Of special value for Civil War scholars and buffs are Barber’s vivid descriptions of battles, notably the of siege Fort Donelson and the Confederate victory at Chickasaw Bayou, in which he highlights the Third Tennessee’s crucial role in defeating William T. Sherman. Robert H. Ferrell introduces Barber and details the formation of the regiment. A full regimental roster, a rarity among Confederate units, also is included.
Holding the Political Center in Illinois charts the political trajectory of Illinois from the introduction of the Kansas-Nebraska Act in 1854 through the firing on Fort Sumter in 1861. Throughout, Ian T. Iverson focuses on political moderation in this era of partisan extremes, one in which the very label of “conservative” was contested. Most often framed through the biography of Abraham Lincoln, the turbulence of antebellum-era and political realignment in Illinois has been widely misunderstood, yet the Prairie State’s geographic, economic, and demographic diversity makes it an especially fascinating microcosm through which to examine the politics of self-identified conservatives leading up to the Civil War.
The history of public transportation in Greater Cleveland spans two centuries. As the city developed from a trading post on Lake Erie to an industrial giant and ever-growing urban center, transportation policies and practices both promoted and reflected the dynamics of change. From the opening of the Ohio and Erie Canal to the opening of the new waterfront rapid transit, Toman and Hays trace the ever-changing contours of a metropolitan area and the modes of transportation available to its public. The scope of the book is comprehensive—canal, river, lake, and air transport—but the focus is on Cleveland’s streetcars, interurbans, trackless trolleys, buses, and rapid transit trains. It also explores the effect of the coming of the automobile and its inevitable impact on the city.
To his neighbors on Imperial Avenue in Cleveland, Ohio, Anthony Sowell was a quiet and helpful former Marine who played chess and hosted summer barbeques in his front yard. But there was a dark side to Sowell—and a horrific secret inside his house. In mid-2007, Crystal Dozier, 38, made plans to visit Sowell. She was never seen again. Over the next two years, ten more Cleveland women disappeared. Their families filed missing persons reports. Police say their search efforts were hampered by the women’s transient lifestyles. But the families say police considered their loved ones “disposable” and didn’t take their disappearances seriously.
For twenty-five years, the Rock and Roll Hall of Fame has defined Cleveland’s image as the “Rock and Roll Capital of the World.” But while the Rock Hall has become an iconic landmark for the city of Cleveland and for fans of rock and roll around the world, it was just one missed phone call away from never being built in Cleveland. If the prominent singer and actress Leslie Gore hadn’t contacted radio personality Norm N. Nite in August 1983, the Hall of Fame would not be in Cleveland—period.
“In Leah Osowski’s exquisite debut, hover over her, the poet immerses us in geographies of unrealized adolescence, where young women are singular amidst their cacophonous backdrops, whether beside a lake, inside a Dali painting, or stretched out in a flower garden. These spaces are turned inside out for us through Osowski’s linguistic curiosity and unforgettable imagistic palate. Negative possibilities hang around every corner as well, showing us the ways in which we are also complicit in the constructions and obstructions of gender. As the speaker in ‘she as pronoun’ says, ‘she’s I and she’s you every / time you hid beneath your own arms.’ But through the evolution and renaissance of Osowski’s speaker, we find affirmation in these shared connections, transparency in the landscapes of growth and escape, and the freedom that comes from the task of unflinchingly examining our whereabouts inside of them.”
—Adrian Matejka, author of The Big Smoke
In keeping with the central theme that the stories we tell ourselves—and, by extension, our understanding of who we are—are shaped by the spaces in which we tell them, the poems in How Blood Works vary drastically in form. From traditionally lineated lyrics to more architectural, segmented prose pieces, the poems themselves become a space for narratives of the self to play out.
“Jason Gray’s How to Paint the Savior Dead rethinks the complex traditional connections among women’s bodies, spirituality, and art. Gray is not afraid of hard work, hard thought, and big vision just because the subject of his fascination has been both exalted and besmirched by tradition, both enriched and impoverished by the hands of our predecessors. Gray throws himself into the mix of muses, amore, and immortality with more—much more—than common wit, passion, and intelligence. As he separates out mortal beauty from immortal, he ignores, as one of his poems says, ‘what is heavenly for what is Heaven.’” — Andrew Hudgins
Grace Goulder Izant spent the last six decades of her long and productive life in Hudson, Ohio, and this, her final book, was the one that lay closest to her heart. Bringing to it her knowledge as a historian of Ohio, she lifts the story beyond the limitations of local history and makes it illuminate an entire region and time. Illustrated with numerous historical photographs and drawings from her private collection, this edition preserves the enduring quality and historical heritage of this quaint village.
Doctors today are struggling: debt, divorce, substance abuse, burnout, suicide. They succeed or fail on professional treadmills; patient encounters measured out with coffee spoons. The doctor-patient relationship is crumbling. Bureaucratic and corporate masters make their never-ending arguments of insidious intent. The overwhelming questions: Now where to turn? How do physicians—and their patients—avoid being crushed by the demands of science, of perfection, of expectations? How do we recover the awe we once felt in this world in which we expend our life force every day? How can we find joy once more?
