Amidst Mad Cow scares and consumer concerns about how farm animals are bred, fed, and raised, many farmers and homesteaders are rediscovering the traditional practice of pastoral farming. Grasses, clovers, and forbs are the natural diet of cattle, horses, and sheep, and are vital supplements for hogs, chickens, and turkeys. Consumers increasingly seek the health benefits of meat from animals raised in green paddocks instead of in muddy feedlots.

In All Flesh Is Grass: The Pleasures and Promises of Pasture Farming, Gene Logsdon explains that well-managed pastures are nutritious and palatable—virtual salads for livestock. Leafy pastures also hold the soil, foster biodiversity, and create lovely landscapes. Grass farming might be the solution for a stressed agricultural system based on an industrial model and propped up by federal subsidies.

In his clear and conversational style, Logsdon explains historically effective practices and new techniques. His warm, informative profiles of successful grass farmers offer inspiration and ideas. His narrative is enriched by his own experience as a “contrary farmer” on his artisan-scale farm near Upper Sandusky, Ohio.

All Flesh Is Grass will have broad appeal to the sustainable commercial farmer, the home-food producer, and all consumers who care about their food.

What do beer, cheese, yogurt, sauerkraut, miso, jam, even chocolate—I’ll bet you didn’t know—have in common? They are all preserved foods. Artisanal canned tomatoes and homemade kimchee might be trendy items now, but they come from a culinary need as old as human civilization itself. Can It! celebrates those transformed and transforming foods that have done so much to create the diversity of cuisines found around the world, bringing readers on a tangy adventure of all the ways necessity has bred deliciousness.
           
Food preservation rests in a simple problem: food tends to come in concentrated periods of abundance and then quickly spoil. Today we might pump it full of preservatives or throw it in the freezer, but for most of our time eating the things that the earth provides, we haven’t had these luxuries. As Allen shows, that’s been a wonderful limitation: our ancestors, knowing next to nothing about organic chemistry, found consistent techniques not only to preserve the foods they grew but to alter them—to delicious effects. Wine is more than old grape juice, cheese more than spoiled milk. Allen details how these transformations resulted in new flavors, textures, and, ultimately, new ways of defining the tastes and culture of a community, which passed down its knowledge from generation to generation. Exploring the history and science of preservation, he examines all the major techniques—from drying to smoking to salting to canning to fermentation—reveling in the cornucopia of different foods they have produced. Allaying the fears of the squeamish, he serves up easy-to-do historic and modern recipes that will help any home cook participate in one of culinary history’s most hallowed traditions. 

This powerful collection of essays and short stories provides a unique perspective on the black civil rights movement over the past twenty-five years. A long-time activist, Michael Thelwell was a member of the Student Non-Violent Coordinating Committee [SNCC] and the Mississippi Freedom Democratic Party in the early 1960s, a founder of the W.E.B. Du Bois Department of Afro-American Studies at the University of Massachusetts in 1970, author of the widely praised novel The Harder They Come published in 1980, and an organizer for Jesse Jackson's presidential campaign in 1984. Thelwell is a writer of rare grace, integrity, and strong political convictions.

The collection begins with three stories. Set in the Mississippi Delta in the 1960s, the stories explore how individuals manage to preserve their dignity in a world of racism and violence. The next six essays, also written in the 1960s, are historical and journalistic. They discuss the March on Washington for Jobs and Freedom, the situation in the South as seen by SNCC workers, the political challenges in Mississippi, the articulation of the Black Power movement, the causes of the black student revolt at Cornell, and the need for Black Studies as the intellectual offensive in the struggle for black liberation.

The section that follows is composed of literary pieces: two appreciative essays on James Baldwin, two critical reviews of William Styron and his treatment of Nat Turner, an excoriating assessment of V. S. Naipaul, a profile of Amos Tutuola, and a thoughtful analysis of the social responsibility of the black writer.

The final essay examines the history of Jesse Jackson's presidential campaign and comments on the political climate of the 1980s.

Hop on Pop showcases the work of a new generation of scholars—from fields such as media studies, literature, cinema, and cultural studies—whose writing has been informed by their ongoing involvement with popular culture and who draw insight from their lived experiences as critics, fans, and consumers. Proceeding from their deep political commitment to a new kind of populist grassroots politics, these writers challenge old modes of studying the everyday. As they rework traditional scholarly language, they search for new ways to write about our complex and compelling engagements with the politics and pleasures of popular culture and sketch a new and lively vocabulary for the field of cultural studies.
The essays cover a wide and colorful array of subjects including pro wrestling, the computer games Myst and Doom, soap operas, baseball card collecting, the Tour de France, karaoke, lesbian desire in the Wizard of Oz, Internet fandom for the series Babylon 5, and the stress-management industry. Broader themes examined include the origins of popular culture, the aesthetics and politics of performance, and the social and cultural processes by which objects and practices are deemed tasteful or tasteless. The commitment that binds the contributors is to an emergent perspective in cultural studies, one that engages with popular culture as the culture that "sticks to the skin," that becomes so much a part of us that it becomes increasingly difficult to examine it from a distance. By refusing to deny or rationalize their own often contradictory identifications with popular culture, the contributors ensure that the volume as a whole reflects the immediacy and vibrancy of its objects of study.
Hop on Pop will appeal to those engaged in the study of popular culture, American studies, cultural studies, cinema and visual studies, as well as to the general educated reader.

Contributors. John Bloom, Gerry Bloustein, Aniko Bodroghkozy, Diane Brooks, Peter Chvany, Elana Crane, Alexander Doty, Rob Drew, Stephen Duncombe, Nick Evans, Eric Freedman, Joy Fuqua, Tony Grajeda, Katherine Green, John Hartley, Heather Hendershot, Henry Jenkins, Eithne Johnson, Louis Kaplan, Maria Koundoura, Sharon Mazer, Anna McCarthy, Tara McPherson, Angela Ndalianis, Edward O’Neill, Catherine Palmer, Roberta Pearson, Elayne Rapping, Eric Schaefer, Jane Shattuc, Greg Smith, Ellen Strain, Matthew Tinkhom, William Uricchio, Amy Villarego, Robyn Warhol, Charles Weigl, Alan Wexelblat, Pamela Robertson Wojcik, Nabeel Zuberi

We usually think of women as the victims of pornography rather than its consumers. Whether appearing in films, peering provocatively from the pages of magazines, or posing on explicit Web-sites, women are considered the dehumanized objects of unseen lascivious male viewers. But in her controversial new book One for the Girls!, Clarissa Smith debunks this myth and challenges women to read, watch, and enjoy pornography on their own terms. Focusing on the British magazine For Women, Smith looks at its readers’ responses to male pinups and erotica and explores the intricacies of women’s unique reactions to pornography.

In August 1934, young Cyril L. wrote to his friend Billy about all the exciting men he had met, the swinging nightclubs he had visited, and the vibrant new life he had forged for himself in the big city. He wrote, "I have only been queer since I came to London about two years ago, before then I knew nothing about it." London, for Cyril, meant boundless opportunities to explore his newfound sexuality. But his freedom was limite: he was soon arrested, simply for being in a club frequented by queer men.

Cyril's story is Matt Houlbrook's point of entry into the queer worlds of early twentieth-century London. Drawing on previously unknown sources, from police reports and newspaper exposés to personal letters, diaries, and the first queer guidebook ever written, Houlbrook here explores the relationship between queer sexualities and modern urban culture that we take for granted today. He revisits the diverse queer lives that took hold in London's parks and streets; its restaurants, pubs, and dancehalls; and its Turkish bathhouses and hotels—as well as attempts by municipal authorities to control and crack down on those worlds. He also describes how London shaped the culture and politics of queer life—and how London was in turn shaped by the lives of queer men. Ultimately, Houlbrook unveils the complex ways in which men made sense of their desires and who they were. In so doing, he mounts a sustained challenge to conventional understandings of the city as a place of sexual liberation and a unified queer culture.

A history remarkable in its complexity yet intimate in its portraiture, Queer London is a landmark work that redefines queer urban life in England and beyond.