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The novel tells the story of Mark Travers and his search for redemption after a fall from grace. It is a contemporary retelling of a classic theme: man's search for the Holy Grail and the answer to the age–old question, "Whom does the Grail serve?" Once a respected reporter for The Journal, Mark departs the city in a self–imposed exile after committing the one unpardonable sin that City Room boss Dave Larsen could never tolerate. Mark gets caught up in a web of deceit, manipulated by the notorious crime boss, Lucky Luciano, to do his bidding in the pages of The Journal. Mark is destined to find the redemption he seeks among the good people of Harlan, Iowa, and in the person of a humble boy dying of leukemia. There he finds the answer to his modern–day version of the age–old quest, "Whom does The Journal serve?"
As the original American sports car, the Chevrolet Corvette has come to represent power, freedom and sexuality for more than half a century. Yet it also hints at personal identity and style, suggesting how effectively values and meaning are communicated through an object. Using various critical perspectives, this close analysis of this highly recognizable automobile finds diverse aspects of American culture revealed. Topics covered include the Corvette in literature; its ties to masculine identity, including homosexuality, as well as female sexuality; and the Corvette as artistic object, among others.
Rzepka draws on more than twelve hours of personal interviews with Leonard and applies what he learned to his close analysis of the writer's long life and prodigious output: 45 published novels, 39 published and unpublished short stories, and numerous essays written over the course of six decades.--David Geherin, Eastern Michigan University "International Crime Fiction Association"
Jewish American immigrants and their children have been stereotyped as exceptional educational achievers, with attendance at prestigious universities leading directly to professional success. In College Bound, Dan Shiffman uses literary accounts to show that American Jews' relationship with education was in fact far more complex. Jews expected book learning to bring personal fulfillment and self-transformation, but the reality of public schools and universities often fell short. Shiffman examines a wide range of novels and autobiographies by first- and second-generation writers, including Abraham Cahan, Mary Antin, Anzia Yezierska, Elizabeth Gertrude Stern, Ludwig Lewisohn, Marcus Eli Ravage, Lionel Trilling, and Leo Rosten. Their visions of learning as a process of critical questioning—enlivening the mind, interrogating cultural standards, and confronting social injustices—present a valuable challenge to today's emphasis on narrowly measurable outcomes of student achievement.
The Anthem Handbook of Screen Theory offers a unique and progressive survey of screen theory and how it can be applied to a range of moving-image texts and sociocultural contexts. Focusing on the “handbook” angle, the book includes only original essays from established authors in the field and new scholars on the cutting edge of helping screen theory evolve for the twenty-first-century vistas of new media, social shifts and geopolitical change. This method guarantees a strong foundation and clarity for the canon of film theory, while also situating it as part of a larger genealogy of art theories and critical thought, and reveals the relevance and utility of film theories and concepts to a wide array of expressive practices and specified arguments. The Anthem Handbook of Screen Theory is at once inclusive, applicable and a chance for writers to innovate and really play with where they think the field is, can and should be heading.
From abolition through the years just before the civil rights struggle began, African American women recognized that a mixed-race woman made for a powerful and, at times, very useful figure in the battle for racial justice. The Mulatta and the Politics of Race traces many key instances in which black women have wielded the image of a racially mixed woman to assault the color line. In the oratory and fiction of black women from the late 1840s through the 1950s, Teresa C. Zackodnik finds the mulatta to be a metaphor of increasing potency. Before the Civil War white female abolitionists created the image of the “tragic mulatta,” caught between races, rejected by all. African American women ...
Alongside extensive, thought provoking, and lively analysis of some of the most popular jazz and blues songs of the 20th century, this text contains new work on blackface minstrelsy in early sound movies, racial representation and censorship, torch singers and torch songs, the Hollywood Left, and hot jazz.
In his study of Golden Age and hard-boiled detective fiction from 1890 to 1950, Yan Zi-Ling argues that these two subgenres can be distinguished not only by theme and style, but by the way they structure knowledge, value, and productive labour. Using the detective as a reference point and enactor of socially based interests, Yan shows that Golden Age texts are distinguished by their conservationism (and not only by their conservatism), with the detectives’ actions serving to stabilize institutions with specific ideological aims. In contrast, the criminal investigations of the hard-boiled detective, who is poorly aligned with institutions and strong interest groups, reveal the fragility of ...
In his study of Golden Age and hard-boiled detective fiction from 1890 to 1950, Yan Zi-Ling argues that these two subgenres can be distinguished not only by theme and style, but by the way they structure knowledge, value, and productive labour. Using the detective as a reference point and enactor of socially based interests, Yan shows that Golden Age texts are distinguished by their conservationism (and not only by their conservatism), with the detectives’ actions serving to stabilize institutions with specific ideological aims. In contrast, the criminal investigations of the hard-boiled detective, who is poorly aligned with institutions and strong interest groups, reveal the fragility of ...
Bringing the Nation Back In takes as its starting point a series of developments that shaped politics in the United States and Europe over the past thirty years: the end of the Cold War, the rise of financial and economic globalization, the creation of the European Union, and the development of the postnational. This book contends we are now witnessing a break with the post-1945 world order and with modern politics. Two competing ideas have arisen—global cosmopolitanism and populist nationalism. Contributors argue this polarization of social ethos between cosmopolitanism and nationalism is a sign of a deeper political crisis, which they explore from different perspectives. Rather than taking sides, the aim is to diagnose the origins of the current impasse and to "bring the nation back in" by expanding what we mean by "nation" and national identity and by respecting the localizing processes that have led to national traditions and struggles.