George Washington is the most popular subject on coins, medals, tokens, paper money and postage stamps in America. Attempts to eliminate one-dollar bills from circulation, replacing them with coins, have been unsuccessful. Americans’ reluctance to part with their “Georges” are beyond rational considerations but tap into deep-felt emotions. To discard one-dollar bills means discarding the metaphorical Father of His Country.
Alexander Hamilton, the nation’s first Secretary of the Treasury, said that monetary tokens were “vehicles of useful impressions.” This numismatic history of George Washington traces the persistence of his image on American currency. These images are mostly from the late 18th-century. This book also offers a close look at the pictorial tradition in which these images are rooted.
Despite its cozy image, the bungalow in literature and film is haunted by violence even while fostering possibilities for personal transformation, utopian social vision and even comedy. Originating in Bengal and adapted as housing for colonialist ventures worldwide, the homes were sold in mail-order kits during the “bungalow mania” of the early 20th century and enjoyed a revival at century’s end. The bungalow as fictional setting stages ongoing contradictions of modernity—home and homelessness, property and dispossession, self and other—prompting a rethinking of our images of house and home. Drawing on the work of writers, architects and film directors, including Katherine Mansfield, E. M. Forster, Amitav Ghosh, Frank Lloyd Wright, Willa Cather, Buster Keaton and Walter Mosley, this study offers new readings of the transcultural bungalow.
A common definition of ekphrasis is descriptive writing influenced by the visual arts. Beyond the written word, however, responding to art can engender self-reflection, creativity, and help writers to build characters, plot, and setting. This book unites the history and tradition of ekphrasis, its conventions, the writing process, and multi-genre writing prompts. In addition to subjects such as early art engagement, psychology, and the eye-brain-perception relationship, this book discusses artists’ creative processes, tools, and techniques, and offers instruction on how to read art by way of deep-looking.
Doppelgangers, Alter Egos and Mirror Images in Western Art, 1840–2010: Critical Essays
Edited by Mary D. Edwards
The notion of a person—or even an object—having a “double” has been explored in the visual arts for ages, and in myriad ways: portraying the body and its soul, a woman gazing at her reflection in a pool, or a man overwhelmed by his own shadow. In this edited collection focusing on nineteenth- and twentieth-century western art, scholars analyze doppelgangers, alter egos, mirror images, double portraits and other pairings, human and otherwise, appearing in a large variety of artistic media. Artists whose works are discussed at length include Richard Dadd, Salvador Dalí, Egon Schiele, Frida Kahlo, the creators of Superman, and Nicola Costantino, among many others.
Florence Thomas, a native of the Grassy Creek community of Ashe County, North Carolina, painted most of her life. She began her career in 1930 at the Moore Institute of Art, Science and Industry in Philadelphia, Pennsylvania, and well into her nineties continued to paint the landscapes, still lifes, rural scenes, and farm animals that brought her renown.
This book combines a biography of Thomas with reproductions of 124 of her paintings. Many are accompanied by remarks from the author on her intentions and technique. Information on the artist’s training and artistic development, her sense of composition and especially color, and life on her 400-acre farm on the North Carolina–Virginia state line is also included.
Housing has changed in Sub-Saharan Africa since the Europeans arrived. Africans no longer live in traditional homes. This historical transition from “hut to house,” from traditional to Western style, reflects slavery, colonialism and other social influences.
This book focuses on Cameroon, known as “Africa in Miniature” because of its geographical and cultural representation of the continent at large. Architectural styles, materials and construction techniques are discussed within a larger context, examining how lifestyle changes and architectural trends influence each other. This work is a rich examination of the challenges and opportunities for a new generation of African architects to integrate the lessons of the past and create a future more responsive to the region’s needs.
McFarland is exhibiting at a number of regional and national conferences in the coming months, and conferees are encouraged to take the opportunity to peruse our books and meet an editor. Schedule an appointment by emailing us in advance (Layla Milholen, Gary Mitchem, or Dré Person), or stop by the McFarland booth in the exhibit room for a casual conversation with an editor.
Popular Culture Association in the South Sept 26-28, Wilmington, NC, Layla Milholen Association for the Study of African American Life and History Oct 3-5, Charleston, SC, Dré Person Midwest Popular Culture Association Oct 10-13 Cincinnati, OH, Layla Milholen American Folklore Society Oct 16-19, Baltimore, MD, Gary Mitchem South Central Modern Language Association Oct 24-26, Little Rock, AR, Gary Mitchem Mid-Atlantic Popular Culture Association Nov 7-9, 2019, Pittsburgh, PA, Gary Mitchem Film and History Nov 13-17, Madison, WI, Dré Person National Women’s Studies Association Nov 14-17, San Francisco, CA, Layla Milholen South Atlantic Modern Language Association Nov 15–17, Atlanta, GA, Gary Mitchem American Philosophical Association Jan 8-11, Philadelphia, PA, Dré Person Modern Language Association Jan 9-12, Seattle, WA, Gary Mitchem
The heyday of silent film soon became quaint with the arrival of “talkies.” As early as 1929, critics and historians were writing of the period as though it were the distant past. Much of the literature on the silent era focuses on its filmic art—ambiance and psychological depth, the splendor of the sets and costumes—yet overlooks the inspiration behind these.
This book explores the Middle Ages as the prevailing influence on costume and set design in silent film and a force in fashion and architecture of the era. In the wake of World War I, designers overthrew the artifice of prewar style and manners and drew upon what seemed a nobler, purer age to create an ambiance that reflected higher ideals.
We’re turning 40, and we’re celebrating with a special fortieth anniversary sale! Through June 30, get a 25% discount on ALL books when you use the code ANN2019. And if you’ll be in our area (Ashe County, North Carolina, in the beautiful Blue Ridge Mountains), we’d love to see you at our open house event on Friday, June 14. Thank you for supporting our first 40 years—we look forward to celebrating many more birthdays with you.
On June 14, 2019, McFarland will celebrate its fortieth anniversary with an open house party. From noon to five, our campus at 960 Hwy 88 W, Jefferson, NC will be open to the public with finger food, conversation and tours available, and many of our authors will be in attendance. To stay up-t0-date with event information, follow our event page. Below is a brief company history, with personal thoughts, by founder and editor-in-chief Robert Franklin.
McFarland Publishers Now Forty Years Old
by Robert Franklin
McFarland’s history (founder, Robbie Franklin, me): My close friends Biff and Alicia Stickel were burned out special ed teachers in Connecticut, early 70’s. What to do? Back to the land! They (and their little daughter Maranatha Shone Stickel) drove south till they loved the vibe and the scenery and wound up living on Peak Road from 1972 through part of 1978 (and birthing Micah Stickel). Alicia played piano at the local Baptist church and they were cofounders of the Creston Co-op. I visited them in ’72 (instantly fell for the land and people, the forefinger car salute, the almost drinkable river) and again every year after, and when wife Cheryl Roberts came into my life in 1975, we visited. Soon I was bragging about Ashe County to everybody – “If your car breaks down, the very next person to come along will stop and ask if you need help.” I hope a few readers can recognize the Stickels’ name (he goes by Richard now; they live in Toronto). They are the reason McFarland was begun in Ashe County. We present band of publishers, about fifty in number, owe them great honor.
I did not learn till after we moved here in 1979 that my Revolutionary War ancestor Lieutenant Robert McFarland, after whupping the king at Kings Mountain, lived up here in the 1790s. He then went overmountain to become the first ever sheriff of Greene/Washington County, Tennessee. (I was born in Memphis.)
McFarland & Company, Inc., Publishers is our official name. Founded in April 1979 right here. I had been the executive editor of a smallish scholarly publisher in New Jersey; my mentor/boss/friend Eric Moon (a charismatic Brit) knew before I did it was time for me to go off on “my own” (very misleading words!). The local Ashe County newspaper was failing by 1978 and at first I thought, o.k., I’m an editor type, maybe I can start up a new one. Between summer and Christmas the local fellow David Desautels decided the same thing and very successfully started The Jefferson Times. We became friends and McFarland’s earliest two or three books (including a biography of Soviet leader Brezhnev) were typeset using off-hours time on that new newspaper’s equipment. Katy Zell Taylor was our first fulltime employee (Ashe Central H.S. yearbook editor!) and did a lot of typesetting and correcting. Dental Care in Society was our first published book, in 1980 (ask me some day).
After deciding up in New Jersey to stay with book (versus newspaper) publishing, I phoned the Jefferson Post Office in February 1979 to set up a box number mailing address – they said people had to apply in person. Whew! So I flew from Newark to Tri-Cities, Tennessee (what did I know?), rented a car, drove to Jefferson (hours!), filled out a form, got back in the car, drove back to Tri-Cities, and got back home not long before day was done.
A couple of months later, on April 1, 1979, Cheryl and I packed our former life stuff (including hundreds of books—heavy!) in a small U-Haul, attached it to our VW bug, and began to drive south, the Stickels’ Ashe County on our minds.
My ninth-grade homeroom friend (Toledo, Ohio), Mike Strand, had helped with some financial and emotional support and we stopped at his place in Maryland overnight. Armed with an Ashe return address, I had written several hundred letters (yes!) on a yellow pad on my knees in the front seat while Cheryl drove, and Mike arranged for a nearby university used-to-weird-hours thesis typist to type them all overnight; we mailed them April 2 and drove on. We were headed to my parents’ (retired librarians) house in Charlottesville, with me again writing several hundred short letters on my lap. We had arranged for a similar heroic overnight typing fest (the two days: 905 letters to all the authors I had addresses for, saying my former employer will take good care of you, they’re wonderful publishers—But if by any chance they turn you down for something, give us a shot!).
The U-Haul was too much for the Bug and our left rear wheel came OFF 20 miles north of Charlottesville—but stayed in the wheel well (having nowhere else to go), behaving violently. Definitely exciting (it was my stint at the wheel). We lost two or three days; I split logs for my parents’ fireplace.
In Ashe County finally, we scooped up some reply mail from authors. Already! And we soon secured a sweet farmhouse in Dillard Holler (landlord Jesse Dillard; Mom-figure Clyde Dillard; horse-plus-himself quarter-acre-garden plower Jones Dillard). The Dillard families taught us a great deal about what being “conservative” actually means. (One day Jesse turned up with several hundred fence rails he stored near “our” (his) house; no immediate need, but “I got ’em for 25¢ each.” They stayed stacked for years…) The birth of our sons Charles (in ’81), Nicholas (’85) and William (’89) certainly emphasized the Dillards’ lessons. (Jesse routinely tossed hay bales up into pickup trucks in his 80’s. Lemme be him!)
McFarland itself started out next to the H & R Block office, near the florist, in Jefferson, a small space but enough for our first couple of years. The Jefferson Post Office turned out, under our loyal friend Charles Caudill, to be one of our greatest early assets. He was so supportive as McF struggled through ignorance of mass mailings, foreign registered packages (we learned together!), “library rate” book mailings, etc. McFarland moved in 1981 or ’82 to the Mountain View shopping center between the towns and quickly expanded there. In 1982 we lucked out by having Rhonda Herman agree to join the tiny staff, doing all the “business” stuff while I coddled authors, edited manuscripts and coached the typesetters. High school senior Cynthia Campbell became a stalwart and sixteen year old Cherie Scott was a wow of a typesetter, along with Katy Taylor, on our new typesetting equipment. Within three years we were producing 40 or so new books a year (in 2018 the total was nearly 400).
Meanwhile, the people of Ashe County all around us showed interest, great surprise (“A Publisher in Ashe County?” read one huge Jefferson Times headline), and affection. Highly significant was Hal Colvard, repeatedly trusting us, at Northwestern bank, another wonderful early friend of McFar. We warmly greeted each other on Saturday mornings at the post office for many years after he retired.
By 1984 we’d moved to our present location, which became five buildings on both sides of the road. We’re technically inside Jefferson town limits. We took Mackey McDonald’s trim brick ranch house, whacked walls left and right, pushed out here, there… Years later we added a second floor – my joke is, the main building now has more roof lines than an Italian hill village.
We are, or were, a library-oriented scholarly and reference book publisher. (We’ve grown much more into a straight-to-people operation today but libraries are still a critical component of our efforts.) Two of our earliest works were Library Display Ideas by my sister Linda Franklin and Free Magazines for Libraries, by Adeline Mercer Smith: they were terrific sales successes. Another 1982 biggie was Anabolic Steroids and the Athlete by William M. Taylor, M.D. We hit that topic just as it exploded nationwide. One of the most memorable early works was Keep Watching the Skies! by Bill Warren (1982). This huge book expertly, humorously covers in amazing depth every American science fiction movie of the 1950s and a lot of Hollywood Big Names spoke highly of it in print. We were famous! (Well, the author was…)
McFarland was an early strong supporter of the local arts scene. (There are hundreds of paintings hanging in four of our buildings.) Cheryl Roberts and I founded the publication ARTS/DATES for the Arts Council in 1980 or 1981, and for more than a decade paid all its expenses as it grew grander and ever more useful. Loyal Jane Lonon (Arts Council head) wangled twice for us an N.C. Governor’s Business Award for the Arts and Humanities (go to Raleigh; shake hands; pose for photos; eat dinner).
I joined the strong, active Ashe County Little Theatre and played Dracula for them in 1981, sporting fangs crafted by the late Brett Summey, who became a good friend, now truly missed. Jane Lonon and I wowed the crowd in The King and I and Tom Fowler and I rolled them in the aisles in Greater Tuna. When I played Macbeth, the high school English teacher promised extra credit to student attendees.
McFarland’s output grew rapidly—by the 1990s we were producing hundreds of new titles each year and our staff had doubled, then tripled in size. Margie Turnmire had arrived in the mid–’80s, a beautiful soul and a very smart lady: director of finance and administration. In 1995 the Ashe County Chamber of Commerce honored us with a Business of the Year award (I believe we were the third such) and in 1998 The Wall Street Journal ran a feature article on us, showing that we are a bit unusual in our range of offerings. We have a commanding position in, for example, Vietnam combat memoirs, chess history, baseball (teams, eras, bios), automotive history and popular culture (film, TV, comics, literature…). We’ve done many reference books (though with Wiki-Google etc. now such works are uneconomical to produce); a Library Journal book of the year was local John Stewart’s African States and Rulers in 1989. Lots of Civil War, World War II, American/European/World history, literary criticism. Authors from all over the world. That part’s fun! As I write this we have published 7,800 titles.
We had busted out of our onsite warehouse and used the old Ashe County Jail on Buffalo Road for several years in the 80s! Ultimately we had to move our shipping operation into the building next to the Arts Council owned by Jim Reeves. On its outer wall facing the Arts Center we had Jack Young do the town’s first mural (now painted over): “Ashe County through the Ages.” Finally, Mike Herman built us an entirely new warehouse across the road from our main building in about 1990. Fourteen years later, then-vice-president Rhonda Herman (now president) moved the company onto firmer financial footing by arranging to install state-of-the-art printing equipment in that warehouse (we’d always used out-of-house printing firms).
Cheryl and I love Ashe County. We love the people. We love the trees, the river. (We came in first in the Mixed Expert class canoe race four or five years ago!) I even like the curves driving 23 miles to and fro our home to work (we live practically on the Tennessee line, up in the Flatwoods). The finger salute still works and the tire zing helps me think through business challenges. Our three boys, Charles, Nicky and William, also revere their place of birth. McFarland has about 50 employees, all of whom are exceptionally talented. When I got here to start the company, I truly had my pick of some of the best talent available anywhere, and I mean Anywhere. Our typesetters know every Hungarian or Swedish accent mark there is!
The local merchants have become business partners. Local artists have paintings hanging in our offices. The restaurants are great for business lunches. The weather—sublime (I learned to fell trees and the art of minimizing the lifting and stacking of logs our first year here); I like winter! Mike Herman built our house and the numerous renovations of our current space—impossible to imagine a better job. Stan Barker did some fabulous stone walls at our home. I feel both cozy and exhilarated just getting up in the morning! Ashe County, we’re for you!
McFarland is having an open house (snacks, drinks, tours) starting at noon on Friday, June 14th. We want to show our thanks to a community that has nurtured us for 40 years. Come one, come all!
Nineteenth-century Victorian-era mourning rituals—long and elaborate public funerals, the wearing of lavishly somber mourning clothes, and families posing for portraits with deceased loved ones—are often depicted as bizarre or scary. But behind many such customs were rational or spiritual meanings.
This book offers an in-depth explanation at how death affected American society and the creative ways in which people responded to it. The author discusses such topics as mediums as performance artists and postmortem painters and photographers, and draws a connection between death and the emergence of three-dimensional media.
McFarland’s biographies and memoirs cover the fascinating life stories of both iconic personalities and quiet heroes. On sale now, browse hundreds of titles from history, sports, movies, music, science & technology, literature, military history, transportation and more. When you order direct from our website using the coupon code BIOGRAPHY, print editions of all biographies, autobiographies and memoirs are 20% off now through February 15.
The holidays are a special time at McFarland—in addition to publishing scholarship, many of us also participate in the tree harvest, as Ashe County produces more Christmas trees than any other county in the United States. If you live in the Southeast, you may have a little bit of McFarland in your living room right now! This season, please consider putting some McFarlandunder the tree for the readers in your life. To make your holiday shopping easier, we’re offering 25% off of ALL books through the end of the year! On our website, use coupon code HOLIDAY18, or call us at 800-253-2187. For inspiration, browse our new catalog of of gift ideas for readers. Happy holidays from your friends at McFarland!
Ancient finger rings made of base metals and low-grade silver alloys are increasingly being unearthed and sold through a growing assortment of marketplaces worldwide. Reference material on ancient rings has focused mainly on historic and “high-end” pieces—the precious metals and stones of royalty and the wealthy—while little has been written on the evaluation of common rings. This guide describes their composition, structure and imagery, thus providing merchants, collectors and researchers with a comprehensive reference on these ancient artifacts that, until now, have gone unexamined.
Most artists work alone, but some find a creative partner and team up for their entire careers. Artistic collaborators testify that their work done jointly is better than what each person could create on his or her own. They say this collaboration is like marriage in the way that both partners benefit from a commitment to shared goals, excellent communication and trust.
Based on studio visits and in-depth interviews, this book reports on more than forty collaborating sculptors, painters, printmakers, photographers and other artists who have worked in tandem with architects and performers.
In recent years, artists, architects, activists and curators, as well as corporations and local governments have addressed the urban space. They challenge its use and destination, and dispute current notions of space, legality, trade and artistry. Emerging art practices challenge old ideas about where art belongs, what forms it can take and what political discourses it fosters.
Selected from papers presented at the 2013 Artscapes conference in Canterbury, this collection of new essays explores the dynamic relationship between art and the city. Contributors discuss the everyday artistic use of public space around the world, from sculpture to graffiti to street photography.
Symbolic ornamentation inspired by ancient Greek and Roman art is a long-standing Western tradition. The author explores the designs of 18th century English gunsmiths who engraved classical ornamental patterns on firearms gifted or traded to American Indians. A system of allegory is found that symbolized the Americas of the New World in general, and that enshrined the American Indian peoples as “noble savages.”
The same allegorical context was drawn upon for symbols of national liberty in the early American republic. Inadvertently, many of the symbolic designs used on the trade guns strongly resonated with several Native American spiritual traditions.
Nearly 80 years after his death, Lewis Hine’s name is revered in the world of photography and practically synonymous with the labor reforms of the Progressive Era. His body of work—much of it a century old or more—remains vital as both aesthetic statement and social document.
Drawing on a range of sources, including information from surviving family members, this first full-length illustrated biography presents a detailed and personal portrait of the sociologist and photographer whose haunting images of children at work in cotton mills and coal mines sparked the movement to end child labor, culminating with the Fair Labor Standards Act of 1938. There are 62 of his penetrating photographs included.
There are nearly 500 public works of art throughout New Haven, Connecticut—a city of 17 square miles with 130,000 residents. While other historic East Coast cities—Philadelphia, Providence, Boston—have been the subjects of book-length studies on the function and meaning of public art, New Haven (founded 1638) has been largely ignored. This comprehensive analysis provides an overview of the city’s public art policy, programs and preservation, and explores its two centuries of public art installations, monuments and memorials in a range of contexts.
Among the 12 disciples of Jesus, perhaps none has inspired more magnificent art—as well as political upheaval—than Saint James the Greater. Portrayed in the New Testament as part of Jesus’ inner circle, he was the first apostle to be martyred. Eight centuries later, Saint James, or Santiago, become the de facto patron saint of Spain, believed to be a supernatural warrior who led the victorious Christian armies during the Iberian Reconquista. After 1492, the Santiago cult found its way to the New World, where it continued to exert influence.
Today, he remains the patron saint of pilgrims to the shrine of Santiago de Compostela. His legacy has bequeathed a magnificent tradition of Western art over nearly two millennia.
Rowena Sunder, still an artist in 2018, composes a meta auto-biographical book about five years of her life in New York City between 1965 and 1970. She escapes Toledo and her father’s idea that she should marry and paint on Sundays and drives away in her VW bug. She sells one painting on the way, and arrives in the big city during one of its most exciting times. She works at the (invented) Museum of Invention, sublets on E. 94th Street, makes friends, acquires a cat named Kittyhawk, and finds NYC much to her liking.
After selling paintings to a psychotherapist, he listens while she struggles with mixed feelings about focus. She finally rejoices in the swarm of ideas that come to her from everywhere. Now, a half-century later, she draws her book, and talks directly to the reader in a series of vignettes, all connected by her gift of too many ideas. Rowena loves words and puns and little jokes and these add other perspectives to every page.
First used to gauge New England’s ever-changing weather, now viewed as American folk art, historic weathervanes have been a part of the region’s skyline for more than three centuries. Focusing on examples that can still be seen in public, this comprehensive study of the development of the weathervane describes changes in form and function from colonial times to the present, and also documents the histories of weathervane makers throughout New England.