At the turn of the twentieth century, soybeans grew on so little of America’s land that nobody bothered to track the total. By the year 2000, they covered upward of 70 million acres, second only to corn, and had become the nation’s largest cash crop. How this little-known Chinese transplant, initially grown chiefly for forage, turned into a ubiquitous component of American farming, culture, and cuisine is the story Matthew Roth tells in Magic Bean: The Rise of Soy in America. The soybean’s journey from one continent into the heart of another was by no means assured or predictable. In Asia, the soybean had been bred and cultivated into a nutritious staple food over the course of centuries. Its adoption by Americans was long in coming—the outcome of migration and innovation, changing tastes and habits, and the transformation of food, farming, breeding, marketing, and indeed the bean itself, during the twentieth century. All come in for scrutiny as Roth traces the ups and downs of the soybean’s journey. Along the way, he uncovers surprising developments, including a series of catastrophic explosions at soy-processing plants in the 1930s, the widespread production of tofu in Japanese-American internment camps during World War II, the decades-long project to improve the blandness of soybean oil, the creation of new southern soybean varieties named after Confederate generals, the role of the San Francisco Bay Area counterculture in popularizing soy foods, and the discovery of soy phytoestrogens in the late 1980s. We also encounter fascinating figures in their own right, such as Yamei Kin, the Chinese American who promoted tofu during World War I, and African American chemist Percy Lavon Julian, who played a critical role in the story of synthetic human hormones derived from soy sterols. A thoroughly engaging work of narrative history, Magic Bean: The Rise of Soy in America is the first comprehensive account of the soybean in America over the entire course of the twentieth century.

Nabokov's Women: The Silent Sisterhood of Textual Nomads is the first book-length study to focus on Nabokov's relationship with his heroines. Essays by distinguished Nabokov scholars explore the multilayered and nomadic nature of Nabokov's women: their voice and voicelessness, their absentness, the paradigm of power and sacrifice within which they are situated, the paradox of their unattainability, their complex relationship with textual borders, the travel narrative, with the author himself. By design, Nabokov's woman is often assigned a short-term tourist visa with a firm expiration date. Her departure is facilitated by death or involuntary absence, which watermarks her into the male protagonist's narrative, granting him an artistic release or a gift of self-understanding. When she leaves the stage, her portrait remains ambiguous. She can be powerfully enigmatic, but not self-actualized enough to be dynamic or, for even where the terms of her existence are deeply considered or her image beheld reverently, her recognition seems to be limited to the "Works Cited" register of the male narrator's personal life. As a result, Nabokov's texts often feature a nomadic woman who seems to live without a narratorial homeland, papers of her own, or storytelling privileges. This volume explores the "residency status" of Nabokov's silent nomads-his fleeting lovers, witches, muses, mermaids, and nymphets. As Nabokov scholars analyze the power dynamic of the writer's narrative of male desire, they ponder-are these female characters directionless wanderers or covert operatives in the terrain of Nabokov's text? Whereas each essay addresses a different aspect of Nabokov's artistic relationship with the feminine, together they explore the politics of representation, authorization, and voicelessness. This collection offers new ways of reading and teaching Nabokov and is poised to appeal to a wide range of student and scholarly audiences. Chapter 4, "Nabokov's Mermaid: 'Spring in Fialta'" by Elena Rakhimova-Sommers, is not available in the ebook format due to digital rights restrictions. You can find the earlier version of the chapter in the journal Nabokov Studies.

Nabokov's Women: The Silent Sisterhood of Textual Nomads is the first book-length study to focus on Nabokov's relationship with his heroines. Essays by distinguished Nabokov scholars explore the multilayered and nomadic nature of Nabokov's women: their voice and voicelessness, their absentness, the paradigm of power and sacrifice within which they are situated, the paradox of their unattainability, their complex relationship with textual borders, the travel narrative, with the author himself. By design, Nabokov's woman is often assigned a short-term tourist visa with a firm expiration date. Her departure is facilitated by death or involuntary absence, which watermarks her into the male protagonist's narrative, granting him an artistic release or a gift of self-understanding. When she leaves the stage, her portrait remains ambiguous. She can be powerfully enigmatic, but not self-actualized enough to be dynamic or, for even where the terms of her existence are deeply considered or her image beheld reverently, her recognition seems to be limited to the "Works Cited" register of the male narrator's personal life. As a result, Nabokov's texts often feature a nomadic woman who seems to live without a narratorial homeland, papers of her own, or storytelling privileges. This volume explores the "residency status" of Nabokov's silent nomads-his fleeting lovers, witches, muses, mermaids, and nymphets. As Nabokov scholars analyze the power dynamic of the writer's narrative of male desire, they ponder-are these female characters directionless wanderers or covert operatives in the terrain of Nabokov's text? Whereas each essay addresses a different aspect of Nabokov's artistic relationship with the feminine, together they explore the politics of representation, authorization, and voicelessness. This collection offers new ways of reading and teaching Nabokov and is poised to appeal to a wide range of student and scholarly audiences. Chapter 4, "Nabokov's Mermaid: 'Spring in Fialta'" by Elena Rakhimova-Sommers, is not available in the ebook format due to digital rights restrictions. You can find the earlier version of the chapter in the journal Nabokov Studies.