Like many boys, Luis Gabriel Aguilera grew up with cartoons, music, friends, and first loves. As he entered his teenage years, he faced the typical questions of adolescence—what kind of person did he want to be? how should he live his life? But for Aguilera, now in his twenties, these questions had a particular urgency. A Mexican immigrant, he came of age in a Polish neighborhood on the South Side of Chicago that was encroached upon by threats of gangs and drugs. He attended Catholic school and, at age thirteen, began an affair with one of the teachers at the local elementary school. All the while he documented his teenage years in a series of journals, which have now grown into Gabriel's Fire.

Aguilera's memoir is not just an account of race relations and street life in the inner city, nor of the plight of the immigrant and the dilemma of class identity for a "minority" family. Gabriel's Fire also movingly recounts the peculiarly daunting and inspiring moments of a particular age, riddled with confusion, desires, and duties and recorded by an exceptionally observant and articulate young man. Aguilera writes that he "grew into" the English language when he was eleven or twelve, and his recollections reflect his newfound delight with words—the conversations, arguments, taunts, song lyrics, and casual interchanges of his youth are rendered here with an immediacy and directness rare in contemporary memoirs.

Both a picture of American culture of the 1980s and 1990s and a coming-of-age story, Gabriel's Fire counters mainstream and mass-mediated images of the inner city, Hispanic culture, and troubled youth. In its honesty and energy, it is a poignant and compelling story of one man's formative years.

A Gallery of Harlem Portraits is Melvin B. Tolson's first book-length collection of poems. It was written in the 1930s when Tolson was immersed in the writings of the Harlem Renaissance, the subject of his master's thesis at Columbia University, and will provide scholars and critics a rich insight into how Tolson's literary picture of Harlem evolved. Modeled on Edgar Lee Master's Spoon River Anthology and showing the influence of Browning and Whitman, it is rooted in the Harlem Renaissance in its fascination with Harlem's cultural and ethnic diversity and its use of musical forms. Robert M. Farnsworth's afterword elucidates these and other literary influences.

Video and computer games in their cultural contexts.

As the popularity of computer games has exploded over the past decade, both scholars and game industry professionals have recognized the necessity of treating games less as frivolous entertainment and more as artifacts of culture worthy of political, social, economic, rhetorical, and aesthetic analysis. Ken McAllister notes in his introduction to Game Work that, even though games are essentially impractical, they are nevertheless important mediating agents for the broad exercise of socio-political power.

In considering how the languages, images, gestures, and sounds of video games influence those who play them, McAllister highlights the ways in which ideology is coded into games. Computer games, he argues, have transformative effects on the consciousness of players, like poetry, fiction, journalism, and film, but the implications of these transformations are not always clear. Games can work to maintain the status quo or celebrate liberation or tolerate enslavement, and they can conjure feelings of hope or despair, assent or dissent, clarity or confusion. Overall, by making and managing meanings, computer games—and the work they involve and the industry they spring from—are also negotiating power.

This book sets out a method for "recollecting" some of the diverse and copious influences on computer games and the industry they have spawned. Specifically written for use in computer game theory classes, advanced media studies, and communications courses, Game Work will also be welcome by computer gamers and designers.

Ken S. McAllister is Assistant Professor of Rhetoric, Composition, and the Teaching of English at the University of Arizona and Co-Director of the Learning Games Initiative, a research collective that studies, teaches with, and builds computer games.

From flight simulators and first-person shooters to MMPOG and innovative strategy games like 2008’s Spore, computer games owe their development to computer simulation and imaging produced by and for the military during the Cold War. To understand their place in contemporary culture, Patrick Crogan argues, we must first understand the military logics that created and continue to inform them. Gameplay Mode situates computer games and gaming within the contemporary technocultural moment, connecting them to developments in the conceptualization of pure war since the Second World War and the evolution of simulation as both a technological achievement and a sociopolitical tool.

Crogan begins by locating the origins of computer games in the development of cybernetic weapons systems in the 1940s, the U.S. Air Force’s attempt to use computer simulation to protect the country against nuclear attack, and the U.S. military’s development of the SIMNET simulated battlefield network in the late 1980s. He then examines specific game modes and genres in detail, from the creation of virtual space in fight simulation games and the co-option of narrative forms in gameplay to the continuities between online gaming sociality and real-world communities and the potential of experimental or artgame projects like September 12th: A Toy World and Painstation, to critique conventional computer games.

Drawing on critical theoretical perspectives on computer-based technoculture, Crogan reveals the profound extent to which today’s computer games—and the wider culture they increasingly influence—are informed by the technoscientific program they inherited from the military-industrial complex. But, Crogan concludes, games can play with, as well as play out, their underlying logic, offering the potential for computer gaming to anticipate a different, more peaceful and hopeful future.

In the first decade of the twenty-first century, video games are an integral part of global media culture, rivaling Hollywood in revenue and influence. No longer confined to a subculture of adolescent males, video games today are played by adults around the world. At the same time, video games have become major sites of corporate exploitation and military recruitment.

In Games of Empire, Nick Dyer-Witheford and Greig de Peuter offer a radical political critique of such video games and virtual environments as Second Life, World of Warcraft, and Grand Theft Auto, analyzing them as the exemplary media of Empire, the twenty-first-century hypercapitalist complex theorized by Michael Hardt and Antonio Negri. The authors trace the ascent of virtual gaming, assess its impact on creators and players alike, and delineate the relationships between games and reality, body and avatar, screen and street.

Games of Empire forcefully connects video games to real-world concerns about globalization, militarism, and exploitation, from the horrors of African mines and Indian e-waste sites that underlie the entire industry, the role of labor in commercial game development, and the synergy between military simulation software and the battlefields of Iraq and Afghanistan exemplified by Full Spectrum Warrior to the substantial virtual economies surrounding World of Warcraft, the urban neoliberalism made playable in Grand Theft Auto, and the emergence of an alternative game culture through activist games and open-source game development.

Rejecting both moral panic and glib enthusiasm, Games of Empire demonstrates how virtual games crystallize the cultural, political, and economic forces of global capital, while also providing a means of resisting them.

Video games have long been seen as the exclusive territory of young, heterosexual white males. In a media landscape dominated by such gamers, players who do not fit this mold, including women, people of color, and LGBT people, are often brutalized in forums and in public channels in online play. Discussion of representation of such groups in games has frequently been limited and cursory. In contrast, Gaming at the Edge builds on feminist, queer, and postcolonial theories of identity and draws on qualitative audience research methods to make sense of how representation comes to matter.

In Gaming at the Edge, Adrienne Shaw argues that video game players experience race, gender, and sexuality concurrently. She asks: How do players identify with characters? How do they separate identification and interactivity? What is the role of fantasy in representation? What is the importance of understanding market logic? In addressing these questions Shaw reveals how representation comes to matter to participants and offers a perceptive consideration of the high stakes in politics of representation debates.

Putting forth a framework for talking about representation, difference, and diversity in an era in which user-generated content, individualized media consumption, and the blurring of producer/consumer roles has lessened the utility of traditional models of media representation analysis, Shaw finds new insight on the edge of media consumption with the invisible, marginalized gamers who are surprising in both their numbers and their influence in mainstream gamer culture.

Video games have been a central feature of the cultural landscape for over twenty years and now rival older media like movies, television, and music in popularity and cultural influence. Yet there have been relatively few attempts to understand the video game as an independent medium. Most such efforts focus on the earliest generation of text-based adventures (Zork, for example) and have little to say about such visually and conceptually sophisticated games as Final Fantasy X, Shenmue, Grand Theft Auto, Halo, and The Sims, in which players inhabit elaborately detailed worlds and manipulate digital avatars with a vast—and in some cases, almost unlimited—array of actions and choices.

In Gaming, Alexander Galloway instead considers the video game as a distinct cultural form that demands a new and unique interpretive framework. Drawing on a wide range of disciplines, particularly critical theory and media studies, he analyzes video games as something to be played rather than as texts to be read, and traces in five concise chapters how the “algorithmic culture” created by video games intersects with theories of visuality, realism, allegory, and the avant-garde. If photographs are images and films are moving images, then, Galloway asserts, video games are best defined as actions.

Using examples from more than fifty video games, Galloway constructs a classification system of action in video games, incorporating standard elements of gameplay as well as software crashes, network lags, and the use of cheats and game hacks. In subsequent chapters, he explores the overlap between the conventions of film and video games, the political and cultural implications of gaming practices, the visual environment of video games, and the status of games as an emerging cultural form.

Together, these essays offer a new conception of gaming and, more broadly, of electronic culture as a whole, one that celebrates and does not lament the qualities of the digital age.

Alexander R. Galloway is assistant professor of culture and communication at New York University and author of Protocol: How Control Exists after Decentralization.

In 2016, a female videogame programmer and a female journalist were harassed viciously by anonymous male online users in what became known as GamerGate. Male gamers threatened to rape and kill both women, and the news soon made international headlines, exposing the level of abuse that many women and minorities face when participating in the predominantly male online culture.

Gaming Masculinity explains how the term “gamer” has been constructed in the popular imagination by a core group of male online users in an attempt to shore up an embattled form of geeky masculinity. This latest form of toxicity comes at a moment of upheaval in gaming culture, as women, people of color, and LGBTQ individuals demand broader access and representation online. Paying close attention to the online practices of trolling and making memes, author Megan Condis demonstrates that, despite the supposedly disembodied nature of life online, performances of masculinity are still afforded privileged status in gamer culture. Even worse, she finds that these competing discourses are not just relegated to the gaming world but are creating rifts within the culture at large, as witnessed by the direct links between the GamerGate movement and the recent rise of the alt-right during the last presidential election.

Condis asks what this moment can teach us about the performative, collaborative, and sometimes combative ways that American culture enacts race, gender, and sexuality. She concludes by encouraging designers and those who work in the tech industry to think about how their work might have, purposefully or not, been developed in ways that are marked by gender.

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In his 2004 book Game Work, Ken S. McAllister proposed a rigorous critical methodology for the discussion of the “video game complex”—the games themselves, their players, the industry that produces them, and those who review and market them. Games, McAllister demonstrated, are viewed and discussed very differently by different factions: as an economic force, as narrative texts, as a facet of popular culture, as a psychological playground, as an ethical and moral force, even as a tool for military training.

 

In Gaming Matters, McAllister and coauthor Judd Ruggill turn from the broader discussion of video game rhetoric to study the video game itself as a medium and the specific features that give rise to games as similar and yet diverse as Pong, Tomb Raider, and Halo. In short, what defines the computer game itself as a medium distinct from all others? Each chapter takes up a different fundamental characteristic of the medium. Games are:

• Idiosyncratic, and thus difficult to apprehend using the traditional tools of media study

• Irreconcilable, or complex to such a degree that developers, players, and scholars have contradictory ways of describing them

• Boring, and therefore obligated to constantly make demands

on players’ attention

• Anachronistic, or built on age-old tropes and forms of play

while ironically bound to the most advanced technologies

• Duplicitous, or dependent on truth-telling rhetoric even when they are about fictions, fantasies, or lies

• Work, or are often better understood as labor rather than play

• Alchemical, despite seeming all-too mechanical or predictable

Video games are now inarguably a major site of worldwide cultural production.

 

Gaming Matters will neither flatter game enthusiasts nor embolden game detractors in their assessments. But it will provide a vocabulary through which games can be discussed in academic settings and will create an important foundation for future academic discourse.

The Rudolphs' analysis reveals that Gandhi's charisma was deeply rooted in the aspects of Indian tradition that he interpreted for his time. They key to his political influence was his ability to realize in both his daily life and his public actions, cultural ideals that many Indians honored but could not enact themselves—ideals such as the traditional Hindu belief that a person's capacity for self-control enhances his capacity to control his environment. Appealing to shared expectations and recognitions, Gandhi was able to revitalize tradition while simultaneously breaking with some of its entrenched values, practices, and interests. One result was a self-critical, ethical, and inclusive nationalist movement that eventually led to independence.

Cinema has long played a major role in the formation of community among marginalized groups, and this book details that process for gay men in Sydney, Australia from the 1950s to the present. Scott McKinnon builds the book from a variety of sources, including film reviews, media reports, personal memoirs, oral histories, and a striking range of films, all deployed to answer the question of understanding cinema-going as a moment of connection to community and identity—how the experience of seeing these films and being part of an audience helped to build a community among the gay men of Sydney in the period.
 

Written by two self-proclaimed "geezers" who have shared forty-six years of hiking together, The Geezers' Guide to Colorado Hikes is the first book aimed at hikers over the age of sixty, as well as not-yet-acclimated visitors to Colorado, who want a glorious outdoor experience with minimal accompanying pain.

Fifty-six hikes are described that fit, in a graded fashion, the physical capabilities of most older hikers. While the majority of hikes listed are in the Denver / Boulder area and the nearby foothills, the authors have detailed several routes in Rocky Mountain National Park, Aspen, and Vail that will entice more ambitious readers up into the high Colorado Rockies.

The Geezers' Guide to Colorado Hikes includes an overview of the physiology of altitude and aging, a summary of altitude-related medical problems, notes on hike preparation and what to pack, and 56 recommended hikes with: Degree of difficulty ratings, distances, e stimated round-trip time for the older hiker, starting altitude and elevation gain figures, driving direction, trail descriptions, and maps.

Both the quest for natural knowledge and the aspiration to alchemical wisdom played crucial roles in the Scientific Revolution, as William R. Newman demonstrates in this fascinating book about George Starkey (1628-1665), America's first famous scientist. Beginning with Starkey's unusual education in colonial New England, Newman traces out his many interconnected careers—natural philosopher, alchemist, chemist, medical practitioner, economic projector, and creator of the fabulous adept, "Eirenaeus Philalethes." Newman reveals the profound impact Starkey had on the work of Isaac Newton, Robert Boyle, Samuel Hartlib, and other key thinkers in the realm of early modern science.

Jan Smuts was one of the key figures behind the creation of the League of Nations; Wilson was inspired by his ideas, including the mandates scheme. He pleaded for a magnanimous peace, warning that the treaty of Versailles would lead to another war.

Institutions of higher education are experiencing the largest influx of enrolled veterans since World War II, and these student veterans are transforming post-secondary classroom dynamics. While many campus divisions like admissions and student services are actively moving to accommodate the rise in this demographic, little research about this population and their educational needs is available, and academic departments have been slower to adjust. In Generation Vet, fifteen chapters offer well-researched, pedagogically savvy recommendations for curricular and programmatic responses to student veterans for English and writing studies departments.

In work with veterans in writing-intensive courses and community contexts, questions of citizenship, disability, activism, community-campus relationships, and retention come to the fore. Moreover, writing-intensive courses can be sites of significant cultural exchanges—even clashes—as veterans bring military values, rhetorical traditions, and communication styles that may challenge the values, beliefs, and assumptions of traditional college students and faculty.

This classroom-oriented text addresses a wide range of issues concerning veterans, pedagogy, rhetoric, and writing program administration. Written by diverse scholar-teachers and written in diverse genres, the essays in this collection promise to enhance our understanding of student veterans, composition pedagogy and administration, and the post-9/11 university.

In The Genius of the System, Thomas Schatz recalls Hollywood’s Golden Age from the 1920s until the dawn of television in the late 1940s, when quality films were produced swiftly and cost efficiently thanks to the intricate design of the system. Schatz takes us through the rise and fall of individual careers and the making—and unmaking—of movies such as Frankenstein, Casablanca, and Hitchcock’s Notorious. Through detailed analysis of major Hollywood moviemakers including Universal, Warner Bros., and MGM, he reminds us of a time when studios had distinct personalities and the relationship between contracts and creativity was not mutually exclusive.

The very question of “what do Jews think about the goyim” has fascinated Jews and Gentiles, anti-Semites and philo-Semites alike. Much has been written about immigrant Jews in nineteenth- and twentieth-century New York City, but Gil Ribak’s critical look at the origins of Jewish liberalism in America provides a more complicated and nuanced picture of the Americanization process.

Gentile New York examines these newcomers’ evolving feelings toward non-Jews through four critical decades in the American Jewish experience. Ribak considers how they perceived Gentiles in general as well as such different groups as “Yankees” (a common term for WASPs in many Yiddish sources), Germans, Irish, Italians, Poles, and African Americans. As they discovered the complexity of America’s racial relations, the immigrants found themselves at odds with “white” American values or behavior and were drawn instead into cooperative relationships with other minorities. Sparked with many previously unknown anecdotes, quotations, and events, Ribak’s research relies on an impressive number of memoirs, autobiographies, novels, newspapers, and journals culled from both sides of the Atlantic.
 

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In the 1880s, the well-connected young Englishman William B. Close and his three brothers, having bought thousands of acres of northwest Iowa prairie, conceived the idea of enticing sons of Britain’s upper classes to pursue the life of the landed gentry on these fertile acres. “Yesterday a wilderness, today an empire”: their bizarre experiment, which created a colony for people “of the better class” who were not in line to inherit land but whose fathers would set them up in farming, flourished in Le Mars, Iowa (and later in Pipestone, Minnesota), with over five hundred youths having a go at farming. In Gentlemen on the Prairie, Curtis Harnack tells the remarkable story of this quite unusual chapter in the settling of the Midwest.    

Many of these immigrants had no interest in American citizenship but enjoyed or endured the challenging adventure of remaining part of the empire while stranded on the plains. They didn’t mix socially with other Le Mars area residents but enjoyed such sports as horse racing, fox hunts, polo, and an annual derby followed by a glittering grand ball. Their pubs were named the House of Lords, the House of Commons, and Windsor Castle; the Prairie Club was a replica of a London gentlemen’s club, an opera house attracted traveling shows, and their principal hotel was Albion House. In St. George’s Episcopal Church, prayers were offered for the well-being of Queen Victoria.

Problems soon surfaced, however, even for these well-heeled aristocrats. The chief problem was farm labor; there was no native population to exploit, and immigrant workers soon bought their own land. Although sisters might visit the colonists and sometimes marry one of them, appropriate female companionship was scarce. The climate was brutal in its extremes, and many colonists soon sold their acres at a profit and moved to countries affiliated with Britain. When the financial depression in the early 1890s lowered land values and made agriculture less profitable, the colony collapsed. Harnack skillfully draws upon the founder’s “Prairie Journal,” company ledgers, and other records to create an engaging, engrossing story of this quixotic pioneering experiment.

Geopolitical Economy examines the significance and nature of free trade agreements (FTAs), the primary policy tool through which modern nations seek access to international markets and promote economic growth. The book focuses specifically on how South Korea, the world’s leader in the number and significance of FTAs as well as the world’s sixth largest export economy, uses FTAs.

Jonathan Krieckhaus argues that geopolitics—the struggle between powerful nations over specific geographic regions around the globe—influenced FTA strategy and economic policy in South Korea and beyond. This perspective illustrates the security approach to FTAs, but adds that the geographic specificity of security concerns deeply shape FTA policy.

Geopolitical Economy also looks at Korean FTAs through the lens of development strategy. South Korea is singularly successful in garnering FTAs with all three players in the global economy: the United States, the European Union, and China. This unprecedented success was built on a strong commitment from three consecutive Korean presidential administrations, each operating within a favorable state-society context that enjoyed the existence of a centralized and effective trade bureaucracy.

One of the highest-paid studio contract directors of his time, George Cukor was nominated five times for an Academy Award as Best Director. In publicity and mystique he was dubbed the “women’s director” for guiding the most sensitive leading ladies to immortal performances, including Greta Garbo, Ingrid Bergman, Judy Garland, and—in ten films, among them The Philadelphia Story and Adam’s Rib—his lifelong friend and collaborator Katharine Hepburn. But behind the “women’s director” label lurked the open secret that set Cukor apart from a generally macho fraternity of directors: he was a homosexual, a rarity among the top echelon. Patrick McGilligan’s biography reveals how Cukor persevered within a system fraught with bigotry while becoming one of Hollywood’s consummate filmmakers.

Since opening in 1931, the George Washington Bridge, linking New York and New Jersey, has become the busiest bridge in the world, with 108 million vehicles crossing it in 2007. Many people also consider it the most beautiful bridge in the world, yet remarkably little has been written about this majestic structure.

Intimate and engaging, Michael Rockland's rich narrative presents perspectives on the GWB, as it is often called, that span history, architecture, engineering, transportation, design, the arts, politics, and even post-9/11 mentality. Stunning archival photos, from the late 1920s when the bridge was built through the present, are a powerful complement to the bridge's history. Rockland covers the competition between the GWB and the Brooklyn Bridge that parallels the rivalry between New Jersey and New York City. Readers will learn about the Swiss immigrant Othmar Ammann, an unsung hero who designed and built the GWB, and how a lack of funding during the Depression dictated the iconic, uncovered steel beams of its towers, which we admire today. There are chapters discussing accidents on the bridge, such as an airplane crash landing in the westbound lanes and the sad story of suicides off its span; the appearance of the bridge in media and the arts; and Rockland's personal adventures on the bridge, including scaling its massive towers on a cable.

Movies, television shows, songs, novels, countless images, and even PlayStation 2 games have aided the GWB in becoming a part of the global popular culture. This tribute will captivate residents living in the shadow of the GWB, the millions who walk, jog, bike, skate, or drive across it, as well as tourists and those who will visit it some day.

• First major book on the George Washington Bridge
• Full of amazing facts about the GWB that will surprise even bridge historians
• Includes over 30 spectacular illustrations, ranging from archival photographs of the building of the bridge to those that show it draped in an enormous flag after 9/11
• Includes personal accounts of the author's adventures on the bridge

The Anglo-Saxon view of Georges Clemenceau (1841-1929) is based on John Maynard Keynes's misjudged caricature, that he had imposed a treaty that was harsh and oppressive of Germany. French critics' view, however, is that he had been too lenient, and left Germany in a position to challenge the treaty. In fact the treaty was a just settlement, and it could have been maintained. The failure was not in the terms of the treaty but in the subsequent failure to insist on maintaining them in the face of German resistance.

Gibbons v. Ogden, Law, and Society in the Early Republic examines a landmark decision in American jurisprudence, the first Supreme Court case to deal with the thorny legal issue of interstate commerce.

Decided in 1824, Gibbons v. Ogden arose out of litigation between owners of rival steamboat lines over passenger and freight routes between the neighboring states of New York and New Jersey. But what began as a local dispute over the right to ferry the paying public from the New Jersey shore to New York City soon found its way into John Marshall’s court and constitutional history. The case is consistently ranked as one of the twenty most significant Supreme Court decisions and is still taught in constitutional law courses, cited in state and federal cases, and quoted in articles on constitutional, business, and technological history.

Gibbons v. Ogden initially attracted enormous public attention because it involved the development of a new and sensational form of technology. To early Americans, steamboats were floating symbols of progress—cheaper and quicker transportation that could bring goods to market and refinement to the backcountry. A product of the rough-and-tumble world of nascent capitalism and legal innovation, the case became a landmark decision that established the supremacy of federal regulation of interstate trade, curtailed states’ rights, and promoted a national market economy. The case has been invoked by prohibitionists, New Dealers, civil rights activists, and social conservatives alike in debates over federal regulation of issues ranging from labor standards to gun control. This lively study fills in the social and political context in which the case was decided—the colorful and fascinating personalities, the entrepreneurial spirit of the early republic, and the technological breakthroughs that brought modernity to the masses.

Scan down a list of essential works in any introduction to anthropology course and you are likely to see Marcel Mauss’ masterpiece, The Gift. With this new translation, Mauss’ classic essay is returned to its original context, published alongside the works that framed its first publication in the 1923–24 issue of L’Année Sociologique. With a critical foreword by Bill Maurer and a new introduction by translator Jane Guyer, this expanded edition is certain to become the standard English version of the essay—a gift that keeps on giving.

Included alongside the “Essay on the Gift” are Mauss’ memorial accounts of the work of Émile Durkheim and his colleagues who were lost during World War I, as well as his scholarly reviews of influential contemporaries such as Franz Boas, J. G. Frazer, Bronislaw Malinowski, and others. Read in the context of these additional pieces, the “Essay on the Gift” is revealed as a complementary whole, a gesture of both personal and political generosity: Mauss’ honor for his fallen colleagues; his aspiration for modern society’s recuperation of the gift as a mode of repair; and his own careful, yet critical, reading of his intellectual milieu. The result sets the scene for a whole new generation of readers to study this essay alongside pieces that exhibit the erudition, political commitment, and generous collegial exchange that first nourished the essay into life.

First Place co-winner, Best Poetry, Latino Literary Hall of Fame

A poetic collage of voices, genres, and time-spaces. A display of power over language and rhythm. A postmodern performance of naked figures hanging in the nebulae of a militarized universe. A new millennium cubist manifesto against decrepit political machines. A mystic song in search of birth and love. In this new collection of poems, Juan Felipe Herrera's natural talent for capturing the raw dimensions of reality merges with his wild imagination and technical prowess.

Things, names, places, histories, herstories, desires, wills, minds, and their effects and progeny are re-mixed, re-mastered, and re-cast into a new narrative theater. Characters in a constant and stubborn rush, appearance, disappearance, and flow—with, against, and for each other—create the fire and give birth to the hallucinatory spotted and leaf-eating, long-necked child. Exciting and original, cutting-edge and risk-taking, Giraffe on Fire is a breathtaking addition to a respected body of work by a poet not afraid to speak out about how poetry reflects the raw beauty and truth of life.

2016 Choice Outstanding Academic Title
Finalist for 2016 Richard Wall Memorial Award from the Theatre Library Association
Long-listed for the 2017 Best Photography Book Award from the Kraszna-Krausz Foundation​

Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men.
 
Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity.
 
Girls Will Be Boys excavates a rich history of gender-bending film roles, enabling readers to appreciate the wide array of masculinities that these actresses performed—from sentimental boyhood to rugged virility to gentlemanly refinement. Taking us on a guided tour through a treasure-trove of vintage images, Girls Will Be Boys helps us view the histories of gender, sexuality, and film through fresh eyes.   

A former singing cowboy himself, John I. White spent decades compiling information on cowboy and western songs and the artists, songwriters, and others attached to them. He also sought out and corresponded with a who's who of the genre, people like Badger Clark, Curley Fletcher, D. J. O'Malley, Romaine Lowdermilk, Will Barnes, Joseph Mills Hanson, and Owen Wister.
 
In Git Along, Little Dogies, White draws on old friendships and his exhaustive files to bring readers the untold story of cowboy and western song. Wonderful anecdotes stand beside White's trademark attention to detail as he painstakingly establishes the time, place, and circumstance behind each song's origin and places the music within the evolution of popular song. He also looks at how radio and recording affected the genre and shows how the music crisscrossed with pop music but also with folk and the traditional Anglo-Irish tradition.
 
From "Whoopee Ti Yi Yo" to "Ten Thousand Cattle Straying," Git Along, Little Dogies ventures from cow camps to saloons to big-city radio studios as it lassos a vivid piece of American music history. 
 

As a writer, Glenway Wescott (1901–1987) left behind several novels, including The Grandmothers and The Pilgrim Hawk, noted for their remarkable lyricism. As a literary figure, Wescott also became a symbol of his times. Born on a Wisconsin farm in 1901, he associated as a young writer with Hemingway, Stein, and Fitzgerald in 1920s Paris and subsequently was a central figure in New York’s artistic and gay communities. Though he couldn’t finish a novel after the age of forty-five, he was just as famous as an arts impresario, as a diarist, and for the company he kept: W. H. Auden, Christopher Isherwood, Marianne Moore, Somerset Maugham, E. M. Forster, Joseph Campbell, and scores of other luminaries.
     In Glenway Wescott Personally, Jerry Rosco chronicles Wescott’s long and colorful life, his early fame and later struggles to write, the uniquely privileged and sometimes tortured world of artistic creation. Rosco sensitively and insightfully reveals Wescott’s private life, his long relationship with Museum of Modern Art curator Monroe Wheeler, his work with sex researcher Alfred Kinsey that led to breakthrough findings on homosexuality, and his kinship with such influential artists as Jean Cocteau, George Platt-Lynes, and Paul Cadmus.

Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection’s esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from “international” to “world” to “transnational” to “global” frames.  

"Karl Marx aspired to a world in which our animal needs would be satisfied and our human needs could be addressed. It is a realistic possibility now, as William Robinson outlines—or the alternative that is taking shape before our eyes: a 'global police state' controlled by narrowly concentrated capital with 'surplus humanity' left to survive somehow on its own. The choice is in our hands."
—Noam Chomsky, author of Who Rules the World?
 
As the world becomes ever more unequal, people become ever more “disposable.” Today, governments systematically exclude sections of their populations from society through heavy-handed policing. But it doesn't always go to plan.
 
William I. Robinson exposes the nature and dynamics of this out-of-control system, arguing for the urgency of creating a movement capable of overthrowing it. The global police state uses a variety of ingenious methods of control, including mass incarceration, police violence, US-led wars, the persecution of immigrants and refugees, and the repression of environmental activists.
 
He writes in his Introduction, “I offer a ‘big picture” of the emerging global police state in a short book that is eminently readable. The pages to follow may startle many readers and make them angry. I trust the work will serve as a warning of the dystopic future that is upon us. More importantly, by exposing the nature and dynamic of this out-of-control system, I hope it will contribute to the struggles to bring about an alternative future based on human freedom and liberation.”
 
Movements have emerged to combat the increasing militarization, surveillance and social cleansing; however, many of them appeal to a moral sense of social justice rather than addressing its root: global capitalism.
 
Using shocking data which reveals how far capitalism has become a system of repression, Robinson argues that the emerging megacities of the world are becoming the battlegrounds where the excluded and the oppressed face off against the global police state.     

What might Heidegger say about Halo, the popular video game franchise, if he were alive today? What would Augustine think about Assassin’s Creed? What could Maimonides teach us about Nintendo’s eponymous hero, Mario? While some critics might dismiss such inquiries outright, protesting that these great thinkers would never concern themselves with a medium so crude and mindless as video games, it is impor­tant to recognize that games like these are becoming the defining medium of our time. We spend more time and money on video games than on books, television, or film, and any serious thinker of our age should be concerned with these games, what they are saying about us, and what we are learning from them.

Yet video games remain relatively unexplored by both scholars and pundits alike. Few have advanced beyond out­moded and futile attempts to tie gameplay to violent behavior. With this rumor now thoroughly and repeatedly disproven, it is time to delve deeper. Just as the Museum of Modern Art in Manhattan recently acquired fourteen games as part of its permanent collection, so too must we seek to add a serious consideration of virtual worlds to the pantheon of philosophical inquiry.

In God in the Machine, author Liel Leibovitz leads a fas­cinating tour of the emerging virtual landscape and its many dazzling vistas from which we are offered new vantage points on age-old theological and philosophical questions. Free will vs. determinism, the importance of ritual, transcendence through mastery, notions of the self, justice and sin, life, death, and resurrection all come into play in the video games that some critics so quickly write off as mind-numbing wastes of time. When one looks closely at how these games are designed, their inherent logic, and their cognitive effects on players, it becomes clear that playing these games creates a state of awareness vastly different from when we watch television or read a book. Indeed, the gameplay is a far more dynamic process that draws on various faculties of mind and body to evoke sensa­tions that might more commonly be associated with religious experience. Getting swept away in an engaging game can be a profoundly spiritual activity. It is not to think, but rather to be, a logic that sustained our ancestors for millennia as they looked heavenward for answers.

As more and more of us look “screenward,” it is crucial to investigate these games for their vast potential as fine instruments of moral training. Anyone seeking a concise and well-reasoned introduction to the subject would do well to start with God in the Machine. By illuminating both where video game storytelling is now and where it currently butts up against certain inherent limitations, Liebovitz intriguingly implies how the field and, in turn, our experiences might continue to evolve and advance in the coming years.

 

Tracing the interrelationship among play, poetic imitation, and power to the Hellenic world, Mihai I. Spariosu provides a revisionist model of cultural change in Greek antiquity. Challenging the traditional and static distinction made between archaic and later Greek culture, Spariosu’s perspective is grounded in a dialectical understanding of values whose dominance depends on cultural emphasis and which shifts through time.
Building upon the scholarship of an earlier volume, Dionysus Reborn, Spariosu her continues to draw on Dionysus—the “God of many names,” of both poetic play and sacred power—as a mythical embodiment of the two sides of the classical Greek mentality. Combining philosophical reflection with close textual analysis, the author examines the divided nature of the Hellenic mentality in such primary canonic texts as the Iliad, the Odyssey, the Theogony, Works and Days, the most well-known of the Presocratic fragments, Euripides’ Bacchae, Aristophanes’ The Frogs, Plato’s Republic and Laws, and Aristotle’s Poetics and Politics.
Spariosu’s model illuminates the many of the most enduring questions in contemporary humanistic study and addresses modern questions about the nature of the interrelation of poetry, ethics, and politics.

When Breeze FM, a radio station in the provincial Zambian town of Chipata, hired an elderly retired schoolteacher in 2003, no one anticipated the skyrocketing success that would follow. A self-styled grandfather on air, Gogo Breeze seeks intimacy over the airwaves and dispenses advice on a wide variety of grievances and transgressions. Multiple voices are broadcast and juxtaposed through call-ins and dialogue, but free speech finds its ally in the radio elder who, by allowing people to be heard and supporting their claims, reminds authorities of their obligations toward the disaffected.
 
Harri Englund provides a masterfully detailed study of this popular radio personality that addresses broad questions of free speech in Zambia and beyond. By drawing on ethnographic insights into political communication, Englund presents multivocal morality as an alternative to dominant Euro-American perspectives, displacing the simplistic notion of voice as individual personal property—an idea common in both policy and activist rhetoric. Instead, Englund focuses on the creativity and polyphony of Zambian radio while raising important questions about hierarchy, elderhood, and ethics in the public sphere.
 
A lively, engaging portrait of an extraordinary personality, Gogo Breeze will interest Africanists, scholars of radio and mass media, and anyone interested in the history and future of free speech.

This collection focuses on the introduction of phenomenology to the United States by the community of scholars who taught and studied at the New School for Social Research from 1954 through 1973. During those years, Dorion Cairns, Alfred Schutz, and Aron Gurwitsch—all former students of Edmund Husserl—came together in the department of philosophy to establish the first locus of phenomenology scholarship in the country. This founding trio was soon joined by three other prominent scholars in the field: Werner Marx, Thomas M. Seebohm, and J. N. Mohanty. The Husserlian phenomenology that they brought to the New School has subsequently spread through the Anglophone world as the tradition of Continental philosophy.

The first part of this volume includes original works by each of these six influential teachers of phenomenology, introduced either by one of their students or, in the case of Seebohm and Mohanty, by the thinkers themselves. The second part comprises contributions from twelve leading scholars of phenomenology who trained at the New School during this period. The result is a powerful document tracing the lineage and development of phenomenology in the North American context, written by members of the first two generations of scholars who shaped the field.

Contributors: Michael Barber, Lester Embree, Jorge García-Gómez, Fred Kersten, Thomas M. T. Luckmann, William McKenna, J. N. Mohanty, Giuseppina C. Moneta, Thomas Nenon, George Psathas, Osborne P. Wiggins, Matthew M. Seebohm, and Richard M. Zaner.

The War that Reshaped the Political Future of Europe

“Jacobsen brings to the story an intimate knowledge of Italy. The battles took place on terrain Jacobsen knows well. . . Recommended.”—Choice

“Jacobsen provides an operational history of Justinian’s campaign. Throughout he traces the military strategies and tactical intrigues of leaders such as the Roman general Belisarius and the Goth leader Totila.”—Publishers Weekly

“Jacobsen knows the sites he writes about, he has read Procopius diligently . . . and his military reconstruction can be faulted only in attributing to both sides rather better command and control than the ancient armies could generally manage. . . . Jacobsen has offered wargamers a tool they will appreciate.”—The Classical Review

A period of stability in the early sixth century A.D. gave the Eastern Roman emperor Justinian an opportunity to recapture parts of the Western Empire which had been lost to invading barbarians in the preceding centuries. The climactic conflict over Italy between 535 and 554—the Gothic War—decided the political future of Europe, holding in its balance the possibility that the Roman Empire might rise again. While large portions of the original territory of the ancient Roman Empire were recaptured, the Eastern Empire was incapable of retaining much of its hard-won advances, and soon the empire once again retracted. As a result of the Gothic War, Italy was invaded by the Lombards who began their important kingdom, the Franks began transforming Gaul into France, and without any major force remaining in North Africa, that territory was quickly overrun by the first wave of Muslim expansion in the ensuing century. Written as a general overview of this critical period, The Gothic War: Justinian’s Campaign to Reclaim Italy opens with a history of the conflict with Persia and the great Roman general Belisarius’s successful conquest of the Vandals in North Africa. After an account of the Ostrogothic tribe and their history, the campaigns of the long war for Italy are described in detail, including the three sieges of Rome, which turned the great city from a bustling metropolis into a desolate ruin. In addition to Belisarius, the Gothic War featured many of history’s most colorful antagonists, including Rome’s Narses the Eunuch, and the Goths’ ruthless and brilliant tactician, Totila. Two appendices provide information about the armies of the Romans and Ostrogoths, including their organization, weapons, and tactics, all of which changed over the course of the war.

Governing Visions of the Real traces the emergence, development, and techniques of Griersonian documentary—named for pioneering Scottish filmmaker John Grierson—in New Zealand throughout the first half of the twentieth century. Paying close attention to the productions of the National Film Unit in the 1940s and ’50s, Lars Weckbecker follows the shifting practices and governmentality of documentary’s “visions of the real” as New Zealand and its population—particularly workers and its indigenous population—came to be envisioned through NFU film for an ensemble of political, pedagogic, and propagandistic purposes.

An illiterate Calabrian in southern Italy owes money to his church and mayor. He skips town for the bustling streets of New York. Meeting an old friend, a fellow immigrant, he thanks him for help getting settled, and then steals his money. With a new parcel of wealth, he materializes from a small-time laborer into a big-time entrepreneur, soon becoming the tyrant of the local Italian American community. By pluck, luck, and unscrupulous business practices, this cunning character "makes America." There are riches, pleasure, and the beautiful Carmela. Then trouble. Comeuppance. Ambush. Revenge.Twenty-first century popular culture? Not at all.

The Grand Gennaro, a riveting saga set at the turn of the last century in Italian American Harlem, reflects on how youthful acts of cruelty and desperation follow many to the grave. A classic in the truest sense, this operatic narrative is alive once again, addressing the question: How does one become an "American"?

Acadia National Park, on Maine’s Mount Desert Island, is among the most popular national parks in the United States. From the road, visitors can experience magnificent vistas of summit and sea, but on a more intimate scale, equally compelling views abound along Acadia’s hiking trails. Tom Wessels, an ecologist, naturalist, and avid hiker, attributes the park’s popularity—and its unusual beauty—to the unique way in which earth, air, fire, and water—in the form of glacially scoured granite, winter winds, fire, and ocean fog—have converged to create a landscape that can be found nowhere else. In this beautifully illustrated book, Wessels invites readers to investigate the remarkable natural history of Mount Desert Island, along with the unique cultural story it gave rise to. This account of nature, terrain, and human interaction with the landscape will delight those who like to hike these bald summits, ride along the carriage roads, or explore the island’s rugged shoreline. Wessels concludes with a guided tour of one of his favorite hikes, a ten-mile loop that will acquaint the reader with the diverse ecosystems described throughout his book.

Reverend Peter Pernin was the parish priest for Peshtigo and nearby Marinette, whose churches burned to the ground. He published his account of the fire in 1874. The late William Converse Haygood served as editor of the Wisconsin Magazine of History from 1957 to 1975. He prepared this version of Father Pernin's account on the occasion of the Peshtigo Fire's centennial in 1971. Foreword writer Stephen J. Pyne is a professor at Arizona State University in Tempe and author of numerous books on wildland fire, including Fire in America.

On the night of October 8, 1871, a whirlwind of fire swept through northeastern Wisconsin, destroying the bustling frontier town of Peshtigo. Trees, buildings, and people burst into flames. Metal melted. Sand turned into glass. People thought the end of the world had come. When the “tornado of fire” was over, 2,500 people were dead, and Peshtigo was nothing but a smoking ruin. It was the deadliest wildfire in U.S. history.

The Great Peshtigo Fire: Stories and Science from America’s Deadliest Firestorm explores the history, science, and legacy of the 1871 Peshtigo Fire at a fourth-grade reading level. Readers will learn about the history of settlement, agriculture, and forestry in 19th-century Wisconsin. This illuminating text covers a diverse range of topics that will enrich the reader’s understanding of the Peshtigo Fire, including the building and land-use practices of the time that made the area ripe for such a fire, the weather patterns that fostered widespread fires throughout the upper Midwest in the summer and fall of 1871, and exciting first-person accounts that vividly bring the `victims’ stories to life. Connections made between the Peshtigo Fire and the history of fire prevention in the United States encourage critical thinking about issues that remain controversial to this day, such as planned burns and housing development restrictions near forested areas. The Great Peshtigo Fire: Stories and Science from America’s Deadliest Firestorm will inform and captivate its readers as it journeys through the horrifying history of the Peshtigo Fire.

Early descriptions of the Great Plains often focus on a vast, grassy expanse that was either burnt or burning. The scene continued to burn until the land was plowed under or grazed away and broken by innumerable roads and towns. Yet, where the original landscape has persisted, so has fire, and where people have sought to restore something of that original setting, they have had to reinstate fire. This has required the persistence or creation of a fire culture, which in turn inspired schools of science and art that make the Great Plains today a regional hearth for American fire.

Volume 5 of To the Last Smoke introduces a region that once lay at the geographic heart of American fire, and today promises to reclaim something of that heritage. After all these years, the Great Plains continue to bear witness to how fires can shape contemporary life, and vice versa. In this collection of essays, Stephen J. Pyne explores how this once most regularly and widely burned province of North America, composed of various subregions and peoples, has been shaped by the flames contained within it and what fire, both tame and feral, might mean for the future of its landscapes.

Included in this volume:

• How wildland and rural fire have changed from the 19th century to the 21st century
• How fire is managed in the nation’s historic tallgrass prairies, from Texas to South Dakota, from Illinois to Nebraska
• How fire connects with other themes of Great Plains life and culture
• How and why Texas has returned to the national narrative of landscape fire

Herbert Marcuse examined the subjective and material conditions of radical social change and developed the "Great Refusal," a radical concept of "the protest against that which is." The editors and contributors to the exciting new volume The Great Refusal provide an analysis of contemporary social movements around the world with particular reference to Marcuse's revolutionary concept. The book also engages-and puts Marcuse in critical dialogue with-major theorists including Slavoj Žižek and Michel Foucault, among others.

The chapters in this book analyze different elements and locations of the contemporary wave of struggle, drawing on the work and vision of Marcuse in order to reveal, with a historical perspective, the present moment of resistance. Essays seek to understand recent uprisings-such as the Zapatistas in Mexico, the Arab Spring, and the Occupy movement-in the context of Marcuse's powerful conceptual apparatus.

The Great Refusal also charts contemporary social movements against global warming, mass incarceration, police brutality, white supremacy, militarization, technological development, and more, to provide insights that advance our understanding of resistance today.

Contributors include: Kevin B. Anderson, Stanley Aronowitz, Joan Braune, Jenny Chan, Angela Y. Davis, Arnold L. Farr, Andrew Feenberg, Michael Forman, Christian Fuchs, Stefan Gandler, Christian Garland, Toorjo Ghose, Imaculada Kangussu, George Katsiaficas, Douglas Kellner, Sarah Lynn Kleeb, Filip Kovacevic, Lauren Langman, Heather Love, Peter Marcuse, Martin J. Beck Matuštík, Russell Rockwell, AK Thompson, Marcelo Vieta, and the editors.

The Great War Comes to Wisconsin examines Wisconsin’s response to World War I, the first "total war" of the twentieth century, a war so large that it engaged virtually everyone.
Instead of a comprehensive history of the battlefield, this book captures the homefront experience: the political debates over war policy, the worry over loved ones fighting overseas, the countless everyday sacrifices, and the impact of a wartime hysteria that drove dissent underground. It also includes the voices of soldiers from Wisconsin’s famed 32nd Division, through extensively quoted letters and newspaper accounts. Immerse yourself in the Wisconsin experience during World War I—a conflict that demonstrated America’s great capacity for sacrifice and generosity, but also for prejudice, intolerance, and injustice.

Generations after its demise, Ebbets Field remains the single most colorful and enduring image of a baseball park, with a treasured niche in the game's legacy and the American imagination.

In this lively story of sports, politics, and the talented, hilarious, and charming characters associated with the Brooklyn Dodgers, Bob McGee chronicles the ballpark's vibrant history from the drawing board to the wrecking ball, beginning with Charley Ebbets and the heralded opening in 1913, on through the eras that followed. McGee weaves a story about how Ebbets Field's architectural details, notable flaws, and striking facade brought Brooklyn and its team together in ways that allowed each to define the other.

Drawing on original interviews and letters, as well as published and archival sources, The Greatest Ballpark Ever explores the struggle of Charley Ebbets to build Ebbets Field, the days of Wilbert Robinson's early pennant winners, the eras of the Daffiness Boys, Larry MacPhail, and Branch Rickey, the tumultuous field leadership of Leo the Lip, the fiery triumph of Jackie Robinson, the golden days of the Boys of Summer, and Walter O'Malley's ignominious departure.

With humor and passion, The Greatest Ballpark Ever lets readers relive a day in the raucous ballpark with its quirky angles and its bent right-field wall, with the characters and events that have become part of the nation's folklore.

Greek Tragedies, Volume III contains Aeschylus’s “The Eumenides,” translated by Richmond Lattimore; Sophocles’s “Philoctetes,” translated by David Grene; Sophocles’s “Oedipus at Colonus,” translated by Robert Fitzgerald; Euripides’s “The Bacchae,” translated by William Arrowsmith; and Euripides’s “Alecestis,” translated by Richmond Lattimore.

 

Many years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. The updated third editions of these classic works were designed to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century.

 

In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays.

 

In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

In three paperback volumes, the Grene and Lattimore editions offer a selection of the most important and characteristic plays of Aeschylus, Sophocles, and Euripides from the nine-volume anthology of The Complete Greek Tragedies. Over the years these authoritative, critically acclaimed editions have been the preferred choice of more than three million readers for personal libraries and individual study as well as for classroom use.

The year was 1963 and from Birmingham to Washington, D.C., from Vietnam to the Kremlin to the Berlin Wall, the world was in the throes of political upheaval and historic change. But that same year, in New York's Greenwich Village, another kind of history and a different sort of politics were being made. This was a political history that had nothing to do with states or governments or armies--and had everything to do with art. And this is the story that Sally Banes tells, a year in the life of American culture, a year that would change American life and culture forever. It was in 1963, as Banes's book shows us, that the Sixties really began.
A leading writer on cultural history, Banes draws a vibrant portrait of the artists and performers who gave the 1963 Village its exhilarating force, the avant-garde whose interweaving of public and private life, work and play, art and ordinary experience, began a wholesale reworking of the social and cultural fabric of America. Among these young artists were many who went on to become acknowledged masters in their fields, including Andy Warhol, John Cage, Yoko Ono, Yvonne Rainer, Lanford Wilson, Sam Shepard, Brian de Palma, Harvey Keitel, Kate Millet, and Claes Oldenburg. In live performance--Off-Off Broadway theater, Happenings, Fluxus, and dance--as well as in Pop Art and underground film, we see this generation of artists laying the groundwork for the explosion of the counterculture in the late 1960s and the emergence of postmodernism in the 1970s. Exploring themes of community, freedom, equality, the body, and the absolute, Banes shows us how the Sixties artists, though shaped by a culture of hope and optimism, helped to galvanize a culture of criticism and change. As 1963 came to define the Sixties, so this vivid account of the year will redefine a crucial generation in recent American history.

In the early years of the twentieth century, Americans began to recognize adolescence as a developmental phase distinct from both childhood and adulthood. This awareness, however, came fraught with anxiety about the debilitating effects of modern life on adolescents of both sexes. For boys, competitive sports as well as "primitive" outdoor activities offered by fledging organizations such as the Boy Scouts would enable them to combat the effeminacy of an overly civilized society. But for girls, the remedy wasn't quite so clear.

Surprisingly, the "girl problem"?a crisis caused by the transition from a sheltered, family-centered Victorian childhood to modern adolescence where self-control and a strong democratic spirit were required of reliable citizens?was also solved by way of traditionally masculine, adventurous, outdoor activities, as practiced by the Girl Scouts, the Camp Fire Girls, and many other similar organizations.

Susan A. Miller explores these girls' organizations that sprung up in the first half of the twentieth century from a socio-historical perspective, showing how the notions of uniform identity, civic duty, "primitive domesticity," and fitness shaped the formation of the modern girl.

Using a "lead economy" approach, Reuveny and Thompson link question about the global trade system to debates about hegemonic stability and the balance of power in world politics. By focusing on economic growth, protectionism, and trade, they surpass hegemonic stability interpretations of international politics to explain not only how hegemons maintain political order, but also the source of hegemonic/systemic leadership, the rise and decline of leadership over time, and the role of system leaders in generating worldwide economic growth and international political economic order.

Rafael Reuveny is Associate Professor in the School of Public and Environmental Affairs at Indiana University. William R. Thompson is Professor of Political Science at Indiana University.

Peter Rose has spent a lifetime exploring patterns of culture, examining issues of race and ethnicity, working with refugees, teaching sociology, and roaming the world. In Guest Appearances and Other Travels in Time and Space, he reflects on his adventures and the formative experiences that led him to a fascination with lives that seem quite unlike our own.

Guest Appearances and Other Travels in Time and Space introduces us to many of those whom Rose has met along the way, a cast of characters as colorful as it is diverse. It includes his music-loving mother; his tour guides in China, Germany, and Israel; Indochinese refugees he followed to the United States; the notorious murderer, Nathan Leopold; the simple tailor, Mr. David; and three writers for whom Rose has a special affinity: Philip Roth, John Updike, and Paul Theroux.

Peter Rose gives us an entirely pleasurable and insightful look into the life of an American scholar actively involved in contemporary issues as he takes readers along on his field trips and guest appearances.