There She Lives

"There She Blows! Or, The Log of the Arethusa" by William Hussey Macy. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

A Washington Post style editor’s fascinating and irresistible look back on the Miss America pageant as it approaches its 100th anniversary. The sash. The tears. The glittering crown. And of course, that soaring song. For all its pomp and kitsch, the Miss America pageant is indelibly written into the American story of the past century. From its giddy origins as a summer’s-end tourist draw in Prohibition-era Atlantic City, it blossomed into a televised extravaganza that drew tens of millions of viewers in its heyday and was once considered the highest honor that a young woman could achieve. For two years, Washington Post reporter and editor Amy Argetsinger visited pageants and interviewed former winners and contestants to unveil the hidden world of this iconic institution. There She Was spotlights how the pageant survived decades of social and cultural change, collided with a women’s liberation movement that sought to abolish it, and redefined itself alongside evolving ideas about feminism. For its superstars—Phyllis George, Vanessa Williams, Gretchen Carlson—and for those who never became household names, Miss America was a platform for women to exercise their ambitions and learn brutal lessons about the culture of fame. Spirited and revelatory, There She Was charts the evolution of the American woman, from the Miss America catapulted into advocacy after she was exposed as a survivor of domestic violence to the one who used her crown to launch a congressional campaign; from a 1930s winner who ran away on the night of her crowning to a present-day rock guitarist carving out her place in this world. Argetsinger dissects the scandals and financial turmoil that have repeatedly threatened to kill the pageant—and highlights the unexpected sisterhood of Miss Americas fighting to keep it alive.

"[A] rare piece of scholarly detective work." -- Margaret Mills, Ohio State University In Quest of Indian Folktales publishes for the first time a collection of northern Indian folktales from the late 19th century. Reputedly the work of William Crooke, a well-known folklorist and British colonial official, the tales were actually collected, selected, and translated by a certain Pandit Ram Gharib Chaube. In 1996, Sadhana Naithani discovered this unpublished collection in the archive of the Folklore Society, London. Since then, she has uncovered the identity of the mysterious Chaube and the details of his collaboration with the famous folklorist. In an extensive four-chapter introduction, Naithani describes Chaube's relationship to Crooke and the essential role he played in Crooke's work, as both a native informant and a trained scholar. By unearthing the fragmented story of Chaube's life, Naithani gives voice to a new identity of an Indian folklore scholar in colonial India. The publication of these tales and the discovery of Chaube's role in their collection reveal the complexity of the colonial intellectual world and problematize our own views of folklore in a postcolonial world.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Glimpses of Oneida Life is a remarkable compilation of modern stories of community life at the Oneida Nation of the Thames Settlement and the surrounding area. With topics ranging from work experiences and Oneida customs to pranks, humorous encounters, and ghost stories, these fifty-two unscripted narrations and conversations in Oneida represent a rare collection of first-hand Iroquoian reflections on aspects of daily life and culture not found in print elsewhere. Each text is presented in Oneida with both an interlinear, word-by-word translation and a more colloquial translation in English. The book also contains a grammatical sketch of the Oneida language by Karin Michelson, co-author of the Oneida-English/English-Oneida Dictionary, that describes how words are structured and combined into larger linguistic structures, thus allowing Glimpses to be used as a teaching text as well. The engrossing tales in Glimpses of Oneida Life will be a valuable resource for linguists and language learners, a useful source for those studying the history and culture of Iroquois people in the twentieth-century, and an entertaining read for anyone interested in everyday First Nations life in southern Ontario.

It was a long, low room, with a fireplace, roughly built of limestone, at one end of it. The blazing logs illuminated one corner and sent strange shadows into the others, while the winter wind moaned drearily outside. At the right and left of the fireplace were rude counters, hewn from logs, resting on stumps of unequal height, and behind them were shelves, packed with the sordid miscellany of a frontier trading-post. A closed door on either side seemingly led to other apartments, but there was no sound save the wind and the crackle of the flames. A candle, thrust into the broken neck of a bottle, gave a feeble light to a little space around one end of the counter on which it stood. The rafters were low—so low that a tall man, standing on tiptoe, might easily unhook the smoked hams and sides of bacon that hung there, swaying back and forth when the wind shook the house. Walls, ceiling, and floor were of logs, cut into a semblance of smoothness. The chinks were plastered with a bluish clay, and the crevices in the floor were filled with a mixture of clay and small chips. At the left of the chimney was a rude ladder which led to the loft through an opening in the ceiling. Fingers of sleet tapped at the glass, swirling phantoms of snow drifted by, pausing for a moment at the windows, as if to look within, and one of the men moved his chair closer to the fire.