Jamie M. Carr

Makes literature of Niagara Falls available to readers with a variety of interests in literature, culture, and place.Niagara Falls is a place where lands are contested, industry debated, freedom harbored, the spirit uplifted, and fame won. It overflows with stories. Since before digital technologies made visual reproduction easier and more abundant than ever, writers composed Niagara Falls as symbolically meaningful. But in the face of four centuries of writing on this natural wonder, how does one make these stories new? Niagaras of Ink collects anecdotes of famous writers' experiences-previously untold tales, unique takes on well-known visits, and materials just too good to exclude-with an anthology of some of the most engaging Anglo-American writing on the Falls from the nineteenth to early twentieth centuries. This collection invites readers to re-see Niagara through these lenses.

This book maps Christopher Isherwood's intellectual and aesthetic reflections from the late 1930s through the late 1970s. Drawing on the queer theory of Eve Sedgwick and the ethical theory of Michel Foucault, Carr illuminates Isherwood's post-war development of a queer ethos through his focus on the aesthetic, social, and historical politics of the 1930s in his novels Prater Violet (1945), The World in the Evening (1954), and Down There on a Visit (1962), and in his memoir, Christopher and His Kind: 1929–1939 (1976).

This book maps Christopher Isherwood's intellectual and aesthetic reflections from the late 1930s through the late 1970s. Drawing on the queer theory of Eve Sedgwick and the ethical theory of Michel Foucault, Carr illuminates Isherwood's post-war development of a queer ethos through his focus on the aesthetic, social, and historical politics of the 1930s in his novels Prater Violet (1945), The World in the Evening (1954), and Down There on a Visit (1962), and in his memoir, Christopher and His Kind: 1929–1939 (1976).