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Presents alternative categories of fiction through which to examine how contemporary writers have envisaged Africa’s changing literary terrains

Stephanie Bosch Santana analyzes southern African writers’ experimentations with literary form in periodical print and digital media since the mid-twentieth century in order to offer an alternative account of contemporary African imaginations of mobility. Based on an understudied archive of texts in English and Chichewa/Nyanja from Malawi, South Africa, Zimbabwe, and Zambia, Forms of Mobility: Genre, Language, and Media in African Literary Cultures examines new, noncanonical categories of fiction, including migrant forms, township tales, weekend stories, and digital diaries. These generically, linguistically, and geographically mobile forms map changing ideas of interconnection and belonging. By reading them “in motion,” as they travel across space, time, genre, and language and between publications and platforms, Bosch Santana limns multiple centers of literary influence and relation across southern African and Black diasporas, revealing forms of literary mobility and space making that are occluded by current models of world literature.

In Forms of Modern British Fiction six individualistic and strongminded critics delineate the "age of modernism" in British fiction. Dating the age and the movement from later Hardy works through the deaths of Joyce and Woolf, they present British fiction as a cohesive, self-contained unit of literary history.

Hardy appears as the first of the modern British novelists, Lawrence as the central, and Joyce and Woolf as the last. The writers and the modern movement are framed by precursors, such as Galsworthy, and by successors, Durrell, Beckett, and Henry Green—the postmoderns. The pattern of the essays suggests a growing self-consciousness on the part of twentieth-century writers as they seek not only to refine their predecessors but also to deny (and sometimes obliterate) them. The moderns thus deny the novel itself, a genre once firmly rooted in history and forms of social life. Their works do not assume that comfortable mimetic relationship between the fictive realities of art and life.

Consequently, there has now evolved a poetics of the novel that is virtually identifiable with modern fiction, a poetics still highly problematical in its attempt to denote a medium in whose name eclectic innovativeness and incessant revitalizing are proclaimed. Forms of Modern British Fiction refines and advances the discussion of the modern novel and the world it and we inhabit.

From the home front to the front lines—Alabama’s pivotal role in shaping victory in World War II.

Alabama and its people played a conspicuous role in World War II. Not only were thousands of servicemen trained at military facilities in the state—at Fort McClellan, Camp Rucker, Camp Sibert, Maxwell Air Field, and Tuskegee Army Air Field—but Axis prisoners of war were interned in camps on Alabama soil. The state of Alabama held a significant number of these prisoners, over seventeen thousand in four camps across the state: Camp Aliceville, Camp Opelika, Fort McClellan, and Fort Rucker. This study focuses on Camp Aliceville and Camp Opelika which provide a sample that frames and highlights the national prisoner of war program. Through this example, one can see the lasting legacy of the prisoner of war program and its role in transforming the United States and forever changing the lives of thousands of prisoners, guards, and local citizens. An analysis of the Alabama camps also reveals how memory is constructed and how one narrative can ultimately emerge as the dominant story. In addition, a survey of the landscape reveals the importance of place and its role in the process of remembering and forgetting.
 

In Fragile Dreams, John A. Gould examines Central European communism, why it failed, and what has come since. Moving loosely chronologically from 1989 to the present, each chapter focuses on topics of importance to the fields of comparative politics, sociology, and feminist and gender studies. He draws heavily from his own research and experience as well as case studies of the former Czechoslovakia, Western Balkans, and Hungary—but much of the analysis has general applicability to the broader postcommunist region.

Broad in its coverage, this academically rigorous book is ideal for students, travelers, and general readers. Gould writes in the first person and seamlessly blends theory with stories both from the existing literature and from 30 years of regional personal experience with family and friends. Throughout, Gould introduces key concepts, players, and events with precise definitions. Wherever possible, he emphasizes marginalized narratives, centering theory and stories that are often overlooked in standard comparative political science literature.

Over the past quarter century, American liberals and conservatives alike have invoked memories of the 1960s to define their respective ideological positions and to influence voters. Liberals recall the positive associations of what might be called the “good Sixties”—the “Camelot” years of JFK, the early civil rights movement, and the dreams of the Great Society—while conservatives conjure images of the “bad Sixties”—a time of urban riots, antiwar protests, and countercultural revolt. 

In Framing the Sixties, Bernard von Bothmer examines this battle over the collective memory of the decade primarily through the lens of presidential politics. He shows how four presidents—Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush—each sought to advance his political agenda by consciously shaping public understanding of the meaning of “the Sixties.” He compares not only the way that each depicted the decade as a whole, but also their commentary on a set of specific topics: the presidency of John F. Kennedy, Lyndon Johnson's “Great Society” initiatives, the civil rights movement, and the Vietnam War. 

In addition to analyzing the pronouncements of the presidents themselves, von Bothmer draws on interviews he conducted with more than one hundred and twenty cabinet members, speechwriters, advisers, strategists, historians, journalists, and activists from across the political spectrum—from Julian Bond, Daniel Ellsberg, Todd Gitlin, and Arthur Schlesinger to James Baker, Robert Bork, Phyllis Schlafly, and Paul Weyrich. 

It is no secret that the upheavals of the 1960s opened fissures within American society that have continued to affect the nation's politics and to intensify its so-called culture wars. What this book documents is the extent to which political leaders, left and right, consciously exploited those divisions by “framing” the memory of that turbulent decade to serve their own partisan interests.

An examination of the complicated history between France and Algeria since the latter’s independence.

While most related studies concentrate on the colonial era and Algeria's War of Independence, France and Algeria details the nations' postcolonial relationship. Phillip Naylor provides a philosophical approach, contending that France reformulated, rather than repudiated, “essential” strategic values during decolonization. It thus continued to pursue grandeur and independence, especially with regard to the Third World and Algeria, an essentialism that expedited France’s postcolonial transformation. But as a new nation, Algeria needed to pursue the “existential” project of self-definition. It became involved in state-building while also promulgating socialism, and it recognized how French oil concessions in the Sahara impeded its independence, leading to the industry's postcolonial decolonization. Finally, the postcolonial relationship has featured a human dimension involving immigrants, pieds-noirs (colonial settlers), and harkis (Algerian soldiers loyal to France), all of them central to bilateral relations.

In this revised and updated edition of his seminal work, first published over twenty years ago, Naylor expands his coverage of the decolonization era, drawing on new information while continuing to study the ever-evolving relationship between the two countries. These new additions expose the continually shifting relations of power, perception, and identity between the two states.

This first biographical and literary assessment of Frances Newman highlights one of the most experimental writers of the Southern Renaissance
 

A narrative of the life of Francisco Franco, Spanish general and dictator.

Growing up in the wake of the Spanish military’s shattering defeat at the hands of the United States in 1898 over Cuba and having survived a bullet to the stomach while serving his country in Morocco, Francisco Franco’s fame and notoriety were eventually guaranteed by his ruthless pursuit of victory for the Nationalists in the Spanish Civil War. 

Franco played a major role on the world stage until his death in 1975. At once intensely sentimental and affecting cool indifference at times of bad news, he emphasized the need to obey orders, the importance of individual bravery, absolute loyalty to the Fatherland, and the crucial role of the army. Franco was variously courted by the liberal democracies of Britain and France, the Fascist alliance of Hitler and Mussolini, and then by anti-communist administrations in Washington, but the memory of his successful policies, leading to rapid growth during a time of economic depression, is tempered by his government’s extreme repression of political opponents and perpetration of mass violence during the White Terror.

In this updated edition of Franco, featuring a new introduction by the author, Michael Streeter explores the Generalissimo’s legacy as the subject of a cult of personality in one of Europe’s longest-lasting modern dictatorships and considers his genesis, his successes (decades of relative stability and prosperity during a period of great European conflict), and the terrible cost at which they came.

Winner, Wayland D. Hand Prize, American Folklore Society, 2018

Originating in a homicide in St. Louis in 1899, the ballad of “Frankie and Johnny” became one of America’s most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown.

In this innovative book, Stacy I. Morgan explores why African American folklore—and “Frankie and Johnny” in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan’s research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.