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Two small books of vivid drawings--one filled with images by the Southern Cheyenne warrior-artist Howling Wolf and the other with images by Zotom, a Kiowa man--came to the Southwest Museum of the American Indian, now part of the Autry National Center, in December 1986. The books were gifts from Leonora Curtin Paloheimo, and had been commissioned directly from the artists in 1877 by Paloheimo's grandmother, Eva Scott Muse Fényes (1849-1930). At the time Fényes commissioned the books, Zotom and Howling Wolf were imprisoned at Fort Marion in Saint Augustine, Florida. Like some of the other Southern Plains Indian prisoners held there between mid-1875 and mid-1878, the two men created many drawings for diverse reasons. Some of the prisoners' books of drawings, including the two that Fényes collected, were sold to people who visited the sixteenth-century Spanish fort.After Eva Scott Fényes's death, the books went to her daughter, Leonora Muse Curtin (1879-1972), and subsequently they were passed to Leonora Curtin Paloheimo (1903-1999). More than one hundred years after their creation, the books became part of the Southwest Museum's collections. Unlike most of the museum's other holdings of Native American art, these two books originated with a commission by Fényes, a young woman who continued as a patron of the arts for the remainder of her life.The study of what has become known as Plains Indian ledger art--because the artists frequently used accountants' ledger books as sources of paper--and of Fort Marion drawings in particular, has burgeoned in the last forty years. Joyce Szabo's examination of the two drawing books by Zotom and Howling Wolf encompasses their origins and the issues surrounding their commission as well as what the images say about their creators and their collector. Szabo augments the complete reproduction of each page with detail photographs of the drawings.

In Imprisoned in a Luminous Glare, Leigh Raiford argues that over the past one hundred years activists in the black freedom struggle have used photographic imagery both to gain political recognition and to develop a different visual vocabulary about black lives. Raiford analyzes why activists chose photography over other media, explores the doubts some individuals had about the strategies, and shows how photography became an increasingly effective, if complex, tool in representing black political interests. Offering readings of the use of photography in the antilynching movement, the civil rights movement, and the black power movement, Raiford focuses on key transformations in technology, society, and politics to understand the evolution of photography's deployment in capturing white oppression, black resistance, and African American life. By putting photography at the center of the long African American freedom struggle, Raiford also explores how the recirculation of these indelible images in political campaigns and art exhibits both adds to and complicates our memory of the events.

In Imprisoned in a Luminous Glare, Leigh Raiford argues that over the past one hundred years activists in the black freedom struggle have used photographic imagery both to gain political recognition and to develop a different visual vocabulary about black lives. Raiford analyzes why activists chose photography over other media, explores the doubts some individuals had about the strategies, and shows how photography became an increasingly effective, if complex, tool in representing black political interests. Offering readings of the use of photography in the antilynching movement, the civil rights movement, and the black power movement, Raiford focuses on key transformations in technology, society, and politics to understand the evolution of photography's deployment in capturing white oppression, black resistance, and African American life. By putting photography at the center of the long African American freedom struggle, Raiford also explores how the recirculation of these indelible images in political campaigns and art exhibits both adds to and complicates our memory of the events.

In Imprisoned in a Luminous Glare, Leigh Raiford argues that over the past one hundred years activists in the black freedom struggle have used photographic imagery both to gain political recognition and to develop a different visual vocabulary about black lives. Raiford analyzes why activists chose photography over other media, explores the doubts some individuals had about the strategies, and shows how photography became an increasingly effective, if complex, tool in representing black political interests. Offering readings of the use of photography in the antilynching movement, the civil rights movement, and the black power movement, Raiford focuses on key transformations in technology, society, and politics to understand the evolution of photography's deployment in capturing white oppression, black resistance, and African American life. By putting photography at the center of the long African American freedom struggle, Raiford also explores how the recirculation of these indelible images in political campaigns and art exhibits both adds to and complicates our memory of the events.

This book is a festschrift for Sydney Klein, an eminent British Psychoanalyst whose work on such topics as children, groups, psychosomatic illness, delinquent perversions, manic states, and autistic phenomena is known worldwide. His thinking reflects the work of Melanie Klein and Wilfred Bion, as well as that of other eminent writers, such as Frances Tustin. In this volume, clinicians from a wide range of backgrounds reflect on the debt they owe to his work, and in particular on the idea of analysis as a means for understanding and transforming psychic pain. The papers cover a wide range of topics, from theoretical papers to detailed clinical discussions. Edna O'Shaughnessy discusses the anal organization of the instincts, Michael Feldman writes on projective identification, Leslie Sohn on the envious superego, Anne Alvarez on work with borderline children, and Mauro Maura on autism. In these and the other contributions, readers will find a depth of experience and clarity of thought reflecting amply Sydney Klein's contribution to psychoanalysis. This book is invaluable for anyone concerned with the state of psychoanalysis today.

In 1837, Samuel Gridley Howe, the ambitious director of Boston's Perkins Institution for the Blind, heard about Laura Bridgman, a bright deaf-blind seven-year-old, the daughter of New Hampshire farmers. He resolved to dazzle the world by rescuing her from the "darkness and silence of the tomb." And indeed, thanks to Howe and an extraordinary group of female teachers, Laura learned to finger-spell, to read raised letters, and to write legibly and even eloquently.Philosophers, poets, educators, theologians, and early psychologists hailed Laura as a moral inspiration and a living laboratory for the most controversial ideas of the day. She quickly became a major tourist attraction, and many influential writers and reformers—Carlyle, Dickens, and Hawthorne among them—visited her or wrote about her. But as the Civil War loomed and her girlish appeal faded, the public began to lose interest. By the time Laura died in 1889, she had been wholly eclipsed by Helen Keller.The Imprisoned Guest recovers Laura Bridgman's forgotten life, placing it in the context of nineteenth-century American social, intellectual, and cultural history. Her troubling, tumultuous relationship with Howe, who rode her achievements to his own fame but could not cope with the intense, demanding adult she became, sheds light on the contradictory attitudes of a reform era in which we can find some precursors to our own.

Two small books of vivid drawings--one filled with images by the Southern Cheyenne warrior-artist Howling Wolf and the other with images by Zotom, a Kiowa man--came to the Southwest Museum of the American Indian, now part of the Autry National Center, in December 1986. The books were gifts from Leonora Curtin Paloheimo, and had been commissioned directly from the artists in 1877 by Paloheimo's grandmother, Eva Scott Muse Fényes (1849-1930). At the time Fényes commissioned the books, Zotom and Howling Wolf were imprisoned at Fort Marion in Saint Augustine, Florida. Like some of the other Southern Plains Indian prisoners held there between mid-1875 and mid-1878, the two men created many drawings for diverse reasons. Some of the prisoners' books of drawings, including the two that Fényes collected, were sold to people who visited the sixteenth-century Spanish fort.After Eva Scott Fényes's death, the books went to her daughter, Leonora Muse Curtin (1879-1972), and subsequently they were passed to Leonora Curtin Paloheimo (1903-1999). More than one hundred years after their creation, the books became part of the Southwest Museum's collections. Unlike most of the museum's other holdings of Native American art, these two books originated with a commission by Fényes, a young woman who continued as a patron of the arts for the remainder of her life.The study of what has become known as Plains Indian ledger art--because the artists frequently used accountants' ledger books as sources of paper--and of Fort Marion drawings in particular, has burgeoned in the last forty years. Joyce Szabo's examination of the two drawing books by Zotom and Howling Wolf encompasses their origins and the issues surrounding their commission as well as what the images say about their creators and their collector. Szabo augments the complete reproduction of each page with detail photographs of the drawings.

These essays, by writer-activists incarcerated because of their political beliefs and acts, offer some controversial and thought-provoking theories of contemporary social change and liberation movements.

In Imprisoned in English, Anna Wierzbicka argues that in the present English-dominated world, millions of people - including academics, lawyers, diplomats, and writers - can become "prisoners of English", unable to think outside English. In particular, social sciences and the humanities are now increasingly locked in a conceptual framework grounded in English. To most scholars in these fields, treating English as a default language seems a natural thing to do.The book's approach is interdisciplinary, and its themes range over areas of central interest to anthropology, psychology, and sociology, among others. The linguistic material is drawn from languages of America, Australia, the Pacific, South-East Asia and Europe. Wierzbicka argues that it is time for human sciences to take advantage of English as a global lingua franca while at the same time transcending the limitations of the historically-shaped conceptual vocabulary of English. And she shows how this can be done.

These essays, by writer-activists incarcerated because of their political beliefs and acts, offer some controversial and thought-provoking theories of contemporary social change and liberation movements.

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Western philosophy’s relationship with prisons stretches from Plato’s own incarceration to the modern era of mass incarceration. Philosophy Imprisoned: The Love of Wisdom in the Age of Mass Incarceration draws together a broad range of philosophical thinkers, from both inside and outside prison walls, in the United States and beyond, who draw on a variety of critical perspectives (including phenomenology, deconstruction, and feminist theory) and historical and contemporary figures in philosophy (including Kant, Hegel, Foucault, and Angela Davis) to think about prisons in this new historical era. All of these contributors have experiences within prison walls: some are or have been incarcerated, some have taught or are teaching in prisons, and all have been students of both philosophy and the carceral system. The powerful testimonials and theoretical arguments are appropriate reading not only for philosophers and prison theorists generally, but also for prison reformers and abolitionists.

Western philosophy’s relationship with prisons stretches from Plato’s own incarceration to the modern era of mass incarceration. Philosophy Imprisoned: The Love of Wisdom in the Age of Mass Incarceration draws together a broad range of philosophical thinkers, from both inside and outside prison walls, in the United States and beyond, who draw on a variety of critical perspectives (including phenomenology, deconstruction, and feminist theory) and historical and contemporary figures in philosophy (including Kant, Hegel, Foucault, and Angela Davis) to think about prisons in this new historical era. All of these contributors have experiences within prison walls: some are or have been incarcerated, some have taught or are teaching in prisons, and all have been students of both philosophy and the carceral system. The powerful testimonials and theoretical arguments are appropriate reading not only for philosophers and prison theorists generally, but also for prison reformers and abolitionists.

In this third and final book of the Java Lost, A Child Imprisoned trilogy, Part III, "Aftermath", and Part IV, "On to a New Country", Jannie tells of the Indonesian uprising against the Dutch which Sukarno had started. Where their lives at first had been threatened by hunger and disease in the Japanese prison camps, their lives were now threatened by brutal murder at every turn. Sukarno wanted the Dutch out of the East Indies and he would do what it took to be rid of them.Eventually all the Dutch, the Indos, and those who favored to live under Dutch rule were sent to the Netherlands where they had to build a new life, in a country that had been bombed and raided by the Germans. And now, its inhabitants were not happy to receive these from the Dutch East Indies.From always being warmed by the sun of her childhood, to this ever so cold country known as Holland, she feared she would never again be warm. Yes, life was different; it was very, very different. And this is her story.Be sure to read Book 1, Part I, - The Belt of Emeralds -, setting the stage for this amazing trilogy; and Book 2, Part II, - 18 Inches on a Mattress -, the war years and life in the Japanese concentration camps....

Emilie Marianne Yda Wilbrink (Jannie), was born to Lady Emilie Martha Teding van Berkhout (Emie) and her commoner husband Willem Gerrit Jan Wilbrink (Wim). Wim was the Manager of a coffee and rubber plantation known as Kepoetren,in the fertile grounds and hills on the Island of Java, Indonesia, not far from Malang. The plantation, surrounded by the thick rich tropical vegetation commonly found in the Indonesian jungles, beckoned Jannie, a tomboy, to come and explore its many facets. This is a world where monkeys frolicked, swinging from the trees, and where other forms of wildlife lurked. Life on Kepoetren was respectful to all who lived and worked there. Jannie's father taught her many of life's lessons, as World War II was raging around the world. This is her story.Look for Book 2, Part II, Eighteen Inches On A Mattress; and Book 3, Part III, The Aftermath, and Part IV, On To A New Country, of this amazing trilogy....

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Eighteen-year-old Johnny Moore was an energetic, self-confident private first class when he entered combat with a heavy-weapons platoon in Korea. Four and a half months later, after surviving heavy attacks on the Pusan Perimeter and in one of the forward units of the western column advancing on the Yalu River, he was captured by the Chinese infantry.Moore and other American POWs suffered from starvation rations, bitter cold, and mental torment. Although the intense Chinese efforts to change the prisoners’ ideologies were largely unsuccessful, they were very effective in engendering distrust among the prisoners and abandonment of duty by the officers. Encouraged by an American sergeant, Moore worked with his captors to obtain better sanitation, a fairer distribution of food, and, on two occasions, medicine for the sick. Twice he tried to escape from imprisonment. Just four days after his twenty-first birthday, in 1953, the Chinese released him.Moore cooperated fully with US military interrogators, giving as much information as he could on the prison camp and the methods his captors had used. But two years later, army officers arrested him at his home and charged him with treason. Although the charge was dropped and a Field Board of Inquiry returned him to regular duty, the army’s treatment of him left Moore further traumatized. He eventually went AWOL and turned to drinking, gambling, and other self-destructive behaviors.Military historian Judith Fenner Gentry has worked with Moore’s memoirs of his experiences during and after the war to corroborate, clarify, elaborate, and situate his story within the larger events in Korea and in the Cold War. She has consulted records from courts-martial, newspaper interviews with returning POWs, and Freedom of Information Act documents on the Army Criminal Investigation Division and the Army Counter-Intelligence Corps.

More than two million people are currently imprisoned in the United States, and the nation’s incarceration rate is now the highest in the world. The dramatic rise and consolidation of America’s prison system has devastated lives and communities. But it has also transformed prisons into primary sites of radical political discourse and resistance as they have become home to a growing number of writers, activists, poets, educators, and other intellectuals who offer radical critiques of American society both within and beyond the prison walls. In Forced Passages, Dylan Rodríguez argues that the cultural production of such imprisoned intellectuals as Mumia Abu-Jamal, Angela Davis, Leonard Peltier, George Jackson, José Solis Jordan, Ramsey Muniz, Viet Mike Ngo, and Marilyn Buck should be understood as a social and intellectual movement in and of itself, unique in context and substance. Rodríguez engages with a wide range of texts, including correspondence, memoirs, essays, poetry, communiqués, visual art, and legal writing, drawing on published works by widely recognized figures and by individuals outside the public’s field of political vision or concern. Throughout, Rodríguez focuses on the conditions under which imprisoned intellectuals live and work, and he explores how incarceration shapes the ways in which insurgent knowledge is created, disseminated, and received. More than a series of close readings of prison literature, Forced Passages identifies and traces the discrete lineage of radical prison thought since the 1970s, one formed by the logic of state violence and by the endemic racism of the criminal justice system. Dylan Rodríguez is assistant professor of ethnic studies at the University of California, Riverside.

Unread book in perfect condition.

In this third and final book of the Java Lost, A Child Imprisoned trilogy, Part III, "Aftermath", and Part IV, "On to a New Country", Jannie tells of the Indonesian uprising against the Dutch which Sukarno had started. Where their lives at first had been threatened by hunger and disease in the Japanese prison camps, their lives were now threatened by brutal murder at every turn. Sukarno wanted the Dutch out of the East Indies and he would do what it took to be rid of them.Eventually all the Dutch, the Indos, and those who favored to live under Dutch rule were sent to the Netherlands where they had to build a new life, in a country that had been bombed and raided by the Germans. And now, its inhabitants were not happy to receive these from the Dutch East Indies.From always being warmed by the sun of her childhood, to this ever so cold country known as Holland, she feared she would never again be warm. Yes, life was different; it was very, very different. And this is her story.Be sure to read Book 1, Part I, - The Belt of Emeralds -, setting the stage for this amazing trilogy; and Book 2, Part II, - 18 Inches on a Mattress -, the war years and life in the Japanese concentration camps....