This book interprets popular American belief and sentiment about cities, suburbs, and small towns in terms of community ideologies. Based on in-depth interviews with residents of American communities, it shows how people construct a sense of identity based on their communities, and how they perceive and explain community problems (e.g., why cities have more crime than their suburban and rural counterparts) in terms of this identity. Hummon reveals the changing role of place imagery in contemporary society and offers an interpretation of American culture by treating commonplaces of community belief in an uncommon way—as facets of competing community ideologies. He argues that by adopting such ideologies, people are able to "make sense" of reality and their place in the everyday world.

The commonplace-book mapped and resourced Renaissance culture's moral thinking, its accepted strategies of argumentation, its rhetoric, and its deployment of knowledge. In this ground-breaking study Ann Moss investigates the commonplace-book's medieval antecedents, its methodology and use as promulgated by its humanist advocates, its varieties as exemplified in its printed manifestations, and the reasons for its gradual decline in the seventeenth century.

Léon Bloy's Exégèse des lieux communs-first published in 1902-appears here in English for the first time through Wiseblood Books. Among the novels, essays, biographies, and journals composed by Bloy, there is one work whose only appropriate classification was given directly in its title: Exegesis of Commonplaces-a peculiar foray into a genre normally reserved for theologians. And yet, as Albert Béguin notes in his sublime Léon Bloy: A Study in Impatience, Bloy's entire output may be seen as a labor of exegesis: "...it became Bloy's aim to make his mind as transparent as possible to the light of grace and to penetrate further and further into the mysteries hidden beneath the surface of history and the state of mankind." In the present volume, this "light of grace" is refracted upon the infallibly trite and rigorously unexamined language of the bourgeoisie. Banalities such as "Business is business," "You can't have everything," "I'll believe it when I see it," "Money can't buy happiness," etc., are treated with the gravity of sacred incantation and provide the framework for Bloy's dissections. As a matter of structure, Exegesis recalls Flaubert's Dictionary of Received Ideas or Bierce's Devil's Dictionary, but whereas the latter are largely satirical (and cynical) attacks on an emerging class of acquisitive conformists, Bloy's project excavates the spiritual content of what might otherwise be dismissed as mere vapidities. Though he despises the bourgeoisie for its greed and vanity, for its hypocrisies and cruelties, Bloy nevertheless recognizes that "the most inane representatives of the bourgeoisie are themselves fearsome prophets," and that, "in the form of Commonplaces, they continually and unwittingly advance truly impressive claims, the implications of which, to them, remain unknown." Those implications, the supernatural blood invigorating an otherwise superficial and often incoherent idiom, are Bloy's true subject, and it is the purpose of his Exegesis to distill their essence.

Exploring America's material culture, Common Places reveals the history, culture, and social and class relationships that are the backdrop of the everyday structures and environments of ordinary people. Examining America's houses and cityscapes, its rural outbuildings and landscapes from perspectives including cultural geography, decorative arts, architectural history, and folklore, these articles reflect the variety and vibrancy of the growing field of vernacular architecture. In essays that focus on buildings and spaces unique to the U.S. landscape, Clay Lancaster, Edward T. Price, John Michael Vlach, and Warren E. Roberts reconstruct the social and cultural contexts of the modern bungalow, the small-town courthouse square, the shotgun house of the South, and the log buildings of the Midwest. Surveying the buildings of America's settlement, scholars including Henry Glassie, Norman Morrison Isham, Edward A. Chappell, and Theodore H. M. Prudon trace European ethnic influences in the folk structures of Delaware and the houses of Rhode Island, in Virginia's Renish homes, and in the Dutch barn widely repeated in rural America. Ethnic, regional, and class differences have flavored the nation's vernacular architecture. Fraser D. Neiman reveals overt changes in houses and outbuildings indicative of the growing social separation and increasingly rigid relations between seventeenth-century Virginia planters and their servants. Fred B. Kniffen and Fred W. Peterson show how, following the westward expansion of the nineteenth century, the structures of the eastern elite were repeated and often rejected by frontier builders. Moving into the twentieth century, James Borchert tracks the transformation of the alley from an urban home for Washington's blacks in the first half of the century to its new status in the gentrified neighborhoods of the last decade, while Barbara Rubin's discussion of the evolution of the commercial strip counterpoints the goals of city planners and more spontaneous forms of urban expression. The illustrations that accompany each article present the artifacts of America's material past. Photographs of individual buildings, historic maps of the nation's agricultural expanse, and descriptions of the household furnishings of the Victorian middle class, the urban immigrant population, and the rural farmer's homestead complete the volume, rooting vernacular architecture to the American people, their lives, and their everyday creations.

Boym provides a view of Russia that is historically informed, replete with unexpected detail, and stamped with authority. Alternating analysis with personal accounts of Russian life, she conveys the foreignness of Russia and examines its peculiar conceptions of private life and common good, of Culture and Trash, of sincerity and banality.

“The Secret History meets The Price of Salt” (Vogue) in this “equal parts dangerous and delicious” (Entertainment Weekly) novel about queer desire, religious zealotry, and the hunger for transcendence among the members of a cultic chapel choir at a Maine boarding school—and the ambitious, terrifyingly charismatic girl that rules over them. When shy, sensitive Laura Stearns arrives at St. Dunstan’s Academy in Maine, she dreams that life there will echo her favorite novel, All Before Them, the sole surviving piece of writing by Byronic “prep school prophet” (and St. Dunstan’s alum) Sebastian Webster, who died at nineteen, fighting in the Spanish Civil War. She soon finds the intensity she is looking for among the insular, Webster-worshipping members of the school’s chapel choir, which is presided over by the charismatic, neurotic, overachiever Virginia Strauss. Virginia is as fanatical about her newfound Christian faith as she is about the miles she runs every morning before dawn. She expects nothing short of perfection from herself—and from the member of the choir. Virginia inducts the besotted Laura into a world of transcendent music and arcane ritual, illicit cliff-diving and midnight crypt visits: a world that, like Webster’s novels, finally seems to Laura to be full of meaning. But when a new school chaplain challenges Virginia’s hold on the “family” she has created, and Virginia’s efforts to wield her power become increasingly dangerous, Laura must decide how far she will let her devotion to Virginia go. The World Cannot Give is a “hypnotic and intense” (Shondaland) meditation on the power, and danger, of wanting more from the world.