Bøger udgivet af UNIV PR OF KENTUCKY

"I could dream in poetry, could summon words for spiritual experience, could name God in twelve ways and in ten times and places in history. Award-winning writer Karen Salyer McElmurray details her life's journey across continents and decades in a poetic collection that is equal parts essay-as-memoir, memoir-as-Kèunstlerroman, and travelogue-as-meditation. It is about the deserts of India. A hospital ward in Maryland. The blue seas of Greece. A greenhouse in Virginia. It is about the spirit houses of Thailand. The mountains of eastern Kentucky. The depths of the Grand Canyon. A creative writing classroom in Georgia. An attic in a generations-old house. It is about coming to terms with both memory and the power of writing itself. At turns lyrical, poignant, and alluring, McElmurray probes her personal history from the stance of different places, perspectives, and vulnerabilities as she tenderly and fiercely searches for acceptance and a place to call home"--

"In a span of minutes, the lives of four members of Brickton Community College change forever when an active shooter enters the campus and opens fire. Running on adrenaline and fear, the group-a crew of students and their teacher-subdues the perpetrator in a violent frenzy that leads to the man's death. Reeling from the shock of their collective actions, the group is thrown into turmoil when they realize that the person they have killed is someone they all knew. Narrated in alternating voices and set against the backdrop of an economically depressed Appalachian town, Laura Leigh Morris's The Stone Catchers explores the immeasurable pain and loss felt by the survivors of a school shooting. Forced to process the horror of the event, mourn, and to reconcile themselves to their newfound recognition as local heroes, the survivors grapple with the losses suffered by their community and their own actions. In the process they come face to face with the unquantifiable cost gun violence takes on not only the survivors, but the families, friends, and futures of a community fractured by tragedy"--

"Once called "the most gifted character actor of our time" by Broadway theater producer Arthur Hopkins, Lionel Barrymore (1878-1954) was part of the illustrious Barrymore acting dynasty. Although he garnered success on stage and screen and was a talented actor, writer, director, visual artist, and composer, he never quite escaped the shadow of his family members-including his brother, John, famous for his leading roles. Barrymore won the Academy Award for Best Actor in A Free Soul (1931) and was nominated for Best Director for Madame X (1930). However, he is best known for his role as Mr. Potter in It's a Wonderful Life (1946) and as the voice of Ebenezer Scrooge in radio broadcasts of A Christmas Carol from 1934 to 1953. He spent the last two decades of his career playing versions of his signature character-the curmudgeonly but lovable gentleman-in a variety of films from You Can't Take It With You (1938) to Key Largo (1948). Barrymore worked alongside some of Hollywood's most recognizable names, including Humphrey Bogart, James Stewart, Frank Capra, Lauren Bacall, Clark Gable, and Ava Gardner, and his legacy is enshrined at the Hollywood Walk of Fame, where he has two stars-one for radio and one for film. In Lionel Barrymore: Character and Endurance in Hollywood's Golden Age, Kathleen Spaltro examines Barrymore as an individual rather than just a supporting cast member of the famous dynasty. This comprehensive study divides Barrymore's life into three compelling acts. Act One follows Barrymore's early days-his failed endeavor as a visual artist, his performances in the family vaudeville acts, his first silent motion pictures, and his greatest successes and failures on the stage. Act Two details Barrymore's establishment as a fixture at MGM, his foray into directing, his success as the first actor to thrive in the talkies, and his estimable Oscar-winning performance. Finally, Act Three expounds on Barrymore's curation of his trademark character-the endearing grouch-his exploits in radio, and his fateful final years. Spaltro also unearths Barrymore's personal challenges, recounts his difficulties with-and sometimes estrangement from-members of his family, and delves into the devastating losses Barrymore suffered: his divorce, the deaths of his two daughters, and later, the death of his second wife and the accidents that eventually consigned him to a wheelchair. Lionel Barrymore is a detailed, multifaceted portrait of a brilliant character actor"--

In Appalachian Plants: In the Garden, In the Yard, and In the Wild, Linda Hager Pack takes readers on a journey through the historical wilds of Appalachia, remembering a time when Appalachians relied on plants for much more than feeding their families. Plants were used for healing and for food but they also sparked social gatherings; they were thought to foretell the future and to provide protection from the weather and evil spirits. Appalachian Plants delights with plant lore, recipes, home remedies, superstitions, and legends about the various plants grown in the yards, gardens, and forests of Appalachia. Illustrated by Pat Banks, Appalachian Plants includes beautifully rendered watercolor depictions accompanied by each plant's botanical name, common name, and a short description. Both educational and entertaining, Appalachian Plants is a unique, lovingly rendered, and informative visual history that people of all ages will treasure.

On May 4, 1964, Congress designated bourbon as a distinctive product of the United States, and it remains the only spirit produced in this country to enjoy such protection. Its history stretches back almost to the founding of the nation and includes many colorful characters, both well known and obscure, from the hatchet-wielding prohibitionist Carry Nation to George Garvin Brown, who in 1872 created Old Forester, the first bourbon to be sold only by the bottle. Although obscured by myth, the history of bourbon reflects the history of our nation.Historian Michael R. Veach reveals the true story of bourbon in Kentucky Bourbon Whiskey. Starting with the Whiskey Rebellion of the 1790s, he traces the history of this unique beverage through the Industrial Revolution, the Civil War, Prohibition, the Great Depression, and up to the present. Veach explores aspects of bourbon that have been ignored by others, including the technology behind its production, the effects of the Pure Food and Drug Act, and how Prohibition contributed to the Great Depression. The myths surrounding bourbon are legion, but Veach separates fact from legend. While the true origin of the spirit may never be known for certain, he proposes a compelling new theory.With the explosion of super-premium bourbons and craft distilleries and the establishment of the Kentucky Bourbon Trail, interest in bourbon has never been higher. Veach shines a light on its pivotal place in our national heritage, presenting the most complete and wide-ranging history of bourbon available.

"This is a Borzoi book"--Copyright page.

"I've lived a completely ordinary life, so much that I don't know how to write a transgender or queer or Appalachian story, because I don't feel like I've lived one. ... Though, in searching for ways to write myself in my stories, maybe I can find power in this ordinariness." Raised in southeast Ohio, Stacy Jane Grover would not describe her upbringing as "Appalachian." Appalachia existed farther afield-more rural, more country than the landscape of her hometown. Grover returned to the places of her childhood to reconcile her identity and experience with the culture and the people who had raised her. She began to reflect on her memories and discovered that group identities like Appalachian and transgender are linked by more than just the stinging brand of social otherness. In Tar Hollow Trans, Grover explores her transgender experience through common Appalachian cultural traditions. In "Dead Furrows," a death vigil and funeral leads to an investigation of Appalachian funerary rituals and their failure to help Grover cope with the grief of being denied her transness. "Homeplace" threads family interactions with farm animals and Grover's coming out journey, illuminating the disturbing parallels between the American Veterinary Association's guidelines for ethical euthanasia and the World Professional Association for Transgender Health's guidelines for transgender care. Together, her essays write transgender experience into broader cultural narratives beyond transition and interrogate the failures of concepts such as memory, metaphor, heritage, and tradition. Tar Hollow Trans investigates the ways the labels of transgender and Appalachian have been created and understood and reckons with the ways the ever-becoming transgender self, like a stigmatized region, can find new spaces of growth"--

"One of the most notorious prisons in Iraq during the government of Saddam Hussein, Abu Ghraib was refurbished by the US Army and turned into a military prison in 2003. During the early stages of the Iraq War, members of the Army and the CIA committed a series of human rights violations and war crimes against the detainees in Abu Ghraib, including physical and sexual abuse, torture, sodomy, and murder. Documentation of these abuses came to light in the years that followed, causing shock, outrage, and widespread international condemnation. In INK, Angela Woodward captures the passivity, permanence, and compliance of bearing witness. Set in the early 2000s, INK follows two typists, Sylvia and Marina, as they spend their days transcribing testimonies of abused Abu Ghraib prisoners. Their lives in and out of the small bureaucratic office in which they type away on outdated IBM typewriters are changed in visible and invisible ways. Sylvia becomes haunted by the voices of the recordings, straining her already-fragmented relationship with her teenage son and causing her to smell urine in improbable places. Marina's submissive ignorance subjects her and her troubled daughter into a sexually abusive relationship. Violence bleeds off the pages, making the dangers of detachment and compliance apparent when Sylvia fails to act upon the early signs of trouble in Marina's love life. Woodward's experimental structure toys with post-modern elements by braiding slivers of the prisoner's accounts in with the trivial preoccupations of the typists, along with a disquisition on the history of ink. Lyrical prose provides reflections on substances as seemingly different as ink, soap, blood, and water. Ruminations on the life and art of poet Francis Ponge are inserted as digressions from the character-driven parts of the novel. Finally, a second plot written in the first person emerges to tie all these fringes by describing the narrator's writing trajectory. Taken together, these fragmented components tell the reader that distanced stories of abuse are not as disparate or detached from us as they might first appear"--