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In the year 2000, two young editors, Nicholas Blincoe and Matt Thorne, published All Hail the New Puritans, an anthology of short stories which created an impact in the somewhat faded literary scene of Britain at the turn of the millennium. The stories themselves, written by 15 young English writers (Scarlett Thomas, Alex Garland, Ben Richards, Nicholas Blincoe, Candida Clark, Daren King, Geoff Dyer, Matt Thorne, Anna Davis, Bo Fowler, Matthew Branton, Simon Lewis, Tony White, Toby Litt and Rebbecca Ray), together with the editors' manifesto, offered a new and stimulating approach to fiction, although the whole project had an outrageous reception by the literary establishment. For the first time, a collection of essays addresses the importance of the New Puritan movement and provides guidelines to understand this generation of writers.
Mickey Rooney is a cinematic icon whose career lasted from the silent era into the twenty-first century. From the shorts he made as Mickey McGuire to supporting roles in such films as Night at the Museum, Rooney had more than 300 film appearances to his credit. Mickey Rooney was not just a movie star, he was the most popular film performer for several years in a row in the 1930s. In addition to his four Academy Award nominations, Rooney received two special Oscars, including an honorary award for his variety of memorable performances spanning several decades. In The Essential Mickey Rooney, James L. Neibaur examines more than sixty feature films in which the actor appeared, from starring roles in Boys Town, Babes in Arms, and The Human Comedy to acclaimed supporting performances in The Bold and the Brave and The Black Stallion. In addition to familiar works like the Andy Hardy comedies or musicals opposite Judy Garland, lesser known films like Quicksand and Drive a Crooked Road are discussed as examples of the masterful performances he offered again and again. An actor of rare talent and unrestrained exuberance, Rooney appeared so often on film that it probably is impossible to view every performance of his career—one that lasted longer than any other actor in Hollywood. While minor roles are not discussed here, all of his vintage works are, making The Essential Mickey Rooney an indispensable resource for anyone wanting to learn more about the best work of this film icon.
From Aldo Leopold to Zona Gale, here are the profiles of 35 Famous Wisconsin Authors. Meet Native American authors as well as poets, novelists, and contemporary authors.
Vaudeville, as it is commonly known today, began as a response to scandalous variety performances appealing mostly to adult, male patrons. When former minstrel performer and balladeer Tony Pastor opened the Fourteenth Street Theatre in New York in 1881, he was guided by a mission to provide family-friendly variety shows in hopes of drawing in that portion of the audience – women and children – otherwise inherently excluded from variety bills prior to 1881. There he perfected a framework for family-oriented amusements of the highest obtainable quality and style. Historical Dictionary of Vaudeville contains a chronology, an introduction, an extensive bibliography, and the dictionary section has more than 1,000 cross-referenced entries on performing artists, managers and agents, theatre facilities, and the terminology central to the history of vaudeville. This book is an excellent resource for students, researchers, and anyone wanting to know more about vaudeville.
This collection of essays on transnational crime and policing covers a broad range of themes: the relationship between global policing and the transnational-state-system; the impact of advanced technologies on policing practice; the changing morphology of occupational policing subculture; and the transnational practices of police agencies. The essays include case studies and are based on empirical fieldwork that began in the early 1990s and continued for over a decade well into the post 9-11 period. This collection also provides valuable accounts of the 'secret social world' of transnational police, demonstrates that the developmental trajectory of transnational practices was already established prior to the 'age of Homeland Security' and addresses the controversial issue of how transnational policing in all of its complex manifestations might be made politically accountable in the interests of the general global commonwealth.
An American's Story is made up of the stories of James Ashmore's life in public service, to show people in a different way what a police officer's life really is, and because James wanted for these stories to be told before he is unable to, due to any physical problems. James believes once you read this book, you will understand why James is An American's man. Many people might think James retired too early. However, in the last year James worked, there were several death investigations that affected him in a way that was unusual. These deaths included a two-year-old boy and a man James knew, who had a little boy himself, who shot his face off with a shotgun, among other deaths that year. James knew that by retiring, he would not have to see these deaths up close and personal anymore. Over the years, James conducted more than one hundred death investigations of people aged six to ninety-nine!
This definitive 19th-century collection compiles all the extant ballads with all known variants and features Child's commentary for each work. Volume III includes Parts V and VI of the original set — ballads 114–188.
This book examines temporal and formal disruptions found in American autobiographical narratives produced during the end of the nineteenth century. It argues that disruptions were primarily the result of encounters with new communication and transportation technologies. Through readings of major autobiographical works of the period, James E. Dobson argues that the range of affective responses to writing, communicating, and traveling at increasing speed and distance were registered in this literature’s formal innovation. These autobiographical works, Dobson claims, complicate our understanding of the lived experience of time, temporality, and existing accounts of periodization. This study first examines the competing views of space and time in the nineteenth century and then moves to examine how high-speed train travel altered American literary regionalism, the region, and history. Later chapters examine two narratives of failed homecoming that are deeply ambivalent about modernity and technology, Henry James’s The American Scene and Theodore Dreiser’s A Hoosier Holiday, before a reading of the telephone network as a metaphor for historiography and autobiography in Henry Adams’s The Education of Henry Adams.
Dispatched on what was to be an easy assignment of attacking the Privoser Oil Refinery and associated railroad yards at Moravska Ostrava, Czechoslovakia, the 20th Squadron of the 2nd Bombardment Group saw the bloodiest day in their history. Not a single one of the 20th Squadron's B-17 bombers returned from the mission. In this book, the 90 airmen on that mission provide a remarkable personal window into the Allies' Combined Bomber Offensive at its height during World War II. Their stories encapsulate how the U.S. Army Air Force built, trained, and employed one of the mightiest war machines ever seen. These stories also illustrate, however, the terrible cost in lives demanded by that same machine.
One of the Best Books of the Year The Washington Post • Los Angeles Times • Milwaukee Journal Sentinel The story of Frank Sinatra’s second act, Sinatra finds the Chairman on top of the world, riding high after an Oscar victory—and firmly reestablished as the top recording artist of his day. Following Sinatra from the mid-1950s to his death in 1998, Kaplan uncovers the man behind the myth, revealing by turns the peerless singer, the (sometimes) powerful actor, the business mogul, the tireless lover, and—of course—the close associate of the powerful and infamous. It was in these decades that the enduring legacy of Frank Sinatra was forged, and Kaplan vividly captures “Ol’ Blue Eyes” in his later years. The sequel to the New York Times best-selling Frank, here is the concluding volume of the definitive biography of "The Entertainer of the Century.
Drug courts offer radically new ways to deal with the legal and social problems presented by repeat drug offenders, often dismissing criminal charges as an incentive for participation in therapeutic programs. Since the first drug court opened in 1989 in Florida, close to 600 have been established throughout the United States. Although some observers have questioned their efficacy, no one until now has constructed an overall picture of the drug court phenomenon and its place in an American history of the social control of drugs. Here James Nolan examines not only how therapeutic strategies deviate from traditional judiciary proceedings, but also how these differences reflect changes afoot in American culture and conceptions of justice. Nolan draws upon extensive fieldwork to analyze a new type of courtroom drama in which the judge engages directly and regularly with the defendant-turned-client, lawyers play a reduced and less adversarial role, and treatment providers exert unprecedented influence in determining judicially imposed sanctions. The author considers the intended as well as unexpected consequences of therapeutic jurisprudence: for example, behavior undergoes a pathological reinterpretation, guilt is discredited, and the client's life story and ability to convince the judge of his or her willingness to change take on a new importance. Nolan finds that, fueled in part by the strength of therapeutic sensibilities in American culture, the drug court movement continues to expand and advances with it new understandings of the meaning and practice of justice.
In February 1988, Jimmy Swaggart, the world's most watched televangelist, was caught consorting with a prostitute in New Orleans. This study examines Swaggart's rhetorical campaign to salvage his ministry in the aftermath of those actions. By analyzing his sermons, letters, and magazine articles the work seeks to discover the rationale that Swaggart offered his doctrinal community to justify the claim, I am worthy of forgiveness and continued support.Using Stephen Toulmin's model of informal argument as a tool to unlock the shared worldview of rhetor and audience, this study argues that Swaggart's overt stance, I am solely to blame for what I did, was not the conclusion his primary audience would reach. Using stories and doctrinal arguments, Swaggart successfully argued that he was not at fault for his actions, that his actions could accurately be blamed on other individuals, and that the entire ordeal would lead to an improved Swaggart. Yet because the arguments were part of the Pentecostal worldview shared by speaker and audience, many parts of the arguments were left unspoken. As such, they were completely missed by many outside observers.
At long last, the first serious biography of entertainment legend Lena Horne -- the celebrated star of film, stage, and music who became one of the first African-American icons. At the 2001 Academy Awards, Halle Berry thanked Lena Horne for paving the way for her to become the first black recipient of a Best Actress Oscar. Though limited, mostly to guest singing appearances in splashy Hollywood musicals, "the beautiful Lena Horne," as she was often called, became a pioneering star for African Americans in the 1940s and fifties. Now James Gavin, author of Deep in a Dream: The Long Night of Chet Baker, draws on a wealth of unmined material and hundreds of interviews -- one of them with Horne herself -- to give us the defining portrait of an American icon. Gavin has gotten closer than any other writer to the celebrity who has lived in reclusion since 1998. Incorporating insights from the likes of Ruby Dee, Tony Bennett, Diahann Carroll, Arthur Laurents, and several of Horne's fellow chorines from Harlem's Cotton Club, Stormy Weather offers a fascinating portrait of a complex, even tragic Horne -- a stunning talent who inspired such giants of showbiz as Barbra Streisand, Eartha Kitt, and Aretha Franklin, but whose frustrations with racism, and with tumultuous, root-less childhood, left wounds too deep to heal. The woman who emerged was as angry as she was luminous. From the Cotton Club's glory days and the back lots of Hollywood's biggest studios to the glitzy but bigoted hotels of Las Vegas's heyday, this behind-the-scenes look at an American icon is as much a story of the limits of the American dream as it is a masterful, ground-breaking biography.
William Shawn once called The Talk of the Town the soul of the magazine. The section began in the first issue, in 1925. But it wasn't until a couple of years later, when E. B. White and James Thurber arrived, that the Talk of the Town story became what it is today: a precise piece of journalism that always gets the story and has a little fun along the way. The Fun of It is the first anthology of Talk pieces that spans the magazine's life. Edited by Lillian Ross, the longtime Talk reporter and New Yorker staff writer, the book brings together pieces by the section's most original writers. Only in a collection of Talk stories will you find E. B. White visiting a potter's field; James Thurber following Gertrude Stein at Brentano's; Geoffrey Hellman with Cole Porter at the Waldorf Towers; A. J. Liebling on a book tour with Albert Camus; Maeve Brennan ventriloquizing the long-winded lady; John Updike navigating the passageways of midtown; Calvin Trillin marching on Washington in 1963; Jacqueline Onassis chatting with Cornell Capa; Ian Frazier at the Monster Truck and Mud Bog Fall Nationals; John McPhee in virgin forest; Mark Singer with sixth-graders adopting Hudson River striped bass; Adam Gopnik in Flatbush visiting the ìgrandest theatre devoted exclusively to the movies; Hendrik Hertzberg pinning down a Sulzberger on how the Times got colorized; George Plimpton on the tennis court with Boris Yeltsin; and Lillian Ross reporting good little stories for more than forty-five years. They and dozens of other Talk contributors provide an entertaining tour of the most famous section of the most famous magazine in the world.
In mid-twentieth-century Latin America there was a strong consensus between Left and Right&—Communists working under the directives of the Third International, nationalists within the military interested in fostering industrialization, and populists&—about the need to break away from the colonial legacies of the past and to escape from the constraints of the international capitalist system. Even though they disagreed about the desired end state, Argentines of all political stripes could agree on the need for economic independence and national sovereignty, which would be brought about through the efforts of a national bourgeoisie. James Brennan and Marcelo Rougier aim to provide a political history of this national bourgeoisie in this book. Deploying an eclectic methodology combining aspects of the &“new institutionalism,&” the &“new economic history,&” Marxist political economy, and deep research in numerous, rarely consulted archives into what they dub the &“new business history,&” the authors offer the first thorough, empirically based history of the national bourgeoisie&’s peak association, the Confederaci&ón General Econ&ómica (CGE), and of the Argentine bourgeoisie&’s relationship with the state. They also investigate the relationship of the bourgeoisie to Per&ón and the Peronist movement by studying the history of one industrial sector, the metalworking industry, and two regional economies&—one primarily industrial, C&órdoba, and another mostly agrarian, Chaco&—with some attention to a third, Tucum&án, a cane-cultivating and sugar-refining region sharing some features of both. While spanning three decades, the book concentrates most on the years of Peronist government, 1946&–55 and 1973&–76.
When Jay Cassio's best friend is murdered in a job clearly done by professionals, the walls that he has built to protect himself from the world of others begin to shatter. Dan Del Colliano had been his confidante and protector since the men were children on the savage streets of Newark, New Jersey. When Dan supports and revives Jay after Jay's parents die in a plane crash, their bond deepens to something beyond brotherhood, beyond blood. Now Jay, a successful lawyer, must find out why Dan died and find a way to seek justice for his murder. Isabel Perez has lived a life both tainted and charmed since she was a teenager in Mexico. She holds powerful sway over men and has even more powerful alliances with people no one should ever try to cross. She desperately wants her freedom from the chains these people have placed on her. When Jay catapults into her world, their connection is electric, their alliance is lethal, and their future is anything but certain. Once again, James LePore has given us a novel of passions, intense moral complexities, and irresistible thrills. Filled with characters you will embrace and characters you will fear, Blood of My Brother is a story about a quest for revenge and redemption you won't soon forget.
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