Results by title

A musical force across four decades, a voice for the ages, and a great songwriter, Chrissie Hynde is one of America’s foremost rockers. Inducted into the Rock and Roll Hall of Fame in 2005, she and her band The Pretenders have released ten albums since 1980. The Pretenders’ debut LP has been acclaimed as one of the best albums of all time by VH1 and Rolling Stone. In a business filled with “pretenders” and posers, Hynde remains unassailably authentic. Although she blazed the trail for countless female musicians, Hynde has never embraced the role of rock-feminist and once remarked, “It’s never been my intention to change the world or set an example for others to follow.” Instead, she pursued her own vision of rock—a band of “motorcycles with guitars.”

Chrissie Hynde: A Musical Biography traces this legend’s journey from teenage encounters with rock royalty to the publication of her controversial memoir Reckless in 2015. Adam Sobsey digs deep into Hynde’s catalog, extolling her underrated songwriting gifts and the greatness of The Pretenders’ early classics and revealing how her more recent but lesser-known records are not only underappreciated but actually key to understanding her earlier work, as well as her evolving persona. Sobsey hears Hynde’s music as a way into her life outside the studio, including her feminism, signature style, vegetarianism, and Hinduism. She is “a self-possessed, self-exiled idol with no real forbears and no true musical descendants: a complete original.”

A timely new edition of the acclaimed work, Christian America and the Kingdom of God spotlights how the centuries-long pursuit of a Christian America has bred an aggressive white Christian nationalism that twists faith, unleashes unchristian behavior, and threatens the nation.

Lawrence of Arabia, The Miracle Worker, To Kill a Mockingbird, The Manchurian Candidate, Gypsy, Sweet Bird of Youth, The Longest Day, The Music Man, What Ever Happened to Baby Jane, and more.

Most conventional film histories dismiss the early 1960s as a pallid era, a downtime between the heights of the classic studio system and the rise of New Hollywood directors like Scorsese and Altman in the 1970s. It seemed to be a moment when the movie industry was floundering as the popularity of television caused a downturn in cinema attendance. Cinema ’62 challenges these assumptions by making the bold claim that 1962 was a peak year for film, with a high standard of quality that has not been equaled since.
 
Stephen Farber and Michael McClellan show how 1962 saw great late-period work by classic Hollywood directors like John Ford, Howard Hawks, and John Huston, as well as stars like Bette Davis, James Stewart, Katharine Hepburn, and Barbara Stanwyck. Yet it was also a seminal year for talented young directors like Sidney Lumet, Sam Peckinpah, and Stanley Kubrick, not to mention rising stars like Warren Beatty, Jane Fonda, Robert Redford, Peter O’Toole, and Omar Sharif. Above all, 1962—the year of To Kill a Mockingbird and The Manchurian Candidate—gave cinema attendees the kinds of adult, artistic, and uncompromising visions they would never see on television, including classics from Fellini, Bergman, and Kurosawa. Culminating in an analysis of the year’s Best Picture winner and top-grossing film, Lawrence of Arabia, and the factors that made that magnificent epic possible, Cinema ’62 makes a strong case that the movies peaked in the Kennedy era.

For over a century, cinephiles and film scholars have had to grapple with an ugly artifact that sits at the beginnings of film history. D. W. Griffith’s profoundly racist epic, The Birth of a Nation, inspired controversy and protest at its 1915 release and was defended as both a true history of Reconstruction (although it was based on fiction) and a new achievement in cinematic art. Paul McEwan examines the long and shifting history of its reception, revealing how the film became not just a cinematic landmark but also an influential force in American aesthetics and intellectual life.

In every decade since 1915, filmmakers, museums, academics, programmers, and film fans have had to figure out how to deal with this troublesome object, and their choices have profoundly influenced both film culture and the notion that films can be works of art. Some critics tried to set aside the film’s racism and concentrate on the form, while others tried to relegate that racism safely to the past. McEwan argues that from the earliest film retrospectives in the 1920s to the rise of remix culture in the present day, controversies about this film and its meaning have profoundly shaped our understandings of film, race, and art.

Two plays along with process essays on the cacophonous world of pop culture, politics, and personal testimony that we call the internet

In March 2020, the New York theater company Fake Friends was pushed off the stage and into the land of the internet. This book marks the first publication of two of their deliciously absurd and toxically serious internet plays, Circle Jerk (the first-ever work in digital theater to be shortlisted for the Pulitzer Prize in Drama) and This American Wife. Circle Jerk tells the social media–infused tale of gay white supremacists creating an AI-influencer to dominate the global discourse, and This American Wife spins a surrealist web of queer devotion to the stars and performance strategies of reality television; both plays are unapologetically theatrical and digitally native, born out of the exigencies of the pandemic. This collection features an electrifying visual archive as well as individual essays from each company member reflecting on the practical and interpersonal processes of bringing these award-winning plays to life in our ever-more online, political, and personal world.
 

Andrea Ringer examines the industry-wide circus world--the collection of shows that traveled by rail, wagon, steamboat, and car--and the traditional and nontraditional laborers who created it. Performers and their onstage labor played an integral part in the popularity of the circus. But behind the scenes, other laborers performed the endless menial tasks that kept the show on the road. Circus operators regulated employee behavior both inside and outside the tent even as the employees themselves blurred the line between leisure and labor until, in all parts of the show, the workers could not escape their work.

Illuminating and vivid, Circus World delves into the gender, class, and even species concerns within an extinct way of life.

The lively history of this frontier fort.

History/Regional

Revealing Chicago’s underworld before Al Capone

Vice in Chicago did not begin—or end—with Al Capone. In this vividly written narrative, historian Richard C. Lindberg peels back the mythology of Prohibition-era gangsters to reveal a more entrenched, intricate and disturbing system of vice and corruption that took shape decades earlier. Long before the rise of organized crime syndicates, Chicago’s political leaders in league with the criminal classes deliberately created and managed politically-protected segregated vice districts known in Chicago and in other cities as “Levees,” that institutionalized prostitution, graft, and forced sex work in the name of preserving civic order by isolating the vice trade from the citizenry.

Set against the backdrop of the Gilded Age and Progressive Era, Citadels of Sin situates Chicago within a nationwide experiment in regulating prostitution. Reformers, clergy, and municipal officials across the United States believed that confining vice to designated districts would protect respectable neighborhoods and commercial centers. More than fifty such districts emerged nationwide. Instead of curbing crime, however, the Levees became engines of corruption, enriching politicians, police, lawyers, and judges while normalizing exploitation and violence. Lindberg argues that these systems laid the groundwork for modern global human trafficking.

Chicago, with its size and political complexity, supported three major Levees. On the West Side, poverty and endemic corruption devastated local communities. On the North Side, one vice district survived longest, eventually transforming into the fashionable Rush Street nightclub scene. The South Side levee proved most consequential of all, evolving into the organized crime network known as “the Outfit,” whose influence continues to endure.

Lindberg brings the levee era to life through sharp portraits and damning accountability. He exposes how media sensationalism glamorized vice while masking its human cost, and he holds powerful figures—most notably Mayors Carter Harrison Sr. and Jr.—responsible for enabling a system built on bribery, “white slavery,” and coerced sex work. The levees were not accidental byproducts of urban growth; they were carefully managed political machines.

As World War I priorities and urban redevelopment finally dismantled formal vice districts, their activities did not disappear. Instead, they dispersed into neighborhoods, suburbs, and new forms.

By walking readers through the former vice districts as they exist today, Lindberg forges a powerful connection between past and present. In tracing the rise and fall of these districts, he reveals how efforts to impose moral order produced the very exploitation they claimed to prevent—proof that reform, when compromised by politics and greed, can collapse into catastrophe.

The condition of our public discussions about literary and cultural works has much to say about the state of our democracy. Classrooms, newspapers, magazines, Internet forums, and many other places grant citizens a place to hold public discourses—and claim a voice on national artistic matters. 

Rosa A. Eberly looks at four censorship controversies where professionals asserted their authority to deny citizen critics a voice—and effectively removed discussion of literature from the public sphere. Eberly compares the outrage sparked by the publication of James Joyce's Ulysses and Henry Miller's Tropic of Cancer with the relative quiescence that greeted the much more violent and sexually explicit content of Bret Easton Ellis's American Psycho and Andrea Dworkin's Mercy. Through a close reading of letters to the editor, reviews, media coverage, and court cases, Eberly shows how literary critics and legal experts defused censorship debates—and undercut the authority of citizen critics—by shifting the focus from content to aesthetics and from social values to publicity.

Citizen Rauh tells the story of American lawyer Joseph L. Rauh Jr., who kept alive the ideals of New Deal liberalism and broadened those ideals to include a commitment to civil rights. Rauh's clients included Arthur Miller, Lillian Hellman, A. Philip Randolph, and the Mississippi Freedom Democratic Party. With good reason Freedom Rider John Lewis once called him "the blackest white man I ever knew."

No lawyer in the post-1945 era did more to protect the economic interests of working-class Americans than Rauh, who fought for the unions as they struggled for legitimacy and against them when they betrayed their own members. No lawyer stood more courageously against repressive anticommunism during the 1950s or advanced the cause of racial justice more vigorously in the 1960s and 1970s. No lawyer did more to defend the constitutional vision of the Warren Court and resist the efforts of Richard Nixon and Ronald Reagan to undo its legacy.

Throughout his life, Rauh continued to articulate a progressive vision of law and politics, ever confident that his brand of liberalism would become vital once again when the cycle of American politics took another turn.

Michael E. Parrish is Distinguished Professor of History at the University of California, San Diego, where he has taught for forty years. A specialist in the legal and constitutional history of the United States, he has also taught at Nanjing University in the People's Republic of China, the University of Edinburgh, the University of Glasgow, and the University of Helsinki, where he was the Fulbright Bicentennial Professor of American Studies.

Parrish is the author of five other books: Securities Regulation and the New Deal; Felix Frankfurter and His Times; Anxious Decades: America in Prosperity and Depression; The Hughes Court: Justices, Rulings, and Legacy; and The Supreme Court and Capital Punishment: Judging Death. His articles have appeared in the American Historical Review, the Historian, Diplomatic History, the Journal of the Supreme Court Historical Society, and the Yale Law Journal.

Jacket design by Paula Newcomb

Jacket photograph: Joseph L. Rauh Jr. with President Lyndon B. Johnson. Courtesy of the Estate of Olie W. Rauh.