A fascinating personal memoir of underwater combat in World War II, told by a man who played a major role in those dangerous operations. Frank and beautifully written, Submarine Commander's breezy style and irrepressible humor place it in a class by itself. This book will be of lasting value as a submarine history by an expert and as an enduring military and political analysis. In early 1943 the submarine USS Scorpion, with Paul R. Schratz as torpedo officer, slipped into the shallow waters east of Tokyo, laid a minefield, and made successful torpedo attacks on merchant shipping. Schratz participated in many more patrols in heavily mined Japanese waters as executive officer of the Sterlet and the Atule. At war's end he participated in the Japanese surrender, aided the release of American POWs, and had a key role in the disarming of enemy suicide submarines. He then took command of the revolutionary new Japanese submarine I-203 and returned it to Pearl Harbor. But this was far from the end of Schratz's submarine career. In 1949 he commissioned the ultramodern USS Pickerel, the most deadly submarine then afloat, and set a world's record in a 21-day, 5,200-mile submerged passage from Hong Kong to Honolulu. With the outbreak of the Korean War, the Pickerel was immediately sent to Korea to participate in secret intelligence operations only recently declassified and never before revealed in print. Schratz's broad military experience makes this a far from ordinary memoir.

Considered her finest work and an American classic, Roberts's novel traces the coming of age of Ellen Chesser, the daughter of a poor itinerant farmer. Against all privations and the forces that would subdue her, Ellen is sustained by a sense of wonder and by an awareness of her own being. Reduced to the bare elements of life, her world becomes a ceremony of daily duties that bind her to the natural world and her family. The Time of Man stands as a beautifully written tribute to the human spirit.

" Constructed in 1923, the American submarine S39 was practically an antique when the Japanese struck Pearl Harbor. With defective torpedoes, a semi-trained crew, and a primitive ventilation system (hence the nickname), she nevertheless sank two enemy vessels and eluded pursuit to fight again in the Solomons. This is the little-known story of how an unprepared navy fought with what it had until the tide could be turned. Bobette Gugliotta was one of the S-39 wives. With the technical assistance of her husband, Guy, an officer who served on three of the S-class boats during the war, she presents an accurate and absorbing account of submarine operations and warfare. No less valuable is her candid and sympathetic portrayal of the men and women whose lives were caught up in the voyage of the S-39.

The eighteenth century was a time of significant change in the perception of marriage and family relations, the emphasis of reason over revelation, and the spread of political consciousness. The Unity of the Brethren, known in America as Moravians, experienced the resulting tensions firsthand as they organized their protective religious settlements in Germany. A group of the Brethren who later settled in Salem, North Carolina, experienced the stresses of cultural and generational conflict when its younger members came to think of themselves as Americans. The Moravians who first immigrated to America actively maintained their connections to those who remained in Europe and gave them the authority for deciding religious, social, and governmental issues. But, as the children born in Salem became acclimated to more freedoms, particularly in the wake of the American Revolution, a series of disputes intensified the problems of transatlantic governance. While the group's leadership usually associated Enlightenment principles with rebellion and religious skepticism, the younger Brethren were drawn to its message of individual autonomy and creative expression.Elisabeth Sommer traces the impact of this generational and cultural change among Moravians on both sides of the Atlantic and examines the resulting debate over the definition of freedom and faith.

Behind Japanese Lines has a great deal to say about the relations with the Filipinos and about the problems of dealing with and fighting the Hukbalahaps, the communist guerrillas or, indeed, in opposing the Japanese. This book adds considerable insights into the significance of guerrilla warfare as it relates to modern warfare in general.

Jean Ritchie, the youngest of fourteen children born and raised in Viper, Kentucky, is considered one of the greatest balladeers in this century. Her performances have influenced the resurgence of interest in folk music and given audiences a glimpse into the heart of Appalachia. Jean Ritchie's Swapping Song Book brings together twenty-one songs from the Cumberland Mountains of Kentucky. Many are old songs, brought over by settlers from Scotland, Ireland, and England. Child ballads, gospel music, play party tunes, and frolic songs have been handed down by family members, with each generation adding or embellishing verses and melodies. This new edition retains the original text, written by Ritchie, and includes her husband George Pickow's beautiful photographs to help illustrate the stories of such songs as "Jubilee," "The Old Soap Gourd," and "Ground Hog." A new foreword by Charles Wolfe shows how Ritchie's collection of songs is "part of the rich folk poetry" that makes up Appalachian culture.

Between the Civil War and the turn of the last century, Southern Baptists gained prominence in the religious life of the South. As their power increased, they became defenders of the racial, political, social, and economic status quo. By the beginning of this century, however, a feisty tradition of dissent began to appear in Southern Baptist life as criticism of the center increased from both the left and the right. The popular belief in a doctrine of "once saved, always saved" led progressive Baptists to claim that moderates, once saved, did not address the serious social and political problems that faced many in the South. These Baptist dissenters claimed that they could not be "at ease in Zion."Led by the radical Walter Nathan Johnson in the 1920s and 1930s, progressive Baptists produced civil rights advocates, labor organizers, women's rights advocates, and proponents of disarmament and abolition of capital punishment. They challenged some of the most fundamental aspects of southern society and of Baptist ecclesiastical structure and practice. For their efforts and beliefs, many of these men and women suffered as they lost jobs, experienced physical danger and injury, and endured character assassination.In A Genealogy of Dissent, David Stricklin traces the history of these progressive Baptists and their descendants throughout the twentieth century and shows how they created an active culture of protest within a highly traditional society.

Dwayne Cox and William Morison trace the twists and turns of the University of Louisville's two hundred year journey from provincial academy to national powerhouse.From the 1798 charter that established Jefferson Seminary to the 1998 opening of Papa John Stadium, Cox and Morison reveal the unique and fascinating history of the university's evolution. They discuss the early failures to establish a liberal arts college; tell the extraordinary story of the Louisville Municipal College, U of L's separate division for African Americans during the era of segregation; detail the political wrangling and budgetary struggles of the university's move from quasi-private to state-supported institution; and confront head-on the question of the university's founding date. The history of the University of Louisville defies the stereotype of orderly and planned growth. For many years, the university was essentially a consortium of two professional schools -- medicine and law. Not until the first decade of the twentieth century did the liberal arts gain a firm and permanent foothold. Because of its early emphasis on practical, professional education and the virtual autonomy of its separate units for many years, the University of Louisville is unusual in the annals of higher education.

Interpretations of women in the antebellum period have long dwelt upon the notion of public versus private gender spheres. As part of the ongoing reevaluation of the prehistory of the women's movement, Carolyn Lawes challenges this paradigm and the primacy of class motivation. She studies the women of antebellum Worcester, Massachusetts, discovering that whatever their economic background, women there publicly worked to remake and improve their community in their own image. Lawes analyzes the organized social activism of the mostly middle-class, urban, white women of Worcester and finds that they were at the center of community life and leadership. Drawing on rich local history collections, Lawes weaves together information from city and state documents, court cases, medical records, church collections, newspapers, and diaries and letters to create a portrait of a group of women for whom constant personal and social change was the norm. Throughout Women and Reform in a New England Community, conventional women make seemingly unconventional choices. A wealthy Worcester matron helped spark a women-led rebellion against ministerial authority in the town's orthodox Calvinist church. Similarly, a close look at the town's sewing circles reveals that they were vehicles for political exchange as well as social gatherings that included men but intentionally restricted them to a subordinate role. By the middle of the nineteenth century, the women of Worcester had taken up explicitly political and social causes, such as an orphan asylum they founded, funded, and directed. Lawes argues that economic and personal instability rather than a desire for social control motivated women, even relatively privileged ones, into social activism. She concludes that the local activism of the women of Worcester stimulated, and was stimulated by, their interest in the first two national women's rights conventions, held in Worcester in 1850 and 1851. Far from being marginalized from the vital economic, social, and political issues of their day, the women of this antebellum New England community insisted upon being active and ongoing participants in the debates and decisions of their society and nation.

To understand the cultural history of England during the Restoration, one need look no further than the theater, which was attended by the gentry as well as by members of the middle and lower classes. The theater of this period embodied the values, meanings, and power relations of Restoration England. In Heroes and States, Douglas Canfield argues that drama not only represents but actually helps constitute the value and belief systems of an entire culture. Heroes and States completes Canfield's two-volume cultural history of Restoration drama, begun in Tricksters and Estates: On the Ideology of Restoration Comedy. In this second volume Canfield shows how Restoration playwrights attempted to rein scribe late-feudal aristocratic ideology after the English Civil War.In the serious drama of the period, conflict is between noble heroes, upon whom states are built, and transgressors of the established order -- tyrants, traitors, usurpers, rapists, and atheists. Canfield considers several sub genres of tragedy. He argues that most of these sub genres reaffirm the older ideology after testing it in the fires of conflict. Tragical satire, on the other hand, the most subversive of these sub genres, exposes the failure of the ruling class to live up to its own codes and, in some cases, the absurdity of the codes themselves.Canfield also finds playwrights struggling with issues of race and colonialism. He uses the work of modern theorists such as Bakhtin, Girard, Kristeva, Derrida, Althusser, Williams, and Eagleton to illuminate aspects of his inquiries. Restoration tragedy stands on the cusp of a cultural transition from a late feudal to an early bourgeois ideology, and the issues and themes addressed in the theater validate the culture and politics of seventeenth-century England.

In this study, Charles Fanning has written the first general account of the origins and development of a literary tradition among American writers of Irish birth or background who have explored the Irish immigrant or ethnic experience in works of fiction. The result is a portrait of the evolving fictional self-consciousness of an immigrant group over a span of 250 years.Fanning traces the roots of Irish-American writing back to the eighteenth century and carries it forward through the traumatic years of the Famine to the present time with an intensely productive period in the twentieth century beginning with James T. Farrell. Later writers treated in depth include Edwin O'Connor, Elizabeth Cullinan, Maureen Howard, and William Kennedy. Along the way he places in the historical record many all but forgotten writers, including the prolific Mary Ann Sadlier. The Irish Voice in America is not only a highly readable contribution to American literary history but also a valuable reference to many writers and their works.For this second edition, Fanning has added a chapter that covers the fiction of the past decade. He argues that contemporary writers continue to draw on Ireland as a source and are important chroniclers of the modern American experience.

Thayer Soule couldn't believe his orders. As a junior officer with no military training or indoctrination and less than ten weeks of active duty behind him, he had been assigned to be photographic officer for the First Marine Division. The Corps had never had a photographic division before, much less a field photographic unit. But Soule accepted the challenge, created the unit from scratch, established policies for photography, and led his men into combat.Soule and his unit produced films and photos of training, combat action pictures, and later, terrain studies and photographs for intelligence purposes. Though he had never heard of a photo-litho set, he was in charge of using it for map production, which would prove vital to the division. Shooting the Pacific War is based on Soule's detailed wartime journals. Soule was in the unique position to interact with men at all levels of the military, and he provides intriguing closeups of generals, admirals, sergeants, and privates -everyone he met and worked with along the way. Though he witnessed the horror of war firsthand, he also writes of the vitality and intense comradeship that he and his fellow Marines experienced.Soule recounts the heat of battle as well as the intense training before and rebuilding after each campaign. He saw New Zealand in the desperate days of 1942. His division was rebuilt in Australia following Guadalcanal. After a stint back in Quantico training more combat photographers, he went to Guam and then to the crucible of Iwo Jima. At war's end he was serving as Photographic Officer, Fleet Marine Force Pacific, at Pearl Harbor.

For one hundred years, Heart of Darkness has been among the most widely read and taught novels in the English language. Hailed as an incisive indictment of European imperialism in Africa upon its publication in 1899, more recently it has been repeatedly denounced as racist and imperialist. Peter Firchow counters these claims, and his carefully argued response allows the charges of Conrad's alleged bias to be evaluated as objectively as possible. He begins by contrasting the meanings of race, racism, and imperialism in Conrad's day to those of our own time. Firchow then argues that Heart of Darkness is a novel rather than a sociological treatise; only in relation to its aesthetic significance can real social and intellectual-historical meaning be established.Envisioning Africa responds in detail to negative interpretations of the novel by revealing what they distort, misconstrue, or fail to take into account. Firchow uses a framework of imagology to examine how national, ethnic, and racial images are portrayed in the text, differentiating the idea of a national stereotype from that of national character. He believes that what Conrad saw personally in Africa should not be confused with the Africa he describes in the novel; Heart of Darkness is instead an envisioning and a revisioning of Conrad's experiences in the medium of fiction.

A newly married Methodist minister, Larry Zellers was serving as a missionary and teacher in a small South Korean town near the 38th parallel when he was captured by the North Koreans on June 25, 1950. Until his release in 1953, Zellers endured brutal conditions and inhumane treatment. Through his story, Zellers shows that, despite the opinion that POWs live only for themselves, many in the camps worked to help others and conducted themselves with honor.

For sixty years, Renfro Valley has highlighted some of the biggest and most influential names in country and folk music. The show began in the 1930s as a combination radio broadcast and stage performance, and today it has grown into an array of shows and headliner concerts featuring old-time country music, country gospel, modern country, bluegrass, and comedy acts. John Lair, the ambitious and deeply committed founder of Renfro Valley, was fascinated with the past. He created the Renfro Valley Barn Dance to give radio listeners the experience of an old-fashioned rural hoe-down. He resisted the encroachment of popular "cowboy songs" and kept the stage and the airwaves filled with authentic Kentucky mountain music. Lair's vision struck a chord with music fans: on some Saturday nights, more than ten thousand people arrived at Renfro Valley and performances went on all night to accommodate the audiences. Pete Stamper, a forty-seven year veteran of Renfro Valley, traces the show's history from its early radio days in Cincinnati and Chicago, through the glory years in the 1940s, the lean times in the 1960s when rock and roll seemed to take over the music scene, to its renewed popularity in the 1990s. Once known as "the valley where time stands still," Renfro Valley has updated its programming while maintaining the feel of the folk culture on which it was founded. Red Foley, the Coon Creek Girls, Slim Miller, Pee Wee King, Old Joe Clark, and a host of other musicians and performers helped shape the development of Renfro Valley. Stamper describes the role of the Valley in the commercial history of country music and highlights John Lair's invaluable contribution to country music as a talent scout, businessman, and collector of traditional music of the South.

In this sequel to Conversations with Kentucky Writers, L. Elisabeth Beattie brings together in-depth interviews with sixteen of the state's premiere wordsmiths.This new volume offers the perspectives of poets, journalists, and scholars as they discuss their views on creativity, the teaching of writing, and the importance of Kentucky in their work. They talk frankly about how and why they do what they do. The writers speak for themselves, and their thoughts come alive on the page. Beattie's interviews reveal the allegiances and alliances among Kentucky writers that have shaped literary trends by bringing together people with shared interests, values, subjects, and styles.The interviewees include authors who are captivated in other writers and in what they have to say about the process and craft of writing; educators who are interested in Kentucky writers and what their work reveals about the nature of creativity; and historians who are concerned with Kentucky's literary and cultural heritage. The interviews reveal patterns in Kentucky literature from mid-century to the millennium, as authors talk about how their sense of place has changed over the decades and reveal the ways in which the roots of Kentucky writing have produced a literary flowering at the century's end.Includes: Sallie Bingham, Joy Bale Boone, Thomas D. Clark, John Egerton, Sarah Gorham, Lynwood Montell, Maureen Morehead, John Ed Pearce, Ameilia Blossom Pegram, Karen Robards, Jeffrey Skinner, Frederick Smock, Frank Steele, Martha Bennett Stiles, Richard Taylor, and Michael Williams.