This groundbreaking history of the Spanish Civil War (1936–39) examines, for the first time in any language, how General Francisco Franco and his Nationalist forces managed state finance and economic production, and mobilized support from elites and middle-class Spaniards, to achieve their eventual victory over Spanish Republicans and the revolutionary left.
    The Spanish Nationalists are exceptional among counter-revolutionary movements of the twentieth century, Michael Seidman demonstrates, because they avoided the inflation and shortages of food and military supplies that stymied not only their Republican adversaries but also their counter-revolutionary counterparts—the Russian Whites and Chinese Nationalists. He documents how Franco’s highly repressive and tightly controlled regime produced food for troops and civilians; regular pay for soldiers, farmers, and factory workers; and protection of property rights for both large and small landowners. These factors, combined with the Nationalists’ pro-Catholic and anti-Jewish propaganda, reinforced solidarity in the Nationalist zone.
    Seidman concludes that, unlike the victorious Spanish Nationalists, the Russian and Chinese bourgeoisie were weakened by the economic and social upheaval of the two world wars and succumbed in each case to the surging revolutionary left.

The essays in Vision/Re-Vision analyze in detail ten popular and important films adapted from contemporary American fiction by women, addressing the ways in which the writers' latent or overt feminist messages are reinterpreted by the filmmakers who bring them to the screen, demonstrating that there is much to praise as well as much to fault in the adaptations and that the process of adaptation itself is instructive rather than destructive, since it enriches understanding about both media.

Fourteen bold, dynamic, and daring women take the stage in this collection of women's lives and stories. Individually and collectively, these writers and performers speak the unspoken and perform the heretofore unperformed.

The first section includes scripts and essays about performances of the lives of Gertrude Stein, Georgia O'Keeffe, Mary Church Terrell, Charlotte Cushman, Anaïs Nin, Calamity Jane, and Mary Martin. The essays consider intriguing interpretive issues that arise when a woman performer represents another woman's life. In the second section, seven performers—Tami Spry, Jacqueline Taylor, Linda Park-Fuller, Joni Jones, Terri Galloway, Linda M. Montano, and Laila Farah—tell their own stories. Ranging from narrrative lectures (sometimes aided by slides and props) to theatrical performances, their works wrest comic and dramatic meaning from a world too often chaotic and painful. Their performances engage issues of sexual orientation, ethnicity, race, loss of parent, disability, life and death, and war and peace. The volume as a whole highlights issues of representation, identity, and staging in autobiographical performance. It examines the links among theory and criticism of women's autobiography, feminist performance theory, and performance practice.

In this debut collection, Voodoo Inverso, Mark Wagenaar composes a startling mystical imagism and sets it to music, using self-portraits to explore differing physical and spiritual landscapes. He uses a variety of personae—a victim of sex trafficking in Amsterdam, a fichera dancer, a portrait haunted by Dante, a carillonneur of starlight, an elephant in pink slippers remembering its beloved—to silhouette the intricacies and frailties of the body and the world. In a series of “gospels” and “histories”—such as the poems “History of Ecstasy” and “Moth Hour Gospel”—he shines a light on the possibilities of transcendence and transfiguration, weaving together memory and loss with desire and hope.