Go East Young Man

Douglas' own story of his life from his boyhood to his appointment to the Supreme Court in 1939. He tells of poverty, polio, and minorities.

Collects several short stories that provide a critical commentary on the culture of materialism and the class issues between the wealthy and the poor.

Transference of orientalist images and identities to the American landscape and its inhabitants, especially in the West—in other words, portrayal of the West as the “Orient”—has been a common aspect of American cultural history. Place names, such as the Jordan River or Pyramid Lake, offer notable examples, but the imagery and its varied meanings are more widespread and significant. Understanding that range and significance, especially to the western part of the continent, means coming to terms with the complicated, nuanced ideas of the Orient and of the North American continent that European Americans brought to the West. Such complexity is what historical geographer Richard Francaviglia unravels in this book. Since the publication of Edward Said’s book, Orientalism, the term has come to signify something one-dimensionally negative. In essence, the orientalist vision was an ethnocentric characterization of the peoples of Asia (and Africa and the “Near East”) as exotic, primitive “others” subject to conquest by the nations of Europe. That now well-established point, which expresses a postcolonial perspective, is critical, but Francaviglia suggest that it overlooks much variation and complexity in the views of historical actors and writers, many of whom thought of western places in terms of an idealized and romanticized Orient. It likewise neglects positive images and interpretations to focus on those of a decadent and ostensibly inferior East. We cannot understand well or fully what the pervasive orientalism found in western cultural history meant, says Francaviglia, if we focus only on its role as an intellectual engine for European imperialism. It did play that role as well in the American West. One only need think about characterizations of American Indians as Bedouins of the Plains destined for displacement by a settled frontier. Other roles for orientalism, though, from romantic to commercial ones, were also widely in play. In Go East, Young Man, Francaviglia explores a broad range of orientalist images deployed in the context of European settlement of the American West, and he unfolds their multiple significances.

Go East, Young Man, the sequel to Dreamfarer, is an "on the road" adventure story that takes place 150 years in the future. Sam Adams, along with Boone and Alan Webster, travelsfrom San Francisco all the way to Denver, having dangerous encounters on the way. Sam, who played a vital role in shutting down the San Francisco Dream Services Center and waking up half a million dreamers, hopes to meet a mysterious contact in Denver who will recruit him for his next mission. The goal of the nationwide Resistance is to cripple the Dream Factories completely and wake up all Americans, saving them from their psychic dependence on machine-induced dreams, which are far more exciting and fulfilling than the often dull existence of ordinary life. Severely injured, Sam almost died in his narrow escape from the Center. He feels lucky to be alive and to have the two companions he does. Alan was a pol (policeman) in San Francisco, and Boone is a jack-of-all-trades who’s good at fixing things. Later, though, Sam wonders if Boone appeared too conveniently in his customized car to rescue them, and if he can be trusted. They have barely begun their quest across an America that has regressed to being a lawless frontier. Wherever they stop, thieves and murderers attack them. Will they ever survive to reach their destination?

Transference of orientalist images and identities to the American landscape and its inhabitants, especially in the West—in other words, portrayal of the West as the “Orient”—has been a common aspect of American cultural history. Place names, such as the Jordan River or Pyramid Lake, offer notable examples, but the imagery and its varied meanings are more widespread and significant. Understanding that range and significance, especially to the western part of the continent, means coming to terms with the complicated, nuanced ideas of the Orient and of the North American continent that European Americans brought to the West. Such complexity is what historical geographer Richard Francaviglia unravels in this book. Since the publication of Edward Said’s book, Orientalism, the term has come to signify something one-dimensionally negative. In essence, the orientalist vision was an ethnocentric characterization of the peoples of Asia (and Africa and the “Near East”) as exotic, primitive “others” subject to conquest by the nations of Europe. That now well-established point, which expresses a postcolonial perspective, is critical, but Francaviglia suggest that it overlooks much variation and complexity in the views of historical actors and writers, many of whom thought of western places in terms of an idealized and romanticized Orient. It likewise neglects positive images and interpretations to focus on those of a decadent and ostensibly inferior East. We cannot understand well or fully what the pervasive orientalism found in western cultural history meant, says Francaviglia, if we focus only on its role as an intellectual engine for European imperialism. It did play that role as well in the American West. One only need think about characterizations of American Indians as Bedouins of the Plains destined for displacement by a settled frontier. Other roles for orientalism, though, from romantic to commercial ones, were also widely in play. In Go East, Young Man, Francaviglia explores a broad range of orientalist images deployed in the context of European settlement of the American West, and he unfolds their multiple significances.

“For a real insider’s look at life in modern China, readers should turn to Rachel DeWoskin.”—Sophie Beach, The Economist Determined to broaden her cultural horizons and live a “fiery” life, twenty-one-year-old Rachel DeWoskin hops on a plane to Beijing to work for an American PR firm based in the busy capital. Before she knows it, she is not just exploring Chinese culture but also creating it as the sexy, aggressive, fearless Jiexi, the starring femme fatale in a wildly successful Chinese soap opera. Experiencing the cultural clashes in real life while performing a fictional version onscreen, DeWoskin forms a group of friends with whom she witnesses the vast changes sweeping through China as the country pursues the new maxim, “to get rich is glorious.” In only a few years, China’s capital is transformed. With “considerable cultural and linguistic resources” (The New Yorker), DeWoskin captures Beijing at this pivotal juncture in her “intelligent, funny memoir” (People), and “readers will feel lucky to have sharp-eyed, yet sisterly, DeWoskin sitting in the driver’s seat”(Elle).

A Portrait of the Artist as a Young Man is semi-autobiographical, following Joyce's fictional alter-ego through his artistic awakening. The young artist Steven Dedelus begins to rebel against the Irish Catholic dogma of his childhood and discover the great philosophers and artists. He follows his artistic calling to the continent.

A brand-new collection of Sinclair Lewis's prolific body of short fiction, focusing on the author's primary concerns: the issue of class, work and money in America.