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Ashtabula Firefighting
The story of firefighting in Ashtabula is almost as old as the community itself, beginning with the informal citizen bucket brigades of frontier necessity in the early decades of the 1800s. Between 1836 and 1911, the burgeoning Lake Erie port and manufacturing city was served by a cadre of dedicated volunteer fire companies, including the celebrated, award-winning Protection Fire Company. Ashtabula's rapid growth spurred the October 25, 1911, transformation of the city's longstanding volunteer fire corps into a paid, full-time professional fire department. With over 200 archival images drawn from the Ashtabula Fire Department, the private collections of retired city firefighters, and local newspaper and museum archives, Ashtabula Firefighting highlights 170 years of firefighting heritage.
Suicide in the Entertainment Industry
This work covers 840 intentional suicide cases initially reported in Daily Variety (the entertainment industry's trade journal), but also drawing attention from mainstream news media. These cases are taken from the ranks of vaudeville, film, theatre, dance, music, literature (writers with direct connections to film), and other allied fields in the entertainment industry from 1905 through 2000. Accidentally self-inflicted deaths are omitted, except for a few controversial cases. It includes the suicides of well-known personalities such as actress Peg Entwistle, who is the only person to ever commit suicide by jumping from the top of the Hollywood Sign, Marilyn Monroe and Dorothy Dandridge, who are believed to have overdosed on drugs, and Richard Farnsworth and Brian Keith, who shot themselves to end the misery of terminal cancer. Also mentioned, but in less detail, are the suicides of unknown and lesser-known members of the entertainment industry. Arranged alphabetically, each entry covers the person's personal and professional background, method of suicide, and, in some instances, includes actual statements taken from the suicide note.
Elizabeth and James
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Geography and the Political Imaginary in the Novels of Toni Morrison
This book examines Toni Morrison’s fiction as a sustained effort to challenge the dominant narratives produced in the white supremacist political imaginary and conceptualize a more inclusive political imaginary in which black bodies are valued. Herman Beavers closely examines politics of scale and contentious politics in order to discern Morrison's larger intent of revealing the deep structure of power relations in black communities that will enable them to fashion counterhegemonic projects. The volume explores how Morrison stages her ruminations on the political imaginary in neighborhoods or small towns; rooms, houses or streets. Beavers argues that these spatial and domestic geographies are sites where the management of traumatic injury is integral to establishing a sense of place, proposing these “tight spaces” as sites where narratives are produced and contested; sites of inscription and erasure, utterance and silence.
