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The representation of pain and suffering in narrative form is an ongoing ethical issue in contemporary South African literature. Can violence be represented without sensationalistic effects, or, alternatively, without effects that tend to be conservative because they place the reader in a position of superiority over the victim or the perpetrator?

Jolly looks at three primary South African authors—André Brink, Breyten Breytenbach, and J. M. Coetzee—to consider violence in the context of apartheid and colonialism and their inherent patriarchies.

Jolly also discusses the violence attendant upon the act of narration in the broader context of critiques of Kafka, Freud, Hegel, the postcolonial critics Jan Mohamed and Bhabha, and feminists such as Susan Suleiman.

Lester A. Walton was a well-known public figure in his day. An African American journalist, cultural critic, diplomat, and political activist, he was an adviser to presidents and industrialists in a career that spanned the first six decades of the twentieth century. He was a steadfast champion of democracy and lived to see the passage of major civil rights legislation. But one word best describes Walton today: forgotten.

Exploring the contours of this extraordinary life, Susan Curtis seeks to discover why our collective memory of Walton has failed. In a unique narrative of historical research, she recounts a fifteen-year journey, from the streets of Harlem and “The Ville” in St. Louis to scattered archives and obscure public records, as she uncovers the mysterious circumstances surrounding Walton’s disappearance from national consciousness. And despite numerous roadblocks and dead ends in her quest, she tells how she came to know this emblematic citizen of the American Century in surprising ways.

In this unconventional book—a postmodern ghost story, an unprecedented experiment in life-writing—Curtis shares her discoveries as a researcher. Relating her frustrating search through long-overlooked documents to discover this forgotten man, she offers insight into how America’s obsession with race has made Walton’s story unwelcome. She explores the treachery, duplicity, and archival accidents that transformed a man dedicated to the fulfillment of American democracy into a shadowy figure.

Combining anecdotal memories with the investigative instincts of the historian, Curtis embraces the subjectivity of her research to show that what a society forgets or suppresses is just as important as what it includes in its history.  Colored Memories is a highly original work that not only introduces readers to a once-influential figure but also invites us to reconsider how we view, understand, and preserve the past.

Loomis provides a clear and disturbing picture of military land-use planning and how it has affected residents in Nevada. He contends that a lack of citizen participation in the development of land-use plans is a weakness in the planning process and that both the military and the citizenry should take an active role to avoid future conflicts.

2023 Ray and Pat Browne Best Single Work by One or More Authors in Popular and American Culture, Popular and American Culture Association (PACA) / Popular Culture Association (PCA)
2023 Ray and Pat Browne Best Edited Reference/Primary Source Work in Popular Culture Award (Honorable Mention), Popular and American Culture Association (PACA) / Popular Culture Association (PCA)
2023 Peter C. Rollins Book Award, Southwest Texas Popular Culture and American Culture Associations (SWPACA)

A revisionist history of women's pivotal roles as creators of and characters in comic books.

The history of comics has centered almost exclusively on men. Comics historians largely describe the medium as one built by men telling tales about male protagonists, neglecting the many ways in which women fought for legitimacy on the page and in publishers’ studios. Despite this male-dominated focus, women played vital roles in the early history of comics. The story of how comic books were born and how they evolved changes dramatically when women like June Tarpé Mills and Lily Renée are placed at the center rather than at the margins of this history, and when characters such as the Black Cat, Patsy Walker, and Señorita Rio are analyzed.

Comic Book Women offers a feminist history of the golden age of comics, revising our understanding of how numerous genres emerged and upending narratives of how male auteurs built their careers. Considering issues of race, gender, and sexuality, the authors examine crime, horror, jungle, romance, science fiction, superhero, and Western comics to unpack the cultural and industrial consequences of how women were represented across a wide range of titles by publishers like DC, Timely, Fiction House, and others. This revisionist history reclaims the forgotten work done by women in the comics industry and reinserts female creators and characters into the canon of comics history.

Pegged pants poodle skirts, record hops, rock ‘n’ roll, soda shops: in the interval between the bombing of Hiroshima and the assassination of John F. Kennedy, these were distinguishing marks of the "typical" postwar teenager-if there was a "typical" teenager. In this richly illustrated account of Youth in postwar Buffalo, William Graebner argues that the so-called Youth culture was really a variety of "disparate subcultures, united by age but in conflict over class, race, ethnicity, and gender." Using scrap books, oral histories, school Yearbooks, and material culture, he shows how Buffalo teenagers were products of diverse and often antagonistic subcultures. The innocuous strains of "Rock Around the Clock" muffled the seething gang loyalties and countercultural influence of James Dean, Marlon Brando, and Buffalo’s own "Hound Dog" Lorenz. Racial antipathies once held in check spilled out on Memorial Day, 1956, when white and black Youth clashed on board a take Erie pleasure boat in a "riot" that recast the city’s race relations for decades to come.

While exploring the diversity within Youth subcultures, Graebner examines the ways in which adults—educators, clergy, representatives of the media, and other authorities—sought to contain this generation. The Hi-Teen Club, Buffalo Plan dress code, record hops, graduation ceremonies, film censorship, and restrictions on secret societies and on corner lounging were all forms of social engineering that reinforced social and economic boundaries that were at the heart of the dominant culture. The prevailing adult influence on activities, attitudes, and style served to redirect the "misguided Youth" of the fifties and to obliterate their image from public memory. Although the media still portrays this decade as the golden age of cultural homogeneity, the diversity in musical preferences, hair and clothing styles, and allegiances to disc jockeys suggest the wide diversity of Youth experiences and challenges to adult authority that were part of coming of age in postwar America.

World War I is widely considered “the Great War” and World War II, “the Good War.” Janis Stout thinks of them as two parts of a whole that continues to engage historians and literary scholars searching for an understanding of both the actual war experiences and the modern culture of grief they embody. In Coming Out of War: Poetry, Grieving, and the Culture of the World Wars Stout argues that poetry, of all the arts, most fully captures and conveys those cultural responses.

While probing the work of such well known war poets as Rupert Brooke, Wilfred Owen, and Randall Jarrell, Stout also highlights the impact of the wars on lesser studied, but equally compelling, sources such as the music of Charles Ives and Cole Porter, Aaron Copland and Irving Berlin. She challenges the commonplace belief that war poetry came only from the battlefield and was written only by men by examining the wartime writings of women poets such as Rose Macaulay, Marianne Moore, Elizabeth Bishop, and Gwendolyn Brooks. She also challenges the assumption that World War II did not produce poetry of distinction by studying the work of John Ciardi, Karl Shapiro, Louis Simpson, Robert Frost, and Wallace Stevens. While emphasizing aesthetic continuity between the wars, Stout stresses that the poetry that emerged from each displays a greater variety than is usually recognized.

In this absorbing memoir, Merrill D. Peterson traces his progress from a young Kansas Republican to a "Left Liberal," Democrat by reconstructing how the New Republic singularly influenced his intellectual development and academic career during some of the most turbulent years in American history—the final years of the Great Depression through World War II and the beginnings of the Cold War. Peterson recalls how, as a young man, he was guided to intellectual maturity by such extraordinary individuals as Max Lerner, Archibald MacLeish, Vincent Sheean, Alfred Kazin, Lewis Mumford, and Malcolm Cowley—all contributors to this important magazine. We look back, with Peterson, and see how their views are inextricably reflected in his own developing worldview.

Peterson was introduced to this liberal weekly by one of his teachers during his senior year of high school (1938-1939). For the next ten years, the magazine served as his principal guide to the politics and culture of the times. Now, at seventy-eight years of age, Peterson revisits the magazine that he read so eagerly during those early, impressionable years. With considerable skill and charm, Peterson weaves together the fresh reading, the history of the country during the 1940s, and his own personal history to give us the heart of the book. In addition, he includes brief essays on Vernon L. Parrington, Lewis Mumford, and Max Lerner, the three American writers and intellectuals he believes had the most influence on him.

Peterson discusses several turning points in his young life, but he focuses primarily on his education and the role the magazine played in it. The book concludes when Peterson, with a Ph.D. in the history of American civilization, accepts his first academic appointment, at Brandeis University, and approaches the publication of his first book. Thus, a critical chapter in his life comes to a close.

Drawing on extensive research in corporate and government archives, Winseck and Pike illuminate the actions of companies and cartels during the late nineteenth century and early twentieth, in many different parts of the globe, including Africa, Asia, and Central and South America as well as Europe and North America. The complex history they relate shows how cable companies exploited or transcended national policies in the creation of the global cable network, how private corporations and government agencies interacted, and how individual reformers fought to eliminate cartels and harmonize the regulation of world communications. In Communication and Empire, the multinational conglomerates, regulations, and the politics of imperialism and anti-imperialism as well as the cries for reform of the late nineteenth century and early twentieth emerge as the obvious forerunners of today’s global media.

The first of the collection’s three sections explicitly examines the links between aesthetics and social and political experience. Here a new essay by Rancière posits art as a key site where disagreement can be staged in order to produce new communities of sense. In the second section, contributors investigate how sense was constructed in the past by the European avant-garde and how it is mobilized in today’s global visual and political culture. Exploring the viability of various models of artistic and political critique in the context of globalization, the authors of the essays in the volume’s final section suggest a shift from identity politics and preconstituted collectivities toward processes of identification and disidentification. Topics discussed in the volume vary from digital architecture to a makeshift museum in a Paris suburb, and from romantic art theory in the wake of Hegel to the history of the group-subject in political art and performance since 1968. An interview with Étienne Balibar rounds out the collection.

Contributors. Emily Apter, Étienne Balibar, Carlos Basualdo, T. J. Demos, Rachel Haidu, Beth Hinderliter, David Joselit, William Kaizen, Ranjanna Khanna, Reinaldo Laddaga, Vered Maimon, Jaleh Mansoor, Reinhold Martin, Seth McCormick, Yates McKee, Alexander Potts, Jacques Rancière, Toni Ross

A mirror of great changes that were occurring on the national labor rights scene, the 1913–14 Michigan Copper Strike was a time of unprecedented social upheaval in Michigan’s Upper Peninsula. With organized labor taking an aggressive stance against the excesses of unfettered capitalism, the stage was set for a major struggle between labor and management. The Michigan Copper Strike received national attention and garnered the support of luminaries in organized labor like Mother Jones, John Mitchell, Clarence Darrow, and Charles Moyer. The hope of victory was overshadowed, however, by violent incidents like the shooting of striking workers and their family members, and the bitterness of a community divided. No other event came to symbolize or memorialize the strike more than the Italian Hall tragedy, in which dozens of workers and working-class children died. In Community in Conflict, the efforts of working people to gain a voice on the job and in their community through their unions, and the efforts of employers to crush those unions, take center stage. Previously untapped historical sources such as labor spy reports, union newspapers, coded messages, and artifacts shine new light on this epic, and ultimately tragic, period in American labor history.

An international and interdisciplinary group of scholars, the contributors bring under-utilized evidence from U.S. and non-U.S. sources to bear on the study of American women missionaries abroad and at home. Focusing on women from several denominations, they build on the insights of postcolonial scholarship to incorporate the agency of the people among whom missionaries lived. They explore how people in China, the Congo Free State, Egypt, India, Japan, Ndebeleland (colonial Rhodesia), Ottoman Bulgaria, and the Philippines perceived, experienced, and negotiated American cultural expansion. They also consider missionary work among people within the United States who were constructed as foreign, including African Americans, Native Americans, and Chinese immigrants. By presenting multiple cultural perspectives, this important collection challenges simplistic notions about missionary cultural imperialism, revealing the complexity of American missionary attitudes toward race and the ways that ideas of domesticity were reworked and appropriated in various settings. It expands the field of U.S. women’s history into the international arena, increases understanding of the global spread of American culture, and offers new concepts for analyzing the history of American empire.

Contributors: Beth Baron, Betty Bergland, Mary Kupiec Cayton, Derek Chang, Sue Gronewold, Jane Hunter, Sylvia Jacobs, Susan Haskell Khan, Rui Kohiyama, Laura Prieto, Barbara Reeves-Ellington, Mary Renda, Connie A. Shemo, Kathryn Kish Sklar, Ian Tyrrell, Wendy Urban-Mead