Overview

Raising awareness of fragile spaces without destroying them in the process Last book Ugliness: A Cultural History (2016), widely reviewed Environmental literature has exploded in recent years Little has been written on Great Salt Lake, great interest regionally and nationally There hasn't been a signature book on Great Salt Lake since Terry Tempest Williams' Refuge. Great Salt Lake is often hiding in plain sight and is intimately tied to the water cycle of the American West and climate issues nationally and globally. Audience: General trade, Environmental Studies, Creative Nonfiction/Lit/Essays, Environmental Studies, Creative nonfiction, Environmental Humanities, documentary studies/ land management

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9781595342737

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Reviews

"Praise for Ugliness: A Cultural History ""In her wide-ranging and frequently illuminating study, Gretchen Henderson traces the connections--some obvious, but many not at all--between aesthetic norms and cultural anxieties, from antiquity to the present day. Henderson's totemic character is Polyphemus, the half-divine Cyclops whose appearance in Homer's Odyssey is one of the poem's most harrowing episodes. Set apart by his 'non-Greek race, enormous size, congenital disorder and demigod status' (or, to put it more broadly, by his difference, hybridity, and hypervisibility), the monster exemplifies the lasting tendency to equate appearance with less tangible values. . . . Henderson artfully links the Polyphemus myth to the 'hierarchy of species' found in Aristotle's 'Generation of Animals.' Aristotle's 'downhill slope' is topped by men, followed by women, then devolves into 'hybrid offspring' like satyrs and fauns. This motion, from powerful to exoticized, illustrates the trick--later employed at the height of phrenological and eugenic crazes--of forcing the worth, and, ultimately, the humanity, of certain individuals to correspond with often arbitrary aesthetic categories. . . . Beauty does more than simply seduce: it masks and perfumes, freezes moral categories in place. Ugliness--with all its seams unconcealed--is sometimes the closest thing to the truth."" ― New Yorker ""A fascinating meditation on a slippery subject."" ― Guardian ""Henderson approaches her topic through an impressive number of examples, spanning disciplines, mediums, usages, geographies, and chronologies, and including works of fine and popular art, architecture, mythology, cultural moments, historical facts, and human individuals and groups. The book offers an anecdotal survey of what people have termed 'ugly' in various contexts. . . . The author manages to take the discussion of ugliness into its own territory, beyond a mere opposition to beauty. This book provides an engaging and accessible cultural history that is informative and entices the reader to see things in a different perspective."" ― History Today ""Ugliness: A Cultural History is a provocative book because, while exploring our relationship to that which we brand as ugly (or beautiful), Gretchen Henderson forces us to reflect on our tastes and fears, our social conventions, and our everyday notions of justice. Such a call to attention is always very useful; in our prejudiced age it has become essential."" ― Literary Review""Henderson's cultural history of ugliness skates, at an entertainingly high speed, across large swathes of territory, cultural, historical, and biological, always fascinating...[T]he existence and resistance of the ugly is a reminder--urgent and intense and necessary--that the world does not exist for us alone."" ― Times Literary Supplement""We tend to use the word confidently, as though ugliness has a self-evident and unchanging meaning. In fact, Henderson writes, the ""shape-shifting"" term has a long, strange, and ""unruly history."" Breaking her lively study into sections--""ugly ones,"" ""ugly groups,"" ""ugly senses""--she touches on an impressive assortment of cultural eras in order to form a rather, well, unbecoming picture of human fears, anxieties and prejudices . . . through this well-illustrated study, she makes a terrific case for how we've regulated the borders of acceptability and mistreated whatever crosses the line."" ― Maclean's""In this brief but expansive cultural history, Henderson removes ugliness from its binary relationship with beauty, probing how the term functions as a signifier of cultural boundaries and sites of transformation. . . . Henderson's multidisciplinary approach to the topic makes the book a valuable resource for scholars throughout the arts and humanities. This would also be a useful text for freshman seminars because the writing style fosters discussion and critical thinking. Overall, the book is a highly recommended addition to academic and art libraries."" ― ARLIS/NA ""Engaging ugliness beyond the realm of art and aesthetics and into the realm of sound, sight, and embodiment, Ugliness: A Cultural History makes a valuable contribution to the contemporary study of ugliness and its myriad functions in Western culture. Henderson traces how ugliness moves 'beyond ""ugly"" anomalous individuals and resistant ugly groups to break down borders through ""ugly"" senses that place all human beings into an equal camp."" . . . Henderson's work ultimately demonstrates that ugliness is far more than an aesthetic category. Instead, ugliness operates relationally between people, things, spaces, bodies and modes of being, and that it continually negotiates different meanings and challenges its own stasis. It is ugliness, as much as beauty, that makes us human."" ― PopMatters ""Full-blown examination of deformity through history--the medieval gargoyles, monsters, human-animal hybrids in so-called 'freak shows' and the like."" ― Toronto Star""If beauty is in the eye of the beholder, then so is ugliness. For proof, look no further than the concept's own history, most recently traced by Henderson. Although there are some objectively repugnant moments--until the late twentieth century, cities including Chicago and Omaha had 'ugly laws' that made it illegal for people with disabilities to appear in public--any transgressions that once seemed ugly now look like progress. Among them: the seventeenth-century Chinese painting Ten Thousand Ugly Inkblots, which resembles lauded work from Jackson Pollock, and the music once described as 'grunts and squeaks' also known as jazz. 'Rather than mere binaries, ' Henderson writes, 'ugliness and beauty seem to function more like binary stars. They orbit and attract each other, and we can admire both.'"" ― Time Magazine"

Praise for Ugliness: A Cultural History In her wide-ranging and frequently illuminating study, Gretchen Henderson traces the connections--some obvious, but many not at all--between aesthetic norms and cultural anxieties, from antiquity to the present day. Henderson's totemic character is Polyphemus, the half-divine Cyclops whose appearance in Homer's Odyssey is one of the poem's most harrowing episodes. Set apart by his 'non-Greek race, enormous size, congenital disorder and demigod status' (or, to put it more broadly, by his difference, hybridity, and hypervisibility), the monster exemplifies the lasting tendency to equate appearance with less tangible values. . . . Henderson artfully links the Polyphemus myth to the 'hierarchy of species' found in Aristotle's 'Generation of Animals.' Aristotle's 'downhill slope' is topped by men, followed by women, then devolves into 'hybrid offspring' like satyrs and fauns. This motion, from powerful to exoticized, illustrates the trick--later employed at the height of phrenological and eugenic crazes--of forcing the worth, and, ultimately, the humanity, of certain individuals to correspond with often arbitrary aesthetic categories. . . . Beauty does more than simply seduce: it masks and perfumes, freezes moral categories in place. Ugliness--with all its seams unconcealed--is sometimes the closest thing to the truth. New Yorker A fascinating meditation on a slippery subject. Guardian Henderson approaches her topic through an impressive number of examples, spanning disciplines, mediums, usages, geographies, and chronologies, and including works of fine and popular art, architecture, mythology, cultural moments, historical facts, and human individuals and groups. The book offers an anecdotal survey of what people have termed 'ugly' in various contexts. . . . The author manages to take the discussion of ugliness into its own territory, beyond a mere opposition to beauty. This book provides an engaging and accessible cultural history that is informative and entices the reader to see things in a different perspective. History Today Ugliness: A Cultural History is a provocative book because, while exploring our relationship to that which we brand as ugly (or beautiful), Gretchen Henderson forces us to reflect on our tastes and fears, our social conventions, and our everyday notions of justice. Such a call to attention is always very useful; in our prejudiced age it has become essential. Literary Review Henderson's cultural history of ugliness skates, at an entertainingly high speed, across large swathes of territory, cultural, historical, and biological, always fascinating...[T]he existence and resistance of the ugly is a reminder--urgent and intense and necessary--that the world does not exist for us alone. Times Literary Supplement We tend to use the word confidently, as though ugliness has a self-evident and unchanging meaning. In fact, Henderson writes, the shape-shifting term has a long, strange, and unruly history. Breaking her lively study into sections-- ugly ones, ugly groups, ugly senses --she touches on an impressive assortment of cultural eras in order to form a rather, well, unbecoming picture of human fears, anxieties and prejudices . . . through this well-illustrated study, she makes a terrific case for how we've regulated the borders of acceptability and mistreated whatever crosses the line. Maclean's In this brief but expansive cultural history, Henderson removes ugliness from its binary relationship with beauty, probing how the term functions as a signifier of cultural boundaries and sites of transformation. . . . Henderson's multidisciplinary approach to the topic makes the book a valuable resource for scholars throughout the arts and humanities. This would also be a useful text for freshman seminars because the writing style fosters discussion and critical thinking. Overall, the book is a highly recommended addition to academic and art libraries. ARLIS/NA Engaging ugliness beyond the realm of art and aesthetics and into the realm of sound, sight, and embodiment, Ugliness: A Cultural History makes a valuable contribution to the contemporary study of ugliness and its myriad functions in Western culture. Henderson traces how ugliness moves 'beyond ugly anomalous individuals and resistant ugly groups to break down borders through ugly senses that place all human beings into an equal camp. . . . Henderson's work ultimately demonstrates that ugliness is far more than an aesthetic category. Instead, ugliness operates relationally between people, things, spaces, bodies and modes of being, and that it continually negotiates different meanings and challenges its own stasis. It is ugliness, as much as beauty, that makes us human. PopMatters Full-blown examination of deformity through history--the medieval gargoyles, monsters, human-animal hybrids in so-called 'freak shows' and the like. Toronto Star If beauty is in the eye of the beholder, then so is ugliness. For proof, look no further than the concept's own history, most recently traced by Henderson. Although there are some objectively repugnant moments--until the late twentieth century, cities including Chicago and Omaha had 'ugly laws' that made it illegal for people with disabilities to appear in public--any transgressions that once seemed ugly now look like progress. Among them: the seventeenth-century Chinese painting Ten Thousand Ugly Inkblots, which resembles lauded work from Jackson Pollock, and the music once described as 'grunts and squeaks' also known as jazz. 'Rather than mere binaries, ' Henderson writes, 'ugliness and beauty seem to function more like binary stars. They orbit and attract each other, and we can admire both.' Time Magazine

Author Information

Gretchen Ernster Hendersonwrites across environmental arts, cultural histories, and integrative sciences. Her recent essays have appeared inEcotone,Ploughshares,and theKenyon Review,with co-authored articles inNature SustainabilityandConservation Biology.Her four previous books includeUgliness: A Cultural HistoryandGalerie de Difformit, cross-pollinating genres and arts and translated across five languages. She is a senior lecturer at the University of Texas at Austin and has also taught at Georgetown University, MIT, and the University of Utah, where she was the 201819 Annie Clark Tanner Fellow in Environmental Humanities. Born and raised in California, she is the 2023 Aldo and Estella Leopold Writer in Residence in New Mexico and lives in Arizona.

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