In 1985 Johannes Fabian, while engaged in fieldwork in the Shaba province of Zaire, first encountered this saying. Its implications—for the charismatic religious movements Fabian was examining, for the highly charged political atmosphere of Zaire, and for the cultures of the Luba peoples—continued to intrigue him, though its meaning remained elusive. On a later visit, he mentioned the saying to a company of popular actors, and triggered an ethnographic brainstorm. “Spontaneously, they decided it would be just the right topic for their next play. On the spot they began planning—suggestions for a plot were made, problems of translating the French term ‘pouvoir’ were debated, several actors cited sayings and customs from their home villages. . . .”
Power and Performance examines traditional proverbs about power as it illustrates how the performance of Le pouvoir se mange entier was created, rehearsed, and performed. The play deals with the issue of power through a series of conflicts between villagers and their chief. Both rehearsal and performance versions of the text of this drama are included, in Swahili and in English translation.
Prostitutes and Courtesans in the Ancient World explores the implications of sex-for-pay across a broad span of time, from ancient Mesopotamia to the early Christian period. In ancient times, although they were socially marginal, prostitutes connected with almost every aspect of daily life. They sat in brothels and walked the streets; they paid taxes and set up dedications in religious sanctuaries; they appeared as characters—sometimes admirable, sometimes despicable—on the comic stage and in the law courts; they lived lavishly, consorting with famous poets and politicians; and they participated in otherwise all-male banquets and drinking parties, where they aroused jealousy among their anxious lovers.
The chapters in this volume examine a wide variety of genres and sources, from legal and religious tracts to the genres of lyric poetry, love elegy, and comic drama to the graffiti scrawled on the walls of ancient Pompeii. These essays reflect the variety and vitality of the debates engendered by the last three decades of research by confronting the ambiguous terms for prostitution in ancient languages, the difficulty of distinguishing the prostitute from the woman who is merely promiscuous or adulterous, the question of whether sacred or temple prostitution actually existed in the ancient Near East and Greece, and the political and social implications of literary representations of prostitutes and courtesans.
A Manual of Aquatic Plants can be said to be a classic; it made the identification of aquatic plants in sterile as well as in flowering or fruiting condition as simple as possible, and covers a region from Minnesota to Missouri and eastward to the Gulf of St. Lawrence and Virgina.
In the immediate decades after World War II, the French National Railways (SNCF) was celebrated for its acts of wartime heroism. However, recent debates and litigation have revealed the ways the SNCF worked as an accomplice to the Third Reich and was actively complicit in the deportation of 75,000 Jews and other civilians to death camps. Sarah Federman delves into the interconnected roles—perpetrator, victim, and hero—the company took on during the harrowing years of the Holocaust.
Grounded in history and case law, Last Train to Auschwitz traces the SNCF’s journey toward accountability in France and the United States, culminating in a multimillion-dollar settlement paid by the French government on behalf of the railways.The poignant and informative testimonies of survivors illuminate the long-term effects of the railroad’s impact on individuals, leading the company to make overdue amends. In a time when corporations are increasingly granted the same rights as people, Federman’s detailed account demonstrates the obligations businesses have to atone for aiding and abetting governments in committing atrocities. This volume highlights the necessity of corporate integrity and will be essential reading for those called to engage in the difficult work of responding to past harms.With its rocky transition to democracy, post-Soviet Russia has made observers wonder whether a moderating liberalism could ever succeed in such a land of extremes. But in Liberals under Autocracy, Anton A. Fedyashin looks back at the vibrant Russian liberalism that flourished in the country’s late imperial era, chronicling its contributions to the evolution of Russia’s rich literary culture, socioeconomic thinking, and civil society.
For five decades prior to the revolutions of 1917, The Herald of Europe (Vestnik Evropy) was the flagship journal of Russian liberalism, garnering a large readership. The journal articulated a distinctively Russian liberal agenda, one that encouraged social and economic modernization and civic participation through local self-government units (zemstvos) that defended individual rights and interests—especially those of the peasantry—in the face of increasing industrialization. Through the efforts of four men who turned The Herald into a cultural nexus in the imperial capital of St. Petersburg, the publication catalyzed the growing influence of journal culture and its formative effects on Russian politics and society.
Challenging deep-seated assumptions about Russia’s intellectual history, Fedyashin’s work casts the country’s nascent liberalism as a distinctly Russian blend of self-governance, populism, and other national, cultural traditions. As such, the book stands as a contribution to the growing literature on imperial Russia's nonrevolutionary, intellectual movements that emphasized the role of local politics in both successful modernization and the evolution of civil society in an extraparliamentary environment.
Scholars who study peasant society now realize that peasants are not passive, but quite capable of acting in their own interests. But, do coherent political ideas emerge within peasant society or do peasants act in a world where elites define political issues? Peasant Intellectuals is based on ethnographic research begun in 1966 and includes interviews with hundreds of people from all levels of Tanzanian society. Steven Feierman provides the history of the struggles to define the most basic issues of public political discourse in the Shambaa-speaking region of Tanzania. Feierman also shows that peasant society contains a rich body of alternative sources of political language from which future debates will be shaped.
What we have here is another mighty slim volume from Michael Feldman, best known (when known at all) for his public radio show "Whad'ya Know" (sic). Feldman, who spouts off about things he knows "not much" about weekly, here writes them down:
· how to get your own radio show and what you can do with it once you do
· paranoia
· marriage (or as Feldman likes to refer to it, "a long-term bad relationship")
· Hitler
· SUVs
· child-rearing (although it sounds like it's the author who is being reared)
· a number of short pieces on places he and his crew have visited for their "remote possibilities"
· more references to "gentiles" than absolutely necessary (seems to be an issue for Feldman, although he is tickled with the
notion that, to a Mormon, he is one)
· some attempts to misrepresent scientific or social research for humorous purposes
· many personal revelations that prove the examined life is not necessarily worth living either
· and pages and pages of fluff.
Mr. Feldman has not been compared, to our knowledge, to S. J. Perlman.
But here is some of what Michael Feldman says in Something I Said:
"The paranoid no longer is: paranoia has outlived its usefulness when everybody is out to get us."
"Take the phrase 'no problem': I can use it, although it is the very opposite of my two-word world view ('Nothing works')."
"Whatever latitude beauty may have in the eye of the beholder, funny is not readily apparent to all, and, who knows, they may be right. More importantly, they may be bigger."
Includes a music CD by Michael Feldman and John Sieger.
From large cities to rural communities, gay men have long been impassioned pioneers as keepers of culture: rescuing and restoring decrepit buildings, revitalizing blighted neighborhoods, saving artifacts and documents of historical significance. A Passion to Preserve explores this authentic and complex dimension of gay men’s lives by profiling early and contemporary preservationists from throughout the United States, highlighting contributions to the larger culture that gays are exceptionally inclined to make.
Vivacious, unconventional, candid, and straight, Helen Branson operated a gay bar in Los Angeles in the 1950s—America’s most anti-gay decade. After years of fending off drunken passes as an entertainer in cocktail bars, this divorced grandmother preferred the wit, variety, and fun she found among homosexual men. Enjoying their companionship and deploring their plight, she gave her gay friends a place to socialize. Though at the time California statutes prohibited homosexuals from gathering in bars, Helen’s place was relaxed, suave, and remarkably safe from police raids and other anti-homosexual hazards. In 1957 she published her extraordinary memoir Gay Bar, the first book by a heterosexual to depict the lives of homosexuals with admiration, respect, and love.
In this new edition of Gay Bar, Will Fellows interweaves Branson’s chapters with historical perspective provided through his own insightful commentary and excerpts gleaned from letters and essays appearing in gay publications of the period. Also included is the original introduction to the book by maverick 1950s psychiatrist Blanche Baker. The eclectic selection of voices gives the flavor of American life in that extraordinary age of anxiety, revealing how gay men saw themselves and their circumstances, and how others perceived them.
Outstanding Book, selected by the Public Library Association
Best Books for High Schools, selected by the American Association of School Libraries
Jean Feraca’s road to self-fulfillment has been as quirky and demanding as the characters in her incredible memoir. A veteran of several decades of public radio broadcasting, Feraca is also a writer and a poet. She is a talk show host beloved for her unique mixture of the humanities, poetry, and journalism, and is the creator of the pioneering international cultural affairs radio program Here on Earth: Radio without Borders.
In this searing memoir, Feraca traces her own emergence. She pulls back the curtain on her private life, revealing unforgettable portraits of the characters in her brawling Italian-American family: Jenny, the grandmother, the devil woman who threw Casey Stengel down an excavation pit; Dolly, the mother, a cross between Long John Silver and the Wife of Bath, who in battling mental illness becomes the scourge of a Lutheran nursing home; and Stephen, the brilliant but troubled older brother, an anthropologist adopted by a Sioux tribe. In a new chapter that reinforces and ties together the book’s exploration of the multiple forms of love, Jean introduces us to Roger, a Wildman and her husband’s best friend with whom she, too, develops an extraordinary intimacy. A selection of fifteen of Feraca’s poems add counterpoint to her engaging prose.
In the twentieth century Marxism challenged laissez-faire economics, psychoanalysis reinterpreted the processes of thought, and evolution discredited the idea of creation. These changes profoundly affected American Protestantism. Ferré examines the belief system that underlies what middle-class Protestants chose to read.
Long before Stonewall, young Air Force veteran Edward Field, fresh from combat in WWII, threw himself into New York’s literary bohemia, searching for fulfillment as a gay man and poet. In this vivid account of his avant-garde years in Greenwich Village and the bohemian outposts of Paris’s Left Bank and Tangier—where you could write poetry, be radical, and be openly gay—Field opens the closet door to reveal, as never been seen before, some of the most important writers of his time.
Here are young, beautiful Susan Sontag sitting at the feet of her idol Alfred Chester, who shrewdly plotted to marry her; May Swenson and her two loves; Paul and Jane Bowles in their ambiguous marriage; Frank O’Hara in and out of bed; Fritz Peters, the anointed son of Gurdjieff; and James Baldwin, Isabel Miller (Patience and Sarah), Tobias Schneebaum, Robert Friend, and many others. With its intimate portraits, Field’s memoir brings back a forgotten era—postwar bohemia—bawdy, comical, romantic, sad, and heroic.
The subjects treated in this symposium have one major characteristic in common, that they have recently, or relatively recently, enjoyed high popularity among readers. Also, they have received from substantial to torrents of comment.
In a world of multinational commerce, satellite broadcasting, migration, terrorism, and global arms dealing, what is said and how it is said in one society can no longer be isolated from what is said and how it is said in another. Debating Muslims focuses on Iranian culture, Shi’ite Islam, and Iranians in the United States, offering an experiment in postmodern ethnography and an invitation to think in a multifaceted way about Islam in the contemporary world.
The rituals of religion these days as practiced in the United States on television, have become big theatre, a big show. Televangelism is big business, amounting to billions of dollars each year. Televangelists discussed are Billy Graham, Jimmy Swaggert, Jerry Falwell, Jim and Tammy Bakker, Terry Cole-Whittaker, Marilyn Hickey, Danuto Rylko Soderman, and Beverly LaHaye.
When initially published more than twenty years ago, Thinking Like a Mountain was the first of a handful of efforts to capture the work and thought of America's most significant environmental thinker, Aldo Leopold. This new edition of Susan Flader's masterful account of Leopold's philosophical journey, including a new preface reviewing recent Leopold scholarship, makes this classic case study available again and brings much-deserved attention to the continuing influence and importance of Leopold today.
Thinking Like a Mountain unfolds with Flader's close analysis of Leopold's essay of the same title, which explores issues of predation by studying the interrelationships between deer, wolves, and forests. Flader shows how his approach to wildlife management and species preservation evolved from his experiences restoring the deer population in the Southwestern United States, his study of the German system of forest and wildlife management, and his efforts to combat the overpopulation of deer in Wisconsin. His own intellectual development parallels the formation of the conservation movement, reflecting his struggle to understand the relationship between the land and its human and animal inhabitants.
Drawing from the entire corpus of Leopold's works, including published and unpublished writing, correspondence, field notes, and journals, Flader places Leopold in his historical context. In addition, a biographical sketch draws on personal interviews with family, friends, and colleagues to illuminate his many roles as scientist, philosopher, citizen, policy maker, and teacher. Flader's insight and profound appreciation of the issues make Thinking Like a Mountain a standard source for readers interested in Leopold scholarship and the development of ecology and conservation in the twentieth century.
As the incidence of violent crime rises in the United States, so does the public demand for a solution. But what will work?
Mark S. Fleisher has spent years among inmates in jails and prisons and on the streets with thieves, gang members, addicts, and life-long criminals in Seattle and other cities across the country. In Beggars and Thieves, he writes about how and why they become and remain offenders, and about the actual role of jails and prisons in efforts to deter crime and rehabilitate criminals. Fleisher shows, with wrenching firsthand accounts, that parents who are addicts, abusers, and criminals beget irreversibly damaged children who become addicts, abusers, and criminals. Further, Fleisher contends that many well-intentioned educational and vocational training programs are wasted because they are offered too late to help. And, he provides sobering evidence that many youthful and adult offenders find themselves better off in prison—with work to do, medical care, a clean place to sleep, regular meals, and stable social ties—than they are in America’s cities.
Fleisher calls for anti-crime policies that are bold, practical, and absolutely imperative. He prescribes life terms for violent offenders, but in prisons structured as work communities, where privileges are earned through work in expanded, productive industries that reduce the financial burden of incarceration on the public. But most important, he argues that the only way to prevent street crime, cut prison growth, and reduce the waste of money and human lives is to permanently remove brutalized children from criminal, addicted, and violent parents.
Dead End Kids exposes both the depravity and the humanity in gang life through the eyes of a teenaged girl named Cara, a member of a Kansas City gang. In this shocking yet compassionate account, Mark Fleisher shows how gang girls’ lives are shaped by poverty, family disorganization, and parental neglect.
Out of many, one—e pluribus unum—is the motto of the American nation, and it sums up neatly the paradox that Stephanie Foote so deftly identifies in Regional Fictions. Regionalism, the genre that ostensibly challenges or offers an alternative to nationalism, in fact characterizes and perhaps even defines the American sense of nationhood.
In particular, Foote argues that the colorful local characters, dialects, and accents that marked regionalist novels and short stories of the late nineteenth century were key to the genre’s conversion of seemingly dangerous political differences—such as those posed by disaffected Midwestern farmers or recalcitrant foreign nationals—into appealing cultural differences. She asserts that many of the most treasured beliefs about the value of local identities still held in the United States today are traceable to the discourses of this regional fiction, and she illustrates her contentions with insightful examinations of the work of Sarah Orne Jewett, Hamlin Garland, Gertrude Atherton, George Washington Cable, Jacob Riis, and others. Broadening the definitions of regional writing and its imaginative territory, Regional Fictions moves beyond literary criticism to comment on the ideology of national, local, ethnic, and racial identity.
“Fowler’s . . . own insights are apparent throughout, and they seem to distill the personal appreciation and understanding of a scholar who has devoted much of her career to both contemplating and enjoying Hellenistic poetry. . . . [This book] would make an excellent background text for courses in later Greek and Roman art, and it can be read with profit by anyone interested in exploring the character of Hellenistic culture.”—J. J. Pollitt, American Journal of Archaeology
“Outstanding is the range of examples discussed both in poetry and art. Theocritus, Callimachus, Appolonius, the epigrammatists, and others—that is, the major figures of the time—are considered at length and in several different contexts. Passages are quoted in the original Greek, translated, and analyzed. Fowler’s sensitivity to poetic forms, evident in her other published writings, is again evident here. In addition, however, the philosophical context is not overlooked. . . . Also highly commendable are the liberal references to works of art. Sculpture in the round and in relief, portraits, terracotta figurines, original paintings (grave stelai) and Campanian murals, mosaics, gold and silver vessels, and jewelry are introduced at various points. Every work of art discussed is illustrated in astonishingly clear photographs, which are interspersed in the body of the text.”—Christine Mitchell Havelock
“The Hellenistic Aesthetic provides classicists with their first thorough discussion of the aesthetic unity found in Hellenistic art and literature. . . . Fowler examines parallels both in subject matter and in artistic approach among a diverse group of literary genres and artistic forms. In twelve chapters, The Hellenistic Aesthetic surveys Alexandrian epigrams, pastorals, epics, sculptural groups, mosaics, paintings, and jewelry to supply a convincing, and frequently unexpected, picture of a unified aesthetic vision.”—Jeffrey Buller, Classical Outlook
An accomplished poet and classical scholar, Barbara Hughes Fowler brings Hellenistic poetry to life for the contemporary reader. Her selections engage us with the full range of Hellenistic poetic genres, styles, themes, and moods. The anthology includes Fowler’s new translation of the entire Argonautica of Apollonius of Rhodes, and eight of Theocritus’ Idylls, including the beautiful, sensuous description of late summer in Idyll VII and the shrewdly comical description of two young matrons venturing into the noisy streets of Alexandria in Idyll XV. There are translations of four hymns of Callimachus, as well as poems by Aratus, Bion, Herodas, Moschus, Pseudo-Moschus, and a substantial selection from the Greek Anthology.
An ideal companion to her recently published book, The Hellenistic Aesthetic, Barbara Fowler’s Hellenistic Poetry is both a major contribution to classical studies and an invitation to all interested readers to discover the beauty and richness of Hellenistic poetry.
In the wake of unthinkable atrocities, it is reasonable to ask how any population can move on from the experience of genocide. Simply remembering the past can, in the shadow of mass death, be retraumatizing. So how can such momentous events be memorialized in a way that is productive and even healing for survivors? Genocide memorials tell a story about the past, preserve evidence of the violence that occurred, and provide emotional support to survivors. But the goal of amplifying survivors’ voices can fade amid larger narratives entrenched in political motivations.
In After Genocide,Nicole Fox investigates the ways memorials can shape the experiences of survivors decades after mass violence has ended. She examines how memorializations can both heal and hurt, especially when they fail to represent all genders, ethnicities, and classes of those afflicted. Drawing on extensive interviews with Rwandans, Fox reveals their relationships to these spaces and uncovers those voices silenced by the dominant narrative—arguing that the erasure of such stories is an act of violence itself. The book probes the ongoing question of how to fit survivors in to the dominant narrative of healing and importantly demonstrates how memorials can shape possibilities for growth, national cohesion, reconciliation, and hope for the future.
John Muir and His Legacy is at once a biography of this remarkable man—the first work to make unrestricted use of all of Muir’s manuscripts and personal papers—and a history of the century-old fight to save the natural environment. Stephen Fox traces the conservation movement's diverse, colorful, and tumultuous history, from the successful campaign to establish Yosemite National Park in 1890 to the movement's present day concerns of nuclear waste and acid rain.
Conservation has run a cyclical course, Fox contends, from its origins in the 1890s when it was the province of amateurs, to its takeover by professionals with quasi-scientific notions, and back, in the 1960s to its original impetus. Since then man’s view of himself as “the last endangered species” has sparked an explosion of public interest in environmentalism.
First published in 1981 by Little, Brown, this book was warmly received as both a biography of Muir and a history of the American conservation movement. It is now available in this new Wisconsin paperback edition.
Beginning in the 1980s, a number of popular and influential anthologies organized around themes of shared identity—Nice Jewish Girls, This Bridge Called My Back, Home Girls, and others—have brought together women’s fiction and poetry with journal entries, personal narratives, and transcribed conversations. These groundbreaking multi-genre anthologies, Cynthia G. Franklin demonstrates, have played a crucial role in shaping current literary studies, in defining cultural and political movements, and in building connections between academic and other communities.
Exploring intersections and alliances across the often competing categories of race, class, gender, and sexuality, Writing Women’s Communities contributes to current public debates about multiculturalism, feminism, identity politics, the academy as a site of political activism, and the relationship between literature and politics.
The autocratic rule of both tsar and church in imperial Russia gave rise not only to a revolutionary movement in the nineteenth century but also to a crisis of meaning among members of the intelligentsia. Personal faith became the subject of intense scrutiny as individuals debated the existence of God and the immortality of the soul, debates reflected in the best-known novels of the day. Friendships were formed and broken in exchanges over the status of the eternal. The salvation of the entire country, not just of each individual, seemed to depend on the answers to questions about belief.
Victoria Frede looks at how and why atheism took on such importance among several generations of Russian intellectuals from the 1820s to the 1860s, drawing on meticulous and extensive research of both published and archival documents, including letters, poetry, philosophical tracts, police files, fiction, and literary criticism. She argues that young Russians were less concerned about theology and the Bible than they were about the moral, political, and social status of the individual person. They sought to maintain their integrity against the pressures exerted by an autocratic state and rigidly hierarchical society. As individuals sought to shape their own destinies and searched for truths that would give meaning to their lives, they came to question the legitimacy both of the tsar and of Russia’s highest authority, God.
Setting the Lawn on Fire, the first novel by critically acclaimed writer Mack Friedman, trails its narrator through his obsessions with sex, drugs, art, and poison. Ivan, a young Jewish boy from Milwaukee, embarks on a journey of sexual discovery that leads him from Wisconsin to Alaska, Philadelphia, and Mexico through stints as a fishery worker, artist, and finally a hustler who learns to provide the blank canvas for other people’s dreams. The result is a new kind of coming-of-age story that sees passion from every angle because its protagonist is every kind of lover: the seducer and the seduced, the pornographer and the model, the hunter and the prey, the trick and the john. In the end, Setting the Lawn on Fire is also something rare—a fully realized, contemporary romance that illuminates the power of desire and the rituals of the body, the brain, and the heart that attempt to contain our passions.
Signets brings together the best essays of H.D. (Hilda Doolittle). Susan Stanford Friedman and Rachel Blau DuPlessis have gathered the most influential and generative studies of H. D.’s work and complemented them with photobiographical, chronological, and bibliographical portraits unique to this volume.
The essays in Signets span H. D.’s career from the origins of Imagism to late modernism, from the early poems of Sea Garden to the novel HER and the epic poems Trilogy and Helen in Egypt. In addition to the editors, the contributors are Diana Collecott, Robert Duncan, Albert Gelpi, Eileen Gregory, Susan Gubar, Barbara Guest, Elizabeth A. Hirsch, Deborah Kelly Kloepfer, Cassandar Laity, Adalaide Morris, Alicia Ostriker, Cyrena N. Pondrom, Perdita Schaffner, and Louis H. Silverstein.
Signets is an essential resource for those interested in H. D., modernism, and feminist criticism and writing.
In this poetic, introspective memoir, Kenny Fries illustrates his intersecting identities as gay, Jewish, and disabled. While learning about the history of his body through medical records and his physical scars, Fries discovers just how deeply the memories and psychic scars run. As he reflects on his relationships with his family, his compassionate doctor, the brother who resented his disability, and the men who taught him to love, he confronts the challenges of his life. Body, Remember is a story about connection, a redemptive and passionate testimony to one man’s search for the sources of identity and difference.
Jana Renée Friesová was fifteen when she was imprisoned by the Nazis in the Czech ghetto town of Terezín. Her memoir tells the poignantly familiar story of a young girl who, even under the most abominable circumstances, engages in intense adolescent friendships, worries with her companions over her looks, and falls in love.
Anne Frank’s diary ends with deportation to a concentration camp; Fortress of My Youth, in contrast, takes the reader deep into the horrors of daily life in a camp that were faced by a young girl and her family. But Friesová also tells of love, joy, sacrifice, and the people who shared in the most profound experiences of her life.
In the early 1950s writers were leaving radio en masse to try their hand at another promising medium—television. William Froug was in the thick of that exodus, a young man full of ideas in a Hollywood bursting with opportunities. In his forty-year career Froug would write and/or produce many of the shows that America has grown up with. From the drama of Playhouse 90 and the mind-bending premises of The Twilight Zone to the escapist scenarios of Adventures in Paradise, Gilligan’s Island, Bewitched, and Charlie’s Angels, Froug played a role in shaping his trade. He crossed paths with some of the memorable personalities in the industry, including Jack Benny, Lucille Ball, Agnes Moorehead, Elizabeth Montgomery, Robert Blake, Rod Serling, Gene Roddenberry, Aaron Spelling, and Sherwood Schwartz.
Froug reveals a post-WWII America giddy with the success of its newest medium—yet sobered at moments by strikes and union politics, McCarthyism and anti-Semitism. It was a world of hastily written scripts, sudden firings, thwarted creativity, and fickle tastes. And yet, while clearly exasperated with many aspects of Hollywood, Froug was a man utterly in his element, his frustration with the industry ultimately eclipsed by his dedication to his craft.
This screenplay of 42nd Street, along with Rocco Fumento's thorough and engrossing introduction, takes the reader behind the scenes to see how the Warners studio took a dismal novel and, working within severe financial constraints brought on by the Great Depression, turned out a smash musical hit.
42nd Street is a watershed film, one that resuscitated the Hollywood musical during troubled times. Yet 42nd Street wasn't merely a Depression tonic, its multiple plot line was half-comic, half-serious. It was a fast-paced, energetic, and the first musical not to shrink away from the fact that a Depression was going on. The film is an odd, and oddly successful, fusion of the real with the fantastic.
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