human body.

At the Weldon Institute in Philadelphia, a mob of zealous balloon enthusiasts plans to conquer the sky in a state-of-the-art dirigible. When a stranger, the mysterious Robur, declares that the future belongs not to balloons but to heavier-than-air flying machines, the Institute scornfully dismisses the idea. But Robur demands vengeance—and has a unique flying machine that will allow him to take it. By turns an impassioned argument for aviation, a wild proto-steampunk adventure, and a jubilant celebration of the dream of flight, Robur the Conqueror ranks among Jules Verne’s most iconic and influential works. Its technological speculations, including the unforgettable aircraft Albatross, are a vibrant snapshot of nineteenth-century scientific innovation. This, the first complete English translation of Verne’s 1886 novel, includes an insightful introduction, explanatory chapter notes, never-before-published glimpses of Verne’s original manuscript, all the first-edition illustrations by Léon Benett, and an up-to-date Verne biography and primary and secondary bibliography. It is an essential new edition of a seminal science fiction classic.

Lace up your boots and experience some of the best hiking in New England. Whether you are a day-tripper or long-distance hiker, old hand or novice, you'll find trails suited to every ability and interest. The Connecticut Forest and Park Association (CFPA) maintains over 825 miles of Blue-Blazed Trails in Connecticut, trails that wind through state parks and forests, land trusts, and across private land. The Connecticut Walk Book is a comprehensive guide to these trails, including detailed, full-color maps, mileage/destination tables, and a lay-flat design for ease of use. In this twentieth edition of the Connecticut Walk Book you will find descriptions of the hikes with maps that are clear and easy to read and follow, parking information, and trip-planning essentials that will bring you to every trail.

David Hays, elected to the Theater Hall of Fame in 2014, created an exciting and successful career designing scenery and lighting for plays and musicals on Broadway, in London, and in Japan. Told with passion and wit, this book takes readers behind the scenes of the theater world to show how a stage designer collaborates with directors and producers to create great works of theater and dance. A designer who collaborated with the great directors of his time—Arthur Penn, Garson Kanin, Tyrone Guthrie, Elia Kazan, Jose Quintero, and Joe Layton—shares anecdotes that integrate technical insight with life lessons. He designed sets for the Metropolitan Opera, for Lincoln Center, for Martha Graham, and thirty ballets for George Balanchine. This colorful account of theater life is for scholars, practitioners, and theatregoers interested in how it all works.

In the middle of the seventeenth century, judges in the short-lived New Haven Colony presided over a remarkable series of trials ranging from murder and bestiality, to drunken sailors, frisky couples, faulty shoes, and shipwrecks. The cases were reported in an unusually vivid manner, allowing readers to witness the twists and turns of fortune as the participants battled with life and liberty at stake. When the records were eventually published in the 1850s, they were both difficult to read and heavily edited to delete sexual matters. Rendered here in modernized English and with insightful commentary by eminent Judge Jon C. Blue, the New Haven trials allow readers to immerse themselves in the exciting legal battles of America’s earliest days.The Case of the Piglet’s Paternity assembles thirty-three of the most significant and intriguing trials of the period. As a book that examines a distinctive judicial system from a modern legal perspective, it is sure to be of interest to readers in law and legal history. For less litigious readers, Blue offers a worm’s eye view of the full spectrum of early colonial society—political leaders and religious dissidents, farmhands and apprentices, women and children.

The first-ever book exclusively devoted to the history of the Newport Folk Festival, I Got a Song documents the trajectory of an American musical institution that began more than a half-century ago and continues to influence our understanding of folk music today. Rick Massimo’s research is complemented by extensive interviews with the people who were there and who made it all happen: the festival's producers, some of its biggest stars, and people who huddled in the fields to witness moments—like Bob Dylan’s famous electric performance in 1965—that live on in musical history. As folk has evolved over the decades, absorbing influences from rock, traditional music and the singer-songwriters of the ‘60s and ‘70s, the Newport Folk Festival has once again become a gathering point for young performers and fans. I Got a Song tells the stories, small and large, of several generations of American folk music enthusiasts.

Gina Athena Ulysse’s Because When God Is Too Busy: Haïti, me, & THE WORLD is a lyrically vivid meditative journey that is unapologetic in its determination to name, embrace and reclaim a revolutionary Blackness that has been historically stigmatized and denied. Crafting experiments with “ethnographic collectibles” of word, performative sounds, and imagery to blur genres and the lines between the geopolitical and the personal, this collection is a testament to postcolonial inheritances. Ulysse’s work remixes samples from a range of references as it beckons readers to bear witness to a coming of age as she shifts between time and place and plays with languages to stretch the margins of aesthetics in the academic. These poems, performance texts, and photographs gather fractured memories—longings laced with Vodou chants confronting a past that looms too largely in the present. Because When God Is Too Busy searches for humility while honoring sacred and ancestral imperatives to recognize and salute power beyond Western attachments to reason.

This exploration of rock ’n’ roll music and culture in Birmingham, Alabama, is based on the oral histories of musicians, their fans and professionals in the popular music industry. Collected over a twenty-year period, their stories describe the coming of rock ’n’ roll in the 1950s, the rise of the garage bands in the 1960s, of southern rock in the 1970s, and of alternative music in the 1980s and 1990s. Told in the words of the musicians themselves, Magic City Nights provides an insider’s view of the dramatic changes in the business and status of popular music from the era of the vacuum tube to twenty-first-century digital technology. These collective memories offer a unique perspective on the impact of a subversive and racially integrated music culture in one of the most conservative and racially divided cities in the country.

The study of listening—aurality—and its relation to writing is the subject of this eclectic edited volume. Theorizing Sound Writing explores the relationship between sound, theory, language, and inscription. This volume contains an impressive lineup of scholars from anthropology, ethnomusicology, musicology, performance, and sound studies. The contributors write about sound in their ongoing work, while also making an intervention into the ethics of academic knowledge, one in which listening is the first step not only in translating sound into words but also compassionate scholarship.