219 Chapters
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21 Walk Like a Man

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Pete Gill was more on edge about Winslow than he let on to anyone, except perhaps Roy Allen. He and Roy had scouted the Eskimos in a loss against Huntingburg, 61–54, one of only two victories for the Hunters all year. But Winslow was a young team, with no seniors and a squad made up almost entirely of volatile juniors, featuring good speed and streaky shooting skills. If the shots started to fall, they gained confidence with each basket. In Pete’s nightmares, the Eskimos would get hot, the Spuds would go cold, and his dream season would be shot dead in a humiliating flash the very first game of the tournament.

Adding to his worries, on Thursday the Spuds received unexpected and unwelcome word that Allen Voelkel would be unavailable for the Sectional. For several days he had been complaining of severe back pain and fatigue. Perplexed and frustrated, he and his father went first to a chiropractor, who told them the problem was not Allen’s back. Then a Jasper MD examined him and found albumen in his urine. Not a good sign.

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23 (Re)Examining the Latin Lover: Screening Chicano/ Latino Sexualities

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DANIEL ENRIQUE PÉREZ

Marriage? Not for me.

RAMÓN NOVARRO

Chicano/Latino males have been caricatured, stereotyped, and eroticized on the screen throughout the history of US cinema and television. In Latino Images in Film, Charles Ramírez Berg highlights the most common stereotypes for these men: bandido, gang member, buffoon, and Latin lover.1 Although several Chicana/o and Latina/o artists have created images that challenge these stereotypes, they nonetheless persist. Here, I am interested in examining the Latin lover archetype in US popular culture to demonstrate how this image has evolved over the years and how the Latin lover has always had queer characteristics. I trace the trajectory of the Latin lover, beginning with Ramón Novarro and ending with Mario López, and highlight queer aspects of his identity while also underscoring the influence he has had on male aesthetics and on facilitating non-normative discourses on gender and sexuality.

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Ncaa Tournament: Indiana VS. Kentucky, 3-23-12 (90-102)

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Indiana Hoosiers forward Cody Zeller (40) wins the tip off during the Indiana Kentucky 2012 NCAA Men’s Basketball Sweet Sixteen game at the Georgia Dome in Atlanta, Ga., Friday, March 23, 2012.

By Dustin Dopirak

With his head firmly tilted toward the floor, Jordan Hulls shuffled all the way to the final seat on Indiana’s bench and waited to enter the post-game handshake line until there was no postponing it any further.

It was as if he just wasn’t ready for it to end. Really, none of the Hoosiers were.

But on Friday night — really, early Saturday morning — Indiana’s magic season of rebirth came to a close against the team the Hoosiers had beaten in December to announce their return to prominence. No. 4 seeded Indiana kept up with No. 1 Kentucky throughout a maniacally paced and brilliantly played NCAA South Regional semifinal at the Georgia Dome, but the Wildcats’ length, athleticism and ability to draw fouls was too much in the long run, and they advanced to the Elite Eight with a 102-90 victory in front of a crowd of 24,731 that was largely partisan to their side.

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Indiana VS. Kentucky, 12-10-11 (73-72)

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Indiana Hoosiers forward Christian Watford (2) hits the game winning last second shot over Kentucky Wildcats guard Darius Miller (1) during the Indiana Kentucky men’s basketball game at Assembly Hall in Bloomington, Ind., Saturday, Dec. 10, 2011. Indiana won 73-72.

By Dustin Dopirak

Within seconds of his picture-perfect, buzzer-beating 3-pointer’s contact with the net on Assembly Hall’s north goal, Christian Watford was prone on the floor and swimming in an ocean of human catharsis.

The Indiana student section didn’t so much storm the court after the Hoosiers stunned No. 1 Kentucky, 73-72, as swallow it whole. The mayhem built outward from the spot where Watford fell on the floor near the scorer’s table on the west sideline and kept getting bigger until fans covered every single wood panel on Branch McCracken Court at Assembly Hall from end to end.

Fans were singing along with the pep band and lifting each other on their shoulders and trying to find players and coaches to whom to express their gratitude. Watford and several of his teammates escaped from beneath the crush of humanity only to bathe in its glow, standing atop the scorer’s table and gesturing to the crowd as if directing some joyful orchestra.

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Part IV

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Epilogue

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“The Texas criminal justice department just doesn't want to be in the rodeo business.”

—Jim Willett, Former Huntsville Prison Warden

IT has been thirty years since the sounds of the rodeo were last heard in the arena next to the Huntsville Walls Unit. Now the arena is gone as well. Virtually anyone associated with the Texas prison system, or who hails from Huntsville for that matter, has probably been asked on more than one occasion about whether the Texas Prison Rodeo still exists. After responding “no” to the question, the next query without fail is usually either “when did it end?” or “why did it end?” Although many East Texans look back on family outings at the TPR on October Sundays with a sense of nostalgia and wistfulness, if one were to search the Texas Prison Rodeo blogosphere today these rodeo memories tend to be a more mixed bag. One guy named Dave remembered, “I had a buddy who went to one of the last prison rodeos as an inmate. He said it was awful. They left the unit at 3 in the morning and all they had to eat until they got back to the unit that night was a sandwich and a soda water. They had to sit in the sun from early morning till late afternoon. He said it was not an experience he would like to repeat.” Another spectator who went to one of the last shows remembered that “the arena seemed old, but it was outdoors, out in the country, and felt like what a rodeo should be like…. I remember a bunch of inmates dressed in stripes running around the arena chasing something. I forget what. Overall it seemed a more raw and rough experience”1 compared to the annual Houston Livestock and Rodeo Show.

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5 Human Rights, Conditioned Choices, and Performance in Ana Castillo’s Mixquihuala Letters

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CARL GUTIÉRREZ-JONES

An acclaimed poet known for combining protest themes and formal experiment, Ana Castillo became part of a new wave of Chicana fiction writing with the publication of her 1986 novel Mixquiahuala Letters. Like her poetry, the novel is particularly striking for its formal play and especially its attention to narrative structure. Mimicking Julio Cortazar’s novel Rayuela (1963), Castillo presents her reader with various choices regarding how to participate in the text’s construction, soliciting a self-conscious performance that resonates with inquiries regarding the nature of choice—how choices are recognized and conditioned—by characters in the novel. Specifically, Castillo divides Mixquiahula Letters into numbered chapters, then invites readers to restructure the order of the original presentation along certain suggested paths (paths that reorder the letters, sometimes omitting certain letters). For Cortazar, the announced goal was to distinguish active from passive reading, a distinction that he infamously coded in explicitly sexist terms—male reading equated with active interpretation, female reading equated with passive capitulation. (To his credit, Cortazar offered an apology for this formulation later in his career.) Castillo playfully appropriates this narrative territory in order to flip Cortazar’s initial sexual politics on its head: in Mixquiahuala Letters, responsible, engaged reading and the construction of understanding itself inevitably partake of a Chicana feminist critical analysis informed by the human rights movement.

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Part Three Day 1

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Part Three, Day 1

Part Three

Day 1

EVADALE

Part Three, Day l 9:00

AM

After a night of rest and revictualing, I took to the river again. The TV weatherman had warned about rain and thunderstorms, but I dismissed the possibility with the confidence born of the experience of seeing many a TV weather prediction come to naught. Regina drove my pickup home. We did not leave a vehicle at the landing site as I had the Park Service radio to notify her of my arrival at my destination. There was a good current, the sky was sunny, and my heart was light.

Shortly after leaving the Highway 96 bridge, I came to the site of the old highway. Its span over the stream has been removed, but the railroad bridge, picturesque with its framework of iron girders, is still in use. I remember when the old highway bridge was built around 1931! It was the first bridge to span the Neches River and its presence was the finish to the steamboat era.

On the bluff, where the riverboats discharged and took on cargo, there were docks built of great pilings and large planks of virgin longleaf pine. One of my earliest recollections was going down to the wharves to see the steamboats.

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Part Three Day 2

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Part Three, Day 1

Part Three

Day 2

L.N.V.A. CANAL

River Mile 37.4

The morning after the storm, the canal was smooth and lovely, reflecting the still-green trees and the few maples and Chinese tallows which had begun to turn color. The bends are small compared to those of the Neches, and only the first few have sandbars. The canal was constructed in 1925 and, though it is artificial, it follows a series of sloughs and cypress swamps, so retains a natural configuration. One particular cypress swamp on the right is broad and deep and one can paddle about and explore it to some extent. I wanted to save my paddling arm for Cook’s Lake, however, so I passed it by.

One bend is especially wide where a slough from the interior of the island enters the canal and becomes like a lake. Daddy and I once came here fishing, and witnessed a sad sight. A mother with her two teenage children, a boy and a girl, had come to picnic and swim. The young people were splashing about in the shallow water near the shore when the girl slipped off into a deep hole. She couldn’t swim, so the brother jumped in to help and was dragged under also. The mother was almost drowned trying to save them, but managed to struggle to shore and go for help. Divers found the bodies while we were there and brought them to shore. Their limbs were frozen in that last moment when the muscles relaxed in unconsciousness and they drifted downward. The air in their lungs, mixed with blood and mucus, oozed out and formed exotic pink foam flowers about their mouths. The mother

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Part Two Day 2

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Part Two, Day 1

Part Two

Day 2

SECOND DAY

River Mile 89.5

That second morning simply could not have been surpassed for beauty. Where everything turns a rich, rosy gold at evening, the mornings are silver and pearl. Mist covers the river and the sun, rising into an opalescent sky, strikes the dew drops that cover every leaf, twig, and branch, and turns them to flashing diamonds. It is interesting to know that dew neither “falls” nor “rises.”

During the day, the sun heats the earth. At night, the air cools and the earth radiates heat back into the atmosphere, condensing water in the air one molecule at a time on objects that have a lower temperature than the air. There is no dew underneath objects, as even a leaf can prevent the radiant heat from rising.

There were no fresh animal tracks on the sandbar that morning. After the crows advertised my presence the evening before, all the forest knew that

MAN was on the sandbar and avoided it. This is a good reason for barring camping on sandbars except in designated areas.

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3 The Other Train That Derails Us: Performing Latina Anxiety Disorder in “The Night before Christmas”

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ANGIE CHABRAM-DERNERSESIAN

Anxiety is an activation of our senses and our physical readiness so we can assess our surroundings or look for dangers—and so we can be more ready to run or fight. Like the flashing red lights and crossing guards that come down over a railroad track when the train—still miles away—goes over a switch.

DR. J., “ANXIETY, PRACTICALLY SPEAKING

After a hard day’s work, Doña Elena sits down to watch her favorite telenovela, armed with a piping hot cup of café con leche (coffee with milk) and her favorite pan dulce (pastry). She has much company in this much-awaited daily ritual, according to transnational studies of Spanish media culture (see, e.g., LaPastina n.d.).1 Across Latina/o America, viewers of Spanish-language television—men, women, and children alike—join her in savoring yet another installment of this hugely popular televisual genre.

In this particular instance, not long after a reprise of the previous day’s melodramatic plot line, Doña Elena’s television ritual is rudely interrupted by a program change. In a programmed announcement, Doña Elena and her fellow viewers are met head-on with the image of a larger-than-life train that threatens to barrel out of control, lunging out of the small screen and engulfing their bodies, spirits, and home spaces. The burning light of the train offers no escape from televisual darkness or human entrapment. Viewers are thus caught unawares, somehow right in front of the path of the monumental, horrific train, provoking a primal urge to flee or seek protection—what therapists call the “flight syndrome.”2

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A Index of Stories

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Introduction: Rick and Izzy

Rick and Izzy (Rick Peterson and Jason Isringhausen), p. 1

Chapter 1: Reframing—The Shortest Path from Threat to Opportunity

Reframing examples (Jack Cakebread, Colonel Lewis Burwell Puller, Ronald Reagan), p. 9

Chapter 2: Why Reframing at Crunch Time Is Necessary

Reframing Cole’s hockey tryout (Judd, Sherry, and Cole Hoekstra), p. 28

Chapter 3: Reframing from Trying Harder to Trying Easier

Take the grunt out. (Sandy Koufax), p. 43

The accidental world record (Katie Ledecky), p. 44

Try Easy applied to filmmaking (Steven Soderbergh), p. 45

Be extraordinary by being ordinary. (Rick Peterson and the 2001 Oakland A’s pitching staff), p. 49

I don’t need to be better than I already am. (Millionaires’ Magician Steve Cohen), p. 49

Chapter 4: Reframing from Tension to Laughter

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Nicky, Miscellaneous Dumb Dogs, and Other Animals

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Nicky, Miscellaneous Dumb Dogs, and Other Animals

Nicky, My Regular Horseshoeing Dog

For fourteen years, I had my wonderful Nicky, a Malamute-Husky-Wolf mix. I rescued her from a ranch in Sonoma County, California, where the owners had just loaded her up to take her to the pound for killing deer. “Ron will take her!” pleaded the tearful children. “Ron, you’ll take her, won’t you? Please take her!” What could I do? I took her. She was my closest friend for the next fourteen years.

Nicky knew horses. She respected them, but was never fearful of them. I often used her to chase a horse in a field when I had trouble catching the damn thing. She would run the horse until it was winded and I could walk up to it.

She was also my psychic bad-horse detector. After I had caught a new horse and tied it up, I would stand back and observe Nicky. If the horse was going to be well-behaved, Nicky would walk around it looking for hoof parings, and sometimes even walk under the horse. If the horse was likely to give me trouble, Nicky would keep a cautious distance and stay at least six feet away. I never could figure out how she knew.

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1 Reframing—The Shortest Path from Threat to Opportunity

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If opportunity doesn’t knock, build a door.

—MILTON BERLE

At its core, reframing describes the skill of consciously and intentionally thinking about a situation in a new or different way. This, in turn, allows us to shift the meaning we attach to the situation, the actions we take, and the results we achieve. The operative word in our definition is skill. In other words, it’s not something some are gifted with and others are not. With practice, reframing can be learned by anyone.

reframe [ri: ‘ freım]

The skill of consciously thinking about a situation in a new or different way to change how you interpret the situation, the actions you take, and the results you achieve

Blanchard Executive Coach Kate Larsen shared the following analogy with me to describe how reframing works.1 You hop into your car and start the engine. The radio is already on and is playing a song on one of your preset stations. The song is like the voice in your head (a.k.a. your self-talk), often filled with emotion. The preset station is the equivalent of a long-held assumption or belief.

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Roping a Deer

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7978-ch05.pdf

10/6/11

8:17 AM

Page 315

ROPING A DEER

(Names have been removed to protect the stupid)

[Editor’s note: The following has been passed along by email, from many people. If an original contributor can be located, please let me know so proper credit can be awarded. –Untiedt]

Actual letter from someone who farms and writes well:

I had this idea that I was going to rope a deer, put it in a stall, feed it up on corn for a couple of weeks, then kill it and eat it. The first step in this adventure was getting a deer. I figured that, since they congregate at my cattle feeder and do not seem to have much fear of me when we are there (a bold one will sometimes come right up and sniff at the bags of feed while I am in the back of the truck not four feet away), it should not be difficult to rope one, get up to it and toss a bag over its head (to calm it down), then hog tie it and transport it home.

I filled the cattle feeder, then hid down at the end with my rope. The cattle, having seen the roping thing before, stayed well back. They were not having any of it. After about twenty minutes, my deer showed up—three of them. I picked out a likely looking one, stepped out from the end of the feeder, and threw my rope.

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