Babbitts and Bohemians is a fresh and informed account of the 1920s, a decade that seems almost mythical to some. Elizabeth Stevenson finds that the true twenties was a society of contrast. On the one hand, it was an era of sameness and political conformity, but on the other hand, it was also a time of cultural revolt. In places labeled Main Street and Middletown the citizenry followed a conventional pattern. At the same time, while most of America enjoyed the good life of this period, bohemians in Greenwich Village and expatriates in Paris were fervently scornful of it. The author explores the new sense of self and the world during this period, especially evident in the writings of Sinclair Lewis, Sherwood Anderson, Robert Frost, H. L. Mencken, Glenway Wescott, William Faulkner, and others. Stevenson writes about numerous facets of the 1920s: the brilliant entertainers, Harlem's brief period of glory, the worsening conditions in the South, the hero worship of Babe Ruth and Charles Lindbergh, and the stockmarket crash in 1929 that brought an abrupt end to the golden years. In the new introduction, the author reflects on her personal experience and discusses how the 1920s affected her family. She goes on to talk about how living in the tumultuous 1960s prompted her to write Babbitts and Bohemians. While she concedes that there were some not so glorious times during the 1920s, she still considers it a period where the vitality of life exhibited itself in all sorts of interesting and entertaining new ways. Elizabeth Stevenson succeeds admirably in conveying the spirit and the history of the era: the people and the mood that shaped the times; the political, international, and economic apathy; the conformity and rebellion of a decade unlike any other before or since. Babbitts and Bohemians will be enjoyed by all, especially historians, sociologists, and political scientists.

It is remarkable how persistent a "minor" writer may be. He may lack the large vision and universal message of the great writer, but instead possess a clear, true, intense view of particular places, peoples, and situations that renders his work unique and irreplacable. Lafcadio Hearn (1850-1904) is such a figure in American literature. Best known as a scholar of Japanese culture, Hearn was a remarkable journalist, translator, travel writer, and perhaps second only to Poe in the literature of the macabre and supernatural. Hearn's life, as strange and colorful as his work, is brilliantly recounted in Elizabeth Stevenson's sensitive and sympathetic biography. The range of Hearn's writing is reflected in the peripatetic course of his life. The son of an Irish father and a Greek mother, he was born on the Ionian island of Leucadia, was raised in Dublin, and came to America at the age of nineteen. His early career was spent as a journalist. Without a trace of condescension or pity he entered into the lives of the dock workers of Cincinnati, the Creoles of New Orleans and Martinique, and later the common villagers of Japan, describing how they lived and worked and what they believed. No mere seeker after the exotic, Hearn's immersion in Japanese culture following his emigration in 1890 was born of a profound affinity of mind and sensibility. In Japan, the clarity and force of his expression matured. Here Hearn found a beautifully ordered, artistically sensitive society, but one indifferent to individualism. In later years, he saw a society also increasingly susceptible to modern forces of authoritarianism, militarism, and xenophobia. Horrified by the dehumanizing potential of these forces, in East and West alike, Hearn remained acutely sensitive to the most minute experience. His study of Japanese folklore and his retelling of its tales and ghost stories combine insight into the universals of the larger human world with an exquisite appreciation of how small things matter. Elizabeth Stevenson's book is as much about the writer as the man. While giving an accurate measure of the scale of Hearn's achievement, she makes a compelling case for its artistry. Her reading demonstrates that his writings are not mere aids to the understanding of various cultures but ends in themselves. Hearn did not just translate the folklore of other cultures, he recreated it. "The Grass Lark" will interest literary scholars, American studies specialists, and folklorists.

His great grandfather and his grandfather had been presidents of the United States, and to a small boy this seemed a matter of course in his family. But Henry Adams, belonging to a later generation, coming to maturity at the time of the Civil War, found himself in an age uncongenial to the leadership of such men as his ancestors. In the changing world of the late nineteenth century and early twentieth century, Adams found his rightful place as an observer and critic rather than a participant in public life. But no time and no country ever had a keener mind to take note of the comic and tragic qualities embedded in the political, economic, and human drama upon which he gazed. And his writings appeal timelessly in their incisive wit, their warm charm, and in the way they speak to us of a very individual personality. When Stevenson's book first appeared, the New York Times called it 'One of the noteable biographies of recent years,' and it won the Bancroft Prize that year. It remains an engrossing portrait of a remarkable man.It is good to take note of the sage he became in his late, great books: Mont-St. Michel and Chartres and The Education of Henry Adams. This biography explains how Henry Adams became the man both admired and feared in his later years. He was first a bright, unformed young man who was a diplomatic assistant to his father; then an ambitious journalist, a writer of several 'sensational' newspaper and magazine articles. Next he became a provocative and innovative teacher, and a historian unequalled in his presentation of the Jeffersonian period. Until his wife's tragic death, he was a willing actor on the social scene of his beloved Washington, D.C. Throughout, he remained a friend and instigator of the careers of friends in artistic and scientific fields. His writings speak to us still and seem contemporary in their tone as well as their view of cycles of culture and their warnings of decline and achievement.

It is remarkable how persistent a "minor" writer may be. He may lack the large vision and universal message of the great writer, but instead possess a clear, true, intense view of particular places, peoples, and situations that renders his work unique and irreplacable. Lafcadio Hearn (1850-1904) is such a figure in American literature. Best known as a scholar of Japanese culture, Hearn was a remarkable journalist, translator, travel writer, and perhaps second only to Poe in the literature of the macabre and supernatural. Hearn's life, as strange and colorful as his work, is brilliantly recounted in Elizabeth Stevenson's sensitive and sympathetic biography.The range of Hearn's writing is reflected in the peripatetic course of his life. The son of an Irish father and a Greek mother, he was born on the Ionian island of Leucadia, was raised in Dublin, and came to America at the age of nineteen. His early career was spent as a journalist. Without a trace of condescension or pity he entered into the lives of the dock workers of Cincinnati, the Creoles of New Orleans and Martinique, and later the common villagers of Japan, describing how they lived and worked and what they believed. No mere seeker after the exotic, Hearn's immersion in Japanese culture following his emigration in 1890 was born of a profound affinity of mind and sensibility. In Japan, the clarity and force of his expression matured. Here Hearn found a beautifully ordered, artistically sensitive society, but one indifferent to individualism. In later years, he saw a society also increasingly susceptible to modern forces of authoritarianism, militarism, and xenophobia. Horrified by the dehumanizing potential of these forces, in East and West alike, Hearn remained acutely sensitive to the most minute experience. His study of Japanese folklore and his retelling of its tales and ghost stories combine insight into the universals of the larger human world with an exquisite appreciation of how small things matter.Elizabeth Stevenson's book is as much about the writer as the man. While giving an accurate measure of the scale of Hearn's achievement, she makes a compelling case for its artistry. Her reading demonstrates that his writings are not mere aids to the understanding of various cultures but ends in themselves. Hearn did not just translate the folklore of other cultures, he recreated it. The Grass Lark will interest literary scholars, American studies specialists, and folklorists.

Babbitts and Bohemians is a fresh and informed account of the 1920s, a decade that seems almost mythical to some. Elizabeth Stevenson finds that the true twenties was a society of contrast. On the one hand, it was an era of sameness and political conformity, but on the other hand, it was also a time of cultural revolt. In places labeled Main Street and Middletown the citizenry followed a conventional pattern. At the same time, while most of America enjoyed the good life of this period, bohemians in Greenwich Village and expatriates in Paris were fervently scornful of it. The author explores the new sense of self and the world during this period, especially evident in the writings of Sinclair Lewis, Sherwood Anderson, Robert Frost, H. L. Mencken, Glenway Wescott, William Faulkner, and others. Stevenson writes about numerous facets of the 1920s: the brilliant entertainers, Harlem's brief period of glory, the worsening conditions in the South, the hero worship of Babe Ruth and Charles Lindbergh, and the stockmarket crash in 1929 that brought an abrupt end to the golden years. In the new introduction, the author reflects on her personal experience and discusses how the 1920s affected her family. She goes on to talk about how living in the tumultuous 1960s prompted her to write Babbitts and Bohemians. While she concedes that there were some not so glorious times during the 1920s, she still considers it a period where the vitality of life exhibited itself in all sorts of interesting and entertaining new ways. Elizabeth Stevenson succeeds admirably in conveying the spirit and the history of the era: the people and the mood that shaped the times; the political, international, and economic apathy; the conformity and rebellion of a decade unlike any other before or since. Babbitts and Bohemians will be enjoyed by all, especially historians, sociologists, and political scientists.

"Figures in a Western Landscape is an absolutely stunning book. A biographer's take on the story of the American West, it posits that the turns of history are based on people-major 'figures' who shape their time and place. In her sequence of biographical essays, Elizabeth Stevenson tells the story of the northern Rockies and, in particular, Montana, a state of mind even more than it is a state of the Union. As her readers have come to expect, she offers more than a mere recounting of events. Stevenson captures the humanity of her subjects." -Charles Little, author of Louis Bromfield at Malabar and Greenways for America The northern Rocky Mountains and adjacent high plains were the last American West. Here was the final enactment of our national drama-the last explorations, the final battles of the Indian wars, the closing of the frontier. In Figures in a Western Landscape, award-winning biographer Elizabeth Stevenson humanizes the history of the region with a procession of individual lives moving across generations. Each of the sixteen men and women depicted left behind his or her own unique written record or oral history. The stories they have bequeathed are rich in revealing anecdote and colorful detail. Among them: Meriwether Lewis, America's "most introspective explorer," John Kirk Townsend, known to the Chinooks as "the bird chief," Pretty-Shield, wife of the Crow scout who warned Custer to turn back at Little Big Horn, James and Granville Stuart, early settlers lured by rumors of gold in the 1850s. In a concluding chapter, Stevenson draws on previously unpublished material to reveal new information about Martha Jane Cannary Burke, better known as Calamity Jane, the woman who could ride, shoot, and drive a mule team as well as any man (but who once failed to "pass" because she didn't cuss her mules like one). She lies buried in Deadwood, South Dakota, next to the man some said was her husband, Wild Bill Hickok. These and other men and women whose stories Stevenson tells helped to shape, and were in turn shaped by, the uniquely challenging landscape of America's "last West." Their words and actions, here rediscovered, give vivid color to a climactic chapter in American history. This book will be of interest to historians and general readers interested in the people of the American West. Elizabeth Stevenson (1919-1999) was Candler Professor of American Studies, Emeritus, at Emory University and the author of the Bancroft Award-winning Henry Adams: A Biography; The Grass Lark: A Study of Lafcadio Hearn; Babbits and Bohemians: From the Great War to the Depression; Henry James: The Crooked Corridor, and Park Maker: A Life of Frederick Law Olmsted, published by Transaction.

Certain readers and critics have faulted Henry James for two contradictory reasons. He has been thought a writer limited in scope and depth in his treatment of a particular class of people. On the other hand, he has been thought to be too complex, too extreme in putting into difficult language his view of relationships between his chosen characters.Elizabeth Stevenson depicts Henry James as a stout and strong presence in the literature of the English language. From the relatively youthful, straightforward, and simple writing of his early years, to the involved complexities of his later stories, his significance cannot be denied. The barrier seems to have been a misunderstanding on the part of some. It is true nearly all of his characters are well clothed, well fed, and roofed comfortably. They are usually fairly well educated and talk literately and wittily. James rarely treats raw or wild nature, but he is sensitive to landscape as a background. He also does children well, and they are often outside the norms of society. Who is not touched by the uncanny in the tainted children of The Turn of the Screw, whether the taint is actually in the children or in the mind of the governess?In James, one may not travel physically a great deal, except to the resorts of those well-off financially and socially. One does travel extensively through the minds and hearts of his characters. The journey rewards the traveler. The delicacy of James' "melodramatic" insights causes tremor or appreciation from a reader. He describes the way life is, both horrible and wonderful. No one else has expressed this understanding in quite his way. Henry James: The Crooked Corridor will be of interest to students of American literature and general readers interested in biographies.

On April 28, 1858, municipal officials announced the winner of the design contest for a great new park for the people of New York City--Plan no. 33, "Greensward" by Frederick Law Olmsted and Calvert Vaux. Though the appropriated ground for what was to become Central Park was nothing more than a barren expanse occupied by squatters, in a matter of a few years, Olmsted turned the wasteland into a landscape of coherence, elegance, and beauty. It not only surpassed the design ingenuity of its existing European counterparts but gained the designer national acclaim in a profession that still lacked a name. Olmsted was an American visionary. He foresaw the day when New York and many other growing cities of the mid-nineteenth century would be plagued by what we presently term "urban sprawl." And he was convinced of the critical importance of adapting land for the recreational and contemplative needs of city dwellers before the last remnants of natural terrain were engulfed by "monotonous, straight streets and piles of erect, angular buildings." As a result of his early efforts to revolutionize the design of public parks, many cities today are able to preserve the recreational space and greenery within their urban limits. In addition, his thoughts and words on wilderness areas still echo across a century of preservation in the wild. This lively and insightful account of his prodigious life features many of his outstanding landscape projects, including the Biltmore Estate, Prospect Park (Brooklyn), the capitol grounds in Washington, DC, the Boston Park System, the Chicago parks and the Chicago World Fair, as well as measures to preserve the natural settings at Niagara Falls, Yosemite, and the Adirondacks. It traces his early years and describes events that were to form his artistic, intellectual, and deeply humanistic sensibilities. And it restores this lost American hero to his prominent place in history. In addition to being the acknowledged father of American landscape architecture, Frederick Law Olmsted helped shape the political and philosophical climate of America in his own time and today. Elizabeth Stevenson is the author of the Bancroft Award-winning Henry Adams: A Biography; The Glass Lark, a biography of Lafcadio Hearn; and Babbitts and Bohemians: From the Great War to the Great Depression, all available from Transaction.

"Figures in a Western Landscape is an absolutely stunning book. A biographer's take on the story of the American West, it posits that the turns of history are based on people-major 'figures' who shape their time and place. In her sequence of biographical essays, Elizabeth Stevenson tells the story of the northern Rockies and, in particular, Montana, a state of mind even more than it is a state of the Union. As her readers have come to expect, she offers more than a mere recounting of events. Stevenson captures the humanity of her subjects." -Charles Little, author of Louis Bromfield at Malabar and Greenways for AmericaThe northern Rocky Mountains and adjacent high plains were the last American West. Here was the final enactment of our national drama-the last explorations, the final battles of the Indian wars, the closing of the frontier. In Figures in a Western Landscape, award-winning biographer Elizabeth Stevenson humanizes the history of the region with a procession of individual lives moving across generations. Each of the sixteen men and women depicted left behind his or her own unique written record or oral history. The stories they have bequeathed are rich in revealing anecdote and colorful detail. Among them: Meriwether Lewis, America's "most introspective explorer," John Kirk Townsend, known to the Chinooks as "the bird chief," Pretty-Shield, wife of the Crow scout who warned Custer to turn back at Little Big Horn, James and Granville Stuart, early settlers lured by rumors of gold in the 1850s.In a concluding chapter, Stevenson draws on previously unpublished material to reveal new information about Martha Jane Cannary Burke, better known as Calamity Jane, the woman who could ride, shoot, and drive a mule team as well as any man (but who once failed to "pass" because she didn't cuss her mules like one). She lies buried in Deadwood, South Dakota, next to the man some said was her husband, Wild Bill Hickok.These and other men and women whose stories Stevenson tells helped to shape, and were in turn shaped by, the uniquely challenging landscape of America's "last West." Their words and actions, here rediscovered, give vivid color to a climactic chapter in American history. This book will be of interest to historians and general readers interested in the people of the American West.Elizabeth Stevenson (1919-1999) was Candler Professor of American Studies, Emeritus, at Emory University and the author of the Bancroft Award-winning Henry Adams: A Biography; The Grass Lark: A Study of Lafcadio Hearn; Babbits and Bohemians: From the Great War to the Depression; Henry James: The Crooked Corridor, and Park Maker: A Life of Frederick Law Olmsted, published by Transaction.

Certain readers and critics have faulted Henry James for two contradictory reasons. He has been thought a writer limited in scope and depth in his treatment of a particular class of people. On the other hand, he has been thought to be too complex, too extreme in putting into difficult language his view of relationships between his chosen characters.

Elizabeth Stevenson depicts Henry James as a stout and strong presence in the literature of the English language. From the relatively youthful, straightforward, and simple writing of his early years, to the involved complexities of his later stories, his significance cannot be denied. The barrier seems to have been a misunderstanding on the part of some. It is true nearly all of his characters are well clothed, well fed, and roofed comfortably. They are usually fairly well educated and talk literately and wittily. James rarely treats raw or wild nature, but he is sensitive to landscape as a background. He also does children well, and they are often outside the norms of society. Who is not touched by the uncanny in the tainted children of The Turn of the Screw, whether the taint is actually in the children or in the mind of the governess?

In James, one may not travel physically a great deal, except to the resorts of those well-off financially and socially. One does travel extensively through the minds and hearts of his characters. The journey rewards the traveler. The delicacy of James' "melodramatic" insights causes tremor or appreciation from a reader. He describes the way life is, both horrible and wonderful. No one else has expressed this understanding in quite his way. Henry James: The Crooked Corridor will be of interest to students of American literature and general readers interested in biographies.

On April 28, 1858, municipal officials announced the winner of the design contest for a great new park for the people of New York City--Plan no. 33, "Greensward" by Frederick Law Olmsted and Calvert Vaux. Though the appropriated ground for what was to become Central Park was nothing more than a barren expanse occupied by squatters, in a matter of a few years, Olmsted turned the wasteland into a landscape of coherence, elegance, and beauty. It not only surpassed the design ingenuity of its existing European counterparts but gained the designer national acclaim in a profession that still lacked a name.
Olmsted was an American visionary. He foresaw the day when New York and many other growing cities of the mid-nineteenth century would be plagued by what we presently term "urban sprawl." And he was convinced of the critical importance of adapting land for the recreational and contemplative needs of city dwellers before the last remnants of natural terrain were engulfed by "monotonous, straight streets and piles of erect, angular buildings." As a result of his early efforts to revolutionize the design of public parks, many cities today are able to preserve the recreational space and greenery within their urban limits. In addition, his thoughts and words on wilderness areas still echo across a century of preservation in the wild.
This lively and insightful account of his prodigious life features many of his outstanding landscape projects, including the Biltmore Estate, Prospect Park (Brooklyn), the capitol grounds in Washington, DC, the Boston Park System, the Chicago parks and the Chicago World Fair, as well as measures to preserve the natural settings at Niagara Falls, Yosemite, and the Adirondacks. It traces his early years and describes events that were to form his artistic, intellectual, and deeply humanistic sensibilities. And it restores this lost American hero to his prominent place in history. In addition to being the acknowledged father of American landscape architecture, Frederick Law Olmsted helped shape the political and philosophical climate of America in his own time and today.
"Elizabeth Stevenson" is the author of the Bancroft Award-winning "Henry Adams: A Biography; The Glass Lark, a biography of Lafcadio Hearn; and Babbitts and Bohemians: From the Great War to the Great Depression, all available from Transaction.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!