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WHY did my brilliant father, Ross Lockridge, Jr., execute himself at 33, March 6, 1948, while his first novel, RAINTREE COUNTY, was the Number-One Bestseller in America? Critics were hailing it as the sole recent contender for the ultimate American title, "The Great American Novel." Even as my father was murdering himself, he was experiencing critical and financial success beyond the greatest of great expectations. He died with full knowledge that his life, viewed from the street, had exceeded all but the most extravagant of human dreams. My book holds the SKELETON KEY that unlocks the Riddle of Raintree County. I offer this painful story less from choice than from an obligation to history and to truth, in order that the truth will not die with me. Squeamishness and mendacity, blood brothers, go hand in hand. Miss Manners plays no part this tragedy. Truth is not subject to etiquette or taste, and it is precisely because the truth about my father's brief, terrible life and his forlorn death is unspeakable that the truth demands to be told.
The impetus for this book was a public lecture Laurel Richardson gave in Melbourne in 2006. How and why Laurel Richardson’s writing resonates with so many others led to a qualitative research project investigating the impact of her work. This book is the outcome of that project. The nature of that connection between Richardson’s writing and her readers has been examined. Connections have also been drawn between Laurel Richardson’s writing and the importance of collaboration, community, inclusion, feminist engagement, social justice and the challenges involved in working in the modernised university. This book shows how Laurel Richardson’s groundbreaking work has influenced others and became not only a method of inquiry but also a method of empathy and imagination. Permission chronicles and celebrates the pioneering work and influence of Laurel Richardson. With contributions from over 50 scholars across the disciplines, beautifully curated by Julie White, Permission shows the wide reach of Richardson’s work. Richardson has blazed new trails in the academy by writing honestly, creatively and passionately about things that matter. In doing so, she has opened a space for others to find their voices and carve their own paths. This book shows how grateful we are for the permission she has provided. A must-read for those new to Richardson’s work as well as her many fans worldwide.” – Patricia Leavy, Ph.D., creator and editor of the Social Fictions series
n poem after piercing poem—“The Light Here,” “An Ocean Sound,” “Nancy’s Sandwich Shop Heightened Consciousness”—Grigsby weaves our intense human moments of love, sorrow, or joy into the beauty and grandeur of our indifferent earth. The art of his vision is unique and invaluable. —Julian Markels, author of The Marxian Imagination Like James Wright before him, Gordon Grigsby is an essential Mid-Western poet, a hard-scrabbled farmer of words, a steel-worker tending to the furnaces of an imagination that flares in darkness: "the praised madness that trembles the air." The geography of Ohio, the names of its vanished Indian tribes, the smell of a dead child and the poisoned rain, are here given their full measure of terrible beauty. —Michael Salcman, author of The Clock Made of Confetti and The Enemy of Good Is Better Dawn Night Fall explores the interplay between sorrow and hope, tragic realities and the mind’s freedom, through startlingly original images and ideas. As in Walden, Grigsby uses his house on a small river in Mt. Air, Ohio as a way into the natural world, ancient and personal history, world travels, and complex combinations of pain and luminosity: ashes of a premature baby, woman and children waiting in corrugated tin shanties, a loved father lonely in Sun City, the glow of needles on a forest floor, streetlamp glint on everyone’s hair. Readers are richly rewarded for his extraordinary vision. —Jan Schmittauer, Associate Professor, Ohio University
In the World Library of Educationalists series, international experts themselves compile career-long collections of what they judge to be their finest pieces – extracts from books, key articles, salient research findings, major theoretical and practical contributions – so the world can read them in a single manageable volume. Readers will be able to follow the themes and strands and see how their work contributes to the development of the field. (Post)Critical Methodologies forms a chronology through the texts and concepts that span Patti Lather’s career. Examining (post)critical, feminist and poststructural theories, Lather’s work is organized into thematic sections that span her 35 years of study in this field. These sections include original contributions formed from Lather’s feminism and critical theory background. They contain her most cited works on feminist research and pedagogy, and form a collection of both early and recent writings on the post and post-post, with a focus on critical policy studies and the future of post-qualitative work. With a focus on the implications for qualitative inquiry given the call for scientifically based research in education, this compelling overview moves through Lather’s progressive thoughts on bridging the gap between quantitative and qualitative research in education and provides a unique commentary on some of the most important issues in higher education over the last 30 years. This compilation of Lather's contribution to educational thinking will prove compelling reading to all those engaged in student learning in higher education worldwide.
FULL COLOR EDITION--UPDATED DECEMBER 30, 2018 : WHY did my father, Ross Lockridge, Jr., execute himself, while his first novel was the nation's number one bestseller? Raintree County was also a Book-of-the-Month Club Main Selection. It had won the highly publicized MGM novel prize. A lengthy excerpt appeared in LIFE MAGAZINE--America's premier organ of popular culture--which had hitherto not published fiction. Raintree County was an informal contender for being the mythical Great American Novel. He went to his death in full knowledge that his life, viewed from the street, exceeded all but the most extravagant of human dreams. This story is grounded personally, and in the culture of the time--e.g., the Kinsey Institute, and the Hollywood of Elizabeth Taylor, Montgomery Clift, Eva Marie Saint. Wardell Pomeroy, Alfred C. Kinsey's colorful wing man, was our Bloomington, Indiana neighbor, and as a child horsing around with the Pomeroy kids I became privy to "peculiarities" that shed light on my father's place in history, and the covert culture of pervasive pedophilia, incest, and childhood sexual abuse, cocooned by institutional protection and denial, and permitted to persist, and to wreak unacknowledged havoc in the lives of innocents to this day.
Laurel Richardson and Ernest Lockridge-accomplished sociologist and published novelist-explore the fascinating interplay between literary and ethnographic writing. The exciting result is an intriguing experimental text that simultaneously delves into, reveals, simplifies, and complicates methodologies of writing and conveying experience. This boundary-crossing text will provide an ideal platform for students and professors interested in understanding and exploring the absorbing complexities and possibilities of ethnographic writing and creative nonfiction.
In 1948, Ross Lockridge's novel Raintree County was a number one bestseller and acclaimed literary work. Yet, at the height of his fame at age 33, Lockridge killed himself. In a brilliant biography, his son Larry seeks understanding. Simultaneous release with the re-publication by Penguin of the long unavailable Raintree County. Photos.
"You see, but you do not observe." Holmes to Doctor WatsonAN OPTICAL ILLUSION CALLED THE GREAT GATSBY presumes to "observe" what Fitzgerald meant when in 1924 he excitedly wrote a friend that The Great Gatsby (published 1925) was "a new thinking out of the idea of illusion." The precise nature of Fitzgerald's illusion-making—its technique or léger-de-main, and its centrality to the novel as a whole—remains more or less a mystery to this day. Small wonder the author complained following his novel's appearance that “of all the reviews, even the most enthusiastic, not one had the slightest idea what the book was about.” Since the novel's publication in 1925, readers, in particular those luckless enough to have been "taught the novel" in colleges and universities, have been indoctrinated into believing THE GREAT GATSBY to be little more than an embodiment of a fantasy (not mentioned anywhere in the novel, itself) called "The American Dream." The novel Fitzgerald actually wrote is infinitely more profound, interesting and universal. GATSBY is most certainly "Great." A recent list of "top-100-novels" ranked it #1. Readers and critics alike consider it the major contender for yet another fantasy or illusion, "The Great American Novel." And, now girding its loins against a mindless Hollywood extravaganza bearing its name, starring some drop-dead cutie named Leonardo butchering the title role, THE GREAT GATSBY has been apotheosized into a NEW YORK TIMES best-seller in fiction. High time to "observe" the drop-dead wonderful book F.Scott Fitzgerald was putting on the page some four score and ten years ago.
The public and private lives of writer James A. Michener come together in an incisive portrait that examines Michener's body of writing in its biographical and cultural contexts and establishes his place in twentieth-century letters.