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New from award-winning Michigan writer Bonnie Jo Campbell, American Salvage is rich with local color and peopled with rural characters who love and hate extravagantly. They know how to fix cars and washing machines, how to shoot and clean game, and how to cook up methamphetamine, but they have not figured out how to prosper in the twenty-first century. Through the complex inner lives of working-class characters, Campbell illustrates the desperation of post-industrial America, where wildlife, jobs, and whole ways of life go extinct and the people have no choice but to live off what is left behind. The harsh Michigan winter is the backdrop for many of the tales, which are at turns sad, brutal, and oddly funny. One man prepares for the end of the world--scheduled for midnight December 31, 1999--in a pole barn with chickens and survival manuals. An excruciating burn causes a man to transcend his racist and sexist worldview. Another must decide what to do about his meth-addicted wife, who is shooting up on the other side of the bathroom door. A teenaged sharpshooter must devise a revenge that will make her feel whole again. Though her characters are vulnerable, confused, and sometimes angry, they are also resolute. Campbell follows them as they rebuild their lives, continue to hope and dream, and love in the face of loneliness. Fellow Michiganders, fans of short fiction, and general readers will enjoy this poignant and affecting collection of tales.
New from award-winning Michigan writer Bonnie Jo Campbell, American Salvage is rich with local color and peopled with rural characters who love and hate extravagantly. They know how to fix cars and washing machines, how to shoot and clean game, and how to cook up methamphetamine, but they have not figured out how to prosper in the twenty-first century. Through the complex inner lives of working-class characters, Campbell illustrates the desperation of post-industrial America, where wildlife, jobs, and whole ways of life go extinct and the people have no choice but to live off what is left behind. The harsh Michigan winter is the backdrop for many of the tales, which are at turns sad, brutal, and oddly funny. One man prepares for the end of the world-scheduled for midnight December 31, 1999-in a pole barn with chickens and survival manuals. An excruciating burn causes a man to transcend his racist and sexist worldview. Another must decide what to do about his meth-addicted wife, who is shooting up on the other side of the bathroom door. A teenaged sharpshooter must devise a revenge that will make her feel whole again. Though her characters are vulnerable, confused, and sometimes angry, they are also resolute. Campbell follows them as they rebuild their lives, continue to hope and dream, and love in the face of loneliness. Fellow Michiganders, fans of short fiction, and general readers will enjoy this poignant and affecting collection of tales.
A hurricane is building over the Gulf of Mexico, threatening the coastal town of Bois Sauvage, Mississippi, and Esch's father is growing concerned. He's a hard drinker, largely absent, and it isn't often he worries about the family. Esch and her three brothers are stocking up on food, but there isn't much to save. Lately, Esch can't keep down what food she gets; at fifteen, she has just realized that she's pregnant. Her brother Skeetah is sneaking scraps for his prized pit bull's new litter, dying one by one. Meanwhile, brothers Randall and Junior try to stake their claim in a family long on child's play and short on parenting. As the twelve days that make up the novel's framework yield to a dramatic conclusion, this unforgettable family - motherless children sacrificing for one another as they can, protecting and nurturing where love is scarce - pulls itself up to face another day.
As tourists increasingly moved across the United States in the late nineteenth and early twentieth centuries, a surprising number of communities looked to capitalize on the histories of Native American people to create tourist attractions. From the Happy Canyon Indian Pageant and Wild West Show in Pendleton, Oregon, to outdoor dramas like Tecumseh! in Chillicothe, Ohio, and Unto These Hills in Cherokee, North Carolina, locals staged performances that claimed to honor an Indigenous past while depicting that past on white settlers' terms. Linking the origins of these performances to their present-day incarnations, this incisive book reveals how they constituted what Katrina Phillips calls "salvage tourism"—a set of practices paralleling so-called salvage ethnography, which documented the histories, languages, and cultures of Indigenous people while reinforcing a belief that Native American societies were inevitably disappearing. Across time, Phillips argues, tourism, nostalgia, and authenticity converge in the creation of salvage tourism, which blends tourism and history, contestations over citizenship, identity, belonging, and the continued use of Indians and Indianness as a means of escape, entertainment, and economic development.
Salvage Work examines contemporary literary responses to the law’s construction of personhood in the Americas. Tracking the extraordinary afterlives of the legal slave personality from the nineteenth century into the twenty-first, Angela Naimou shows the legal slave to be a fractured but generative figure for contemporary legal personhood across categories of race, citizenship, gender, and labor. What emerges is a compelling and original study of how law invents categories of identification and how literature contends with the person as a legal fiction. Through readings of Francisco Goldman’s The Ordinary Seaman, Edwidge Danticat’s Krik?Krak!, Rosario Ferre’s Sweet Diamond Dust (Maldito Amor), Gayl Jones’s Song for Anninho and Mosquito, and John Edgar Wideman’s Fanon, Naimou shows how literary engagements with legal personhood reconfigure formal narrative conventions in Black Atlantic historiography, the immigrant novel, the anticolonial romance, the trope of the talking book, and the bildungsroman. Revealing links between colonial, civic, slave, labor, immigration, and penal law, Salvage Work reframes debates over civil and human rights by revealing the shared hemispheric histories and effects of legal personhood across seemingly disparate identities—including the human and the corporate person, the political refugee and the economic migrant, and the stateless person and the citizen. In depicting the material remains of the legal slave personality in the de-industrialized neoliberal era, these literary texts develop a salvage aesthetic that invites us to rethink our political and aesthetic imagination of personhood. Questioning liberal frameworks for civil and human rights as well as what Naimou calls death-bound theories of personhood—in which forms of human life are primarily described as wasted, disposable, bare, or dead in law—Salvage Work thus responds to critical discussions of biopolitics and neoliberal globalization by exploring the potential for contemporary literature to reclaim the individual from the legal regimes that have marked her.
Aimed at the general reader with an interest in World War II and the U.S. Navy, this book looks at the massive salvage effort that followed the attack on Pearl Harbor, beginning with the damage control efforts aboard the sinking and damaged ships in the harbor on 7 December 1941 and ending in March 1944 when salvage efforts on the USS Utah were finally abandoned. Dan Madsen describes the Navy's dramatic race to clear the harbor and repair as many ships as possible so they could return to the fleet ready for war. Numerous photographs, many never before published in books for the general public, give readers a real appreciation for the momentous task involved, from the raising of the USS Oglala in 1942 and the USS Oklahoma in 1943 to the eventual dismantling of the above-water portions of the USS Arizona.
An interdisciplinary approach to American Jewish ethnic identity in post-Holocaust America. This volume explores how American Jewish post-Holocaust writers, scholars, and editors adapted pre-Holocaust works, such as Yiddish fiction and documentary photography, for popular consumption by American Jews in the post-Holocaust decades. These texts, Jelen argues, served to help clarify the role of East European Jewish identity in the construction of a post-Holocaust American one. In her analysis of a variety of "hybrid" texts—those that exist on the border between ethnography and art—Jelen traces the gradual shift from verbal to visual Jewish literacy among Jewish Americans after the Holocaust. S. Ansky's ethnographic expedition (1912–1914) and Martin Buber's adaptation and compilation of Hasidic tales (1906–1935) are presented as a means of contextualizing the role of an ethnographic consciousness in modern Jewish experience and the way in which literary adaptations and mediations create opportunities for the creation of folk ethnographic hybrid texts. Salvage Poetics looks at classical texts of the American Jewish experience in the second half of the twentieth century, such as Maurice Samuel's The World of Sholem Aleichem (1944), Abraham Joshua Heschel's The Earth Is the Lord's (1950), Elizabeth Herzog and Mark Zborowski's Life Is with People(1952), Lucy Dawidowicz's The Golden Tradition(1967), and Roman Vishniac's A Vanished World (1983), alongside other texts that consider the symbiotic relationship between pre-Holocaust aesthetic artifacts and their postwar reframings and reconsiderations. Salvage Poetics is particularly attentive to how literary scholars deploy the notion of "ethnography" in their readings of literature in languages and/or cultures that are considered "dead" or "dying" and how their definition of an "ethnographic" literary text speaks to and enhance the scientific discipline of ethnography. This book makes a fresh contribution to the fields of American Jewish cultural and literary studies and art history.
"A demonstration of outstanding skills on the river of American literature." —Entertainment Weekly Bonnie Jo Campbell has created an unforgettable heroine in sixteen-year-old Margo Crane, a beauty whose unflinching gaze and uncanny ability with a rifle have not made her life any easier. After the violent death of her father, Margo takes to the river in search of her mother with only a biography of Annie Oakley to her name. Her river odyssey through rural Michigan becomes a defining journey, one that leads her beyond self-preservation and to deciding what price she is willing to pay for her choices.
The escape pods are long gone. A distress beacon is still active. Chase off the pirates and the wreck is all theirs. What was a crime scene moments before just became legitimate salvage, fair game for an opportunistic starship captain. Carl Ramsey is that opportunist. His crew of misfits includes his ex-wife as pilot, a drunken mechanic, a predatory bodyguard, and an outcast wizard from the Convocation. On their best days, they’re a well-oiled machine, capable of taking on any challenge. In theory. If that ever happened, Carl would be as shocked as anyone. In the meantime, they're a crew in need of terras, and the galaxy doesn't give those out for free. Jobs come and go, but the cost of fuel is always chasing a ship like its own ion trail. A good captain just keeps his crew from killing one another, getting dusted by pirates, and earning however they can. Nobody pays for easy work, and every job comes with its own surprises—never the good kind. Welcome to life out in the Black Ocean. ...where you can’t always get what you want. But if you try, sometimes... You’ll get what you need. Salvage Trouble is the first mission of Black Ocean, a science fantasy series set in the 26th century. Do you wish there had been a second season of Firefly? Do you love the irreverent fun of Guardians of the Galaxy? Have you ever wondered how Star Wars would have turned out if Luke and Obi-wan had ditched the rebellion to become smugglers with Han and Chewie? Then Black Ocean is the series for you! Pick up your copy of Salvage Trouble, and aim to misbehave with the crew of the Mobius.