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Centering Student Activism is a deep exploration of institutional responses to sexual assault. It addresses critical issues facing campuses today, examining how students navigate institutional dynamics and utilize the power of new and traditional rhetorical strategies to effect change. In doing so, it provides a profound understanding of the mechanisms by which coalitions can transform educational environments.

Centering Student Activism features a national interview-based study of contemporary student activists who deploy rhetorical strategies and tactics—old and new, embodied and digital—with agility and awareness. They aim their strategies and tactics of “intersectional rhetorical feminism” to interrupt and transform a sedimented culture. The students’ activism highlights not only the harms experienced by survivors in the aftermath of their assaults but also how their efforts to communicate those harms are often stymied or silenced by official responses and practices. These student activists pair interruption with rhetorical transformation as they seek to create a survivor-centric culture. In so doing they spotlight the systemic roots of sexual violence and respond to sexual assault through intersectional, coalition-based work.

Through detailed analysis and compelling narratives, Shari J. Stenberg underscores the importance of community care and mutual support in advocacy efforts. Centering Student Activism is an essential work for navigating institutional dynamics, providing an important resource to students, educators, and administrators who seek to understand how universities silence survivors and how students create ways to speak back and transform institutional culture.

Chicago is a city dedicated to the modern—from the skyscrapers that punctuate its skyline to the spirited style that inflects many of its dwellings and institutions, from the New Bauhaus to Hull-House. Despite this, the city has long been overlooked as a locus for modernism in the arts, its rich tradition of architecture, design, and education disregarded. Still the modern in Chicago continues to thrive, as new generations of artists incorporate its legacy into fresh visions for the future. Chicago Makes Modern boldly remaps twentieth-century modernism from our new-century perspective by asking an imperative question: How did the modern mind—deeply reflective, yet simultaneously directed—help to dramatically alter our perspectives on the world and make it new?

Returning the city to its rightful position at the heart of a multidimensional movement that changed the face of the twentieth century, Chicago Makes Modern applies the missions of a brilliant group of innovators to our own time. From the radical social and artistic perspectives implemented by Jane Addams, John Dewey, and Buckminster Fuller to the avant-garde designs of László Moholy-Nagy and Mies van der Rohe, the prodigious offerings of Chicago's modern minds left an indelible legacy for future generations. Staging the city as a laboratory for some of our most heralded cultural experiments, Chicago Makes Modern reimagines the modern as a space of self-realization and social progress—where individual visions triggered profound change. Featuring contributions from an acclaimed roster of contemporary artists, critics, and scholars, this book demonstrates how and why the Windy City continues to drive the modern world.

The need for this book became apparent to Bruce-Novoa when he first taught a Chicano culture course in 1970. His students could find no source to satisfy their curiosity about Chicano writers' backgrounds, opinions, and attitudes. Chicano Authors: Inquiry by Interview provides that information.

Fourteen leading Chicano authors respond to questions about their personal and educational backgrounds, their perception of the role of the Chicano writer, and their evaluation of the literary, linguistic, and sociocultural significance of Chicano literature. The authors included are José Antonio Villarreal, Rolando Hinojosa, Sergio Elizondo, Miguel Méndez M., Abelardo Delgado, José Montoya, Tomás Rivera, Estela Portillo, Rudolfo A. Anaya, Bernice Zamora, Ricardo Sánchez, Ron Arias, Tino Villanueva, and Alurista.

Each interview is preceded by a brief introductory note which locates the author in the context of Chicano literature and provides a sense of his or her writing. Also included are a general introduction to Chicano literature, a chronological chart of publications by genre, and a selected bibliography. The volume will be an essential research tool for the student of Chicano literature and culture and a useful introduction for the general reader.

WINNER OF THE ANNE B. AND JAMES B. MCMILLAN PRIZE

A powerful collection of firsthand stories from the Tuskegee Institute High School Class of 1964—students who came of age in the crucible of the Civil Rights Movement. Their stories uncover the bold choices of their ancestors who chose to stay and help shape the South.

Children of the Struggle and the Ancestors Who Stayed, edited by Sonjia Parker Redmond and Beatrice J. Adams, brings together twenty-one deeply personal narratives from members of the Tuskegee Institute High School Class of 1964. These students grew up at the heart of the Civil Rights Movement, coming of age during landmark legal battles, community-led voter registration efforts, and the long shadow of Jim Crow.

Graduating in the year of the Civil Rights Act and Freedom Summer, these young people had already helped desegregate Alabama schools. They marched from Selma to Montgomery, mourned the assassination of classmate Sammy Younge Jr., and witnessed firsthand the violent resistance to change that defined the era.

Rather than join the Great Migration northward, many of them followed the lead of their ancestors and chose to stay—becoming educators, organizers, and civic leaders. Their lives reflect a powerful legacy of resistance and renewal, rooted in a deep sense of place and purpose. This collection preserves their voices and honors the generations of Black families who fought for justice not only through protest, but by staying, building, and believing in the promise of the South.

Since the late 1960s, films from Latin America have won widening audiences in North America and Europe. Until now, no single book has offered an introduction to the diverse personalities and practices that make up this important regional film movement.

In Cinema and Social Change in Latin America, Julianne Burton presents twenty interviews with key figures of Latin American cinema, covering three decades and ranging from Argentina to Mexico. Interviews with pioneers Fernando Birri, Nelson Pereira dos Santos, and Glauber Rocha, renowned feature filmmakers Tomás Gutiérrez Alea and Carlos Diegues, prize-winning documentarists Patricio Guzmán and Helena Solberg-Ladd, among others, endeavor to balance personal achievement against the backdrop of historical, political, social, and economic circumstances that have influenced each director's career. Presented also are conversations that cast light on the related activities of acting, distribution, theory, criticism, and film-based community organizing.

More than their counterparts in other regions of the world, Latin American artists and intellectuals acknowledge the degree to which culture is shaped by history and politics. Since the mid-1950s, a period of rising nationalism and regional consciousness, talented young artists and activists have sought to redefine the uses of the film medium in the Latin American context. Questioning the studio and star systems of the Hollywood industrial model, these innovators have developed new forms, content, and processes of production, distribution, and reception.

The specific approaches and priorities of the New Latin American Cinema are far from monolithic. They vary from realism to expressionism, from observational documentary to elaborate fictional constructs, from "imperfect cinema" to a cinema that emulates the high production values of the developed sectors, from self-reflexive to "transparent" cinematic styles, from highly industrialized modes of production to purely artisanal ones. What does not vary is the commitment to film as a vehicle for social transformation and the expression of national and regional cultural autonomy.

From early alternative cinema efforts in Argentina, Brazil, and Cuba to a contemporary perspective from within the Mexican commercial industry to the emerging cinema and video production from Central America, Cinema and Social Change in Latin America offers the most comprehensive look at Latin American film available today.

Rosenbaum takes on filmmakers like Chantal Akerman, Richard Linklater, Manoel De Oliveira, Mark Rappaport, Elaine May, and Béla Tarr. He also engages, implicitly and explicitly, with other writers, arguing with Pauline Kael—and Wikipedia—over Jacques Demy, with the Hollywood Reporter and Variety reviewers of Jarmusch’s The Limits of Control, with David Thomson about James L. Brooks, and with many American and English film critics about misrepresented figures from Jerry Lewis to Yasujiro Ozu to Orson Welles. Throughout, Rosenbaum mines insights, pursues pet notions, and invites readers to join the fray.

Cinematic Encounters collects more than forty years of interviews that embrace Rosenbaum's vision of film criticism as a collaboration involving multiple voices. Rosenbaum accompanies Orson Welles on a journey back to Heart of Darkness, the unmade film meant to be Welles's Hollywood debut. Jacques Tati addresses the primacy of décor and soundtrack in his comedic masterpiece PlayTime, while Jim Jarmusch explains the influence of real and Hollywoodized Native Americans in Dead Man. By arranging the chapters chronologically, Rosenbaum invites readers to pursue thematic threads as if the discussions were dialogues between separate interviews. The result is a rare gathering of filmmakers trading thoughts on art and process, on great works and false starts, and on actors and intimate moments.

Many legendary men have been associated with University of Texas football, but for most fans one man will always be "Coach"—Darrell K Royal. One of the most successful coaches in college football, Royal led the Longhorns to three national championships and eleven Southwest Conference titles during his twenty years (1956-1976) as UT's head coach. He coached some of the Horns' best players, including future Heisman Trophy winner Earl Campbell, and was named NCAA Coach of the Year three times. In 1969, an ABC-TV poll of sportswriters called Royal the Coach of the Decade. In 1996 UT recognized his unrivalled contribution to Longhorn football when it designated Memorial Stadium the Darrell K Royal-Texas Memorial Stadium in his honor.

Now, for the first time, Darrell Royal tells his life story in his own words. He remembers growing up poor in Hollis, Oklahoma, during the Great Depression, and describes playing college football for the University of Oklahoma and then coaching a succession of college teams and one pro team before settling in at UT for the rest of his career. He gives a fascinating, behind-the-scenes look at Longhorn football during his time-recruiting strategies, coaching techniques, the famous wishbone offense, unforgettable wins and losses, and his impressions of rival teams and coaches, including Bear Bryant of Texas A&M and Alabama and Frank Broyles of Arkansas.

Proving that he's still the same straight shooter as always, Darrell Royal even discusses some of the controversies he's dealt with, including early charges of racism in the UT football program, the impact of Title IX on college athletics, his association with Jim Bob Moffett and the Freeport-MacMoRan Corporation, his longtime friendship with Willie Nelson, and his decision to retire from coaching. But whether he's describing the tough times he's faced professionally and personally or the rewards of being UT's most beloved coach and goodwill ambassador, Royal maintains the same plainspoken honesty and sense of honor that—as much as the winning seasons—have made him a legend to so many people.

In the summer of 2007, Louis G. Mendoza set off on a bicycle trip across the United States with the intention of conducting a series of interviews along the way. Wanting to move beyond the media’s limited portrayal of immigration as a conflict between newcomers and “citizens,” he began speaking with people from all walks of life about their views on Latino immigration. From the tremendous number of oral histories Mendoza amassed, the resulting collection offers conversations with forty-three different people who speak of how they came to be here and why they made the journey. They touch upon how Latino immigration is changing in this country, and how this country is being changed by Latinoization. Interviewees reflect upon the concerns and fears they’ve encountered about the transformation of the national culture, and they relate their own experiences of living and working as “other” in the United States.

Mendoza’s collection is unique in its vastness. His subjects are from big cities and small towns. They are male and female, young and old, affluent and impoverished. Many are political, striving to change the situation of Latina/os in this country, but others are “everyday people,” reflecting upon their lives in this country and on the lives they left behind. Mendoza’s inclusion of this broad swath of voices begins to reflect the diverse nature of Latino immigration in the United States today.

This revised edition has been updated to cover Allende's three newest books—City of the Beasts, Portrait in Sepia: A Novel, and Daughter of Fortune. It includes four new interviews in which Allende discusses completing her trilogy of novels that began with House of the Spirits, as well as her ongoing spiritual adventure and political interests.

Larry McMurtry declares, "Texas itself doesn't have anything to do with why I write. It never did." Horton Foote, on the other hand, says, "I've just never had a desire to write about any place else." In between those figurative bookends are hundreds of other writers—some internationally recognized, others just becoming known—who draw inspiration and often subject matter from the unique places and people that are Texas. To give everyone who is interested in Texas writing a representative sampling of the breadth and vitality of the state's current literary production, this volume features conversations with fifty of Texas's most notable established writers and emerging talents.

The writers included here work in a wide variety of genres—novels, short stories, poetry, plays, screenplays, essays, nonfiction, and magazine journalism. In their conversations with interviewers from the Writers' League of Texas and other authors' organizations, the writers speak of their apprenticeships, literary influences, working habits, connections with their readers, and the domestic and public events that have shaped their writing. Accompanying the interviews are excerpts from the writers' work, as well as their photographs, biographies, and bibliographies. Joe Holley's introductory essay—an overview of Texas writing from Cabeza de Vaca's 1542 Relación to the work of today's generation of writers, who are equally at home in Hollywood as in Texas—provides the necessary context to appreciate such a diverse collection of literary voices.

A sampling from the book:

"This land has been my subject matter. One thing that distinguishes me from the true naturalist is that I've never been able to look at land without thinking of the people who've been on it. It's fundamental to me." —John Graves

"Writing is a way to keep ourselves more in touch with everything we experience. It seems the best gifts and thoughts are given to us when we pause, take a deep breath, look around, see what's there, and return to where we were, revived." —Naomi Shihab Nye

"I've said this many times in print: the novel is the middle-age genre. Very few people have written really good novels when they are young, and few people have written really good novels when they are old. You just tail off, and lose a certain level of concentration. Your imaginative energy begins to lag. I feel like I'm repeating myself, and most writers do repeat themselves." —Larry McMurtry

"I was a pretty poor cowhand. I grew up on the Macaraw Ranch, east of Crane, Texas. My father tried very hard to make a cowboy out of me, but in my case it never seemed to work too well. I had more of a literary bent. I loved to read, and very early on I began to write small stories, short stories, out of the things I liked to read." —Elmer Kelton

The story of dairying in Wisconsin is the story of how our very landscape and way of life were created. By making cows the center of our farm life and learning how to care for them, our ancestors launched a revolution that changed much more than the way farmers earned their living — it changed us.

The story of dairying in Wisconsin is the story of how our very landscape and way of life were created. By making cows the center of our farm life and learning how to care for them, our ancestors launched a revolution that changed much more than the way farmers earned their living — it changed us.