Noble McCloud is a twenty-seven year-old, college dropout who lives with his father in a wealthy New Jersey suburb. He avidly listens to music. It's the only thing he does, and while doing so he transports himself to warmer climates with warmer women. Although the town is wealthy, he lives with his father in a relatively poor section. He is jobless and broke, until one afternoon, while daydreaming about heading West, he decides to pick up the electric guitar and make it as a professional musician. The preternatural road he takes is similar to that of every amateur: the expectation of signing a record deal, the fantasy of playing a sold-out stadium, the dream of becoming a legend in his own time. But as Noble follows this rocky path, he ultimately comes to terms with the reality engulfing him, proving the tragic but credible idea that a musician must also survive and learn from his experiences. With imaginative and skillful prose, Harvey Havel, in his first critically acclaimed novel, shows how difficult it can be for a musician to accept himself while still clinging desperately and wildly to his most lavish dreams.
Prisoners released from our bloated American correctional institutions return to a mostly unwelcoming society where they face onerous post-release challenges. No wonder recidivism is near fifty percent, adding tens of billions of dollars annually to the cost of American prisons. Sisyphus No More is a multifaceted argument for increasing prisoner education and training programs to promote the reintegration into society of returning prisoners and increase the likelihood of their securing living-wage jobs. By greatly reducing recidivism, the programs will pay for themselves several times over. Such programs also humanize the treatment of prisoners and help them escape the fate of Sisyphus, the mythological king condemned to a bitterly repetitive fate. The book has two parts. The first provides background on the American prison system and enumerates the tolls incarceration takes on prisoners, their families, and their communities and the costs released prisoners continue to pay that severely hinder their reintegration. In the second part, the authors set forth compelling psychological, sociological, ethical, and financial grounds for increasing education and training to support the reintegration of released prisoners. The final two chapters report on innovative prison education programs and identify steps toward making education and training a priority in our prisons.
This book provides a critical account of the development of questions, approaches, methods, and understandings of literacy within and across disciplines and interdisciplines. It provides a critique of literacy studies, including the New Literacy Studies. This book completes a series that the author began in the 1970s. It criticizes and revises the New Literacy Studies and how we think about literacy generally. It is a revisionist study which argues that literacy and literacy studies are historical developments and must be understood in those terms to comprehend their profound impact on our traditions of thinking about and understanding literacy, and how we study it. Graff argues that literacy studies in its academic, institutional, and policy forums, but also in popular parlance, has lost its critical foundations, and this hinders efforts to promote literacy. He examines literacy over time and across linguistics; anthropology; psychology; reading and writing across modes of communication and comprehension; “new” literacies across digital, visual, performance, numerical, and scientific domains; and history. He underscores the value of new directions of negotiation and translation. This book will interest scholars and students in the many fields that constitute literacy studies across the humanities, social sciences, education, and beyond.
Many fans and insiders alike have never heard of Bill Hume, Bailin' Wire Bill, Abe Martin, AWOL Wally, the Texas History Movies, or the Weatherbird at the St. Louis Post-Dispatch. And many insiders do not know why we call comic books “comics” even though lots of them are not at all funny. Robert C. Harvey, cartoonist and a veteran comics critic, author of several histories of comics and biographies of cartoonists, tells forgotten stories of a dozen now obscure but once famous cartoonists and their creations. He also includes accounts of the cartooning careers of a groundbreaking African American and a woman who broke into an industry once dominated by white men. Many of the better-known stories in some of the book's fourteen chapters are wrapped around fugitive scraps of information that are almost unknown. Which of Bill Mauldin's famous duo is Willie? Which is Joe? What was the big secret about E. Simms Campbell? Who was Funnyman? And why? And some of the pictures are rare, too. Hugh Hefner's cartoons, Kin Hubbard's illustrations for Short Furrows, Betty Swords’s pictures for the Male Chauvinist Pig Calendar of 1974, the Far East pin-up cartoon character Babysan, illustrations for Popo and Fifina, and Red Ryder's last bow.
Noble McCloud is a twenty-seven year-old, college dropout who lives with his father in a wealthy New Jersey suburb. He avidly listens to music. It's the only thing he does, and while doing so he transports himself to warmer climates with warmer women. Although the town is wealthy, he lives with his father in a relatively poor section. He is jobless and broke, until one afternoon, while daydreaming about heading West, he decides to pick up the electric guitar and make it as a professional musician. The preternatural road he takes is similar to that of every amateur: the expectation of signing a record deal, the fantasy of playing a sold-out stadium, the dream of becoming a legend in his own time. But as Noble follows this rocky path, he ultimately comes to terms with the reality engulfing him, proving the tragic but credible idea that a musician must also survive and learn from his experiences. With imaginative and skillful prose, Harvey Havel, in his first critically acclaimed novel, shows how difficult it can be for a musician to accept himself while still clinging desperately and wildly to his most lavish dreams.
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