Making Ireland Irish

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Eric G.E. Zuelow

"From the dark shadow of civil war to the pastel-painted tourist towns of today, Making Ireland Irish provides a sweeping account of the evolution of the Irish tourist industry over the twentieth century. Drawing on an extensive array of previously untapped or underused sources, Eric G. E. Zuelow examines how a small group of tourism advocates, inspired by tourist development movements in countries such as France and Spain, worked tirelessly to convince their Irish compatriots that tourism was the secret to Ireland's success. Over time, tourism went from being a national joke to a national interest. Men and women from across Irish society joined in, eager to help shape their country and culture for visitors' eyes. The result was Ireland as it is depicted today, a land of blue skies, smiling faces, pastel towns, natural beauty, ancient history, and timeless traditions. With lucid prose and vivid detail, Zuelow explains how careful planning transformed Irish towns and villages from grey and unattractive to bright and inviting, sanitized Irish history to avoid offending Ireland's largest tourist market, the English, and supplanted traditional rural fairs revolving around muddy animals and featuring sexually suggestive ceremonies with new family-friendly festivals and events filling the tourist calendar today. By challenging existing notions that the Irish tourist product is either timeless or the consequence of colonialism, Zuelow demonstrates that the development of tourist imagery and Irish national identity was not the result of a handful of elites or a postcolonial legacy, but rather the product of an extended discussion that ultimately involved a broad cross-section of society, both inside and outside Ireland. Tourism, he argues, played a vital role in 'making Ireland Irish.'"--Publisher's website.

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John Newman

How involved was the CIA with Lee Harvey Oswald? Why was Oswald's file tampered with before the assassination of John Kennedy? And why were significant documents from it removed afterward? Finally, we have answers to these questions, answers not from theories, but from the primary sources themselves. John Newman has interviewed dozens of high-placed officials who have never before spoken candidly on these sensitive issues. He has thoroughly examined the vast body of new material forced into release by the JFK Records Act of 1992. Oswald and the CIA is a devastating report based on indisputable evidence. Written by a historian who spent more than twenty years with the U.S. intelligence community, it is an insider's account of the secret record. Bit by bit, document by document, the reader watches Oswald's file build as it was observed through the eyes of the intelligence officers who actually handled those files. The Oswald paper trail inside the CIA is a gripping journey through the darkest corners of the Agency's Clandestine Services.

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Keith Clark

"From Frederick Douglass to the present, the preoccupation of black writers with manhood and masculinity has been constant. Black Manhood in James Baldwin, Ernest J. Gaines, and August Wilson explores how in their own work three major African-American writers contest classic portrayals of black men in earlier literature, from slave narratives through the great novels of Richard Wright and Ralph Ellison.". "Keith Clark examines short stories, novels, and plays by Baldwin, Gaines, and Wilson, arguing that since the 1950s the three have interrupted and radically dismantled the constricting literary depictions of black men who equate selfhood with victimization, isolation, and patriarchy. Instead, they have reimagined black men whose identity is grounded in community, camaraderie, and intimacy."--BOOK JACKET.

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George Monteiro

Of the great epic poets in the Western tradition, Luis Vaz de Camoes (c. 1524-1580) remains perhaps the least known outside his native Portugal, and his influence on literature in English has not been fully recognized. In this major work of comparative scholarship, George Monteiro thus breaks new ground. Combining textual analysis with cultural investigation, he focuses on English-language writers whose vision and expression have been sharpened by their varied responses to Camoes. Introduced to English readers in 1655, Camoes's work from the beginning appealed strongly to writers. His Os Lustadas so affected William Hayley's theory of the epic that he commissioned William Blake to paint Camoes's portrait and advised poet Joel Barlow to recast his New World epic along Camonean lines. Robert Southey's disappointment with Lord Strangford's translation of Camoes encouraged him to try his own versions. And the young Elizabeth Barrett's Camonean poems inspired Edgar Allan Poe to appropriate elements from the same source. Herman Melville's reading of Camoes bore fruit in his career-long borrowings from the Portuguese poet. Longfellow, T. W. Higginson, and Emily Dickinson read and championed Camoes. And Camoes as epicist and love poet is an eminence grise in several of Elizabeth Bishop's strongest Brazilian poems. Southern African writers have interpreted and reinterpreted Adamastor, Camoes's Spirit of the Cape, as a symbol of a dangerous and mysterious Africa and an emblem of European imperialism.