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A cougar attacks a jogger in the suburbs of a western city. Charlie Sayers, facing retirement as a wildlife biologist at a downsized state agency, is drawn into the search for the lion. He gets caught up in the conflict between wildlife habitat and an increasingly developed environment as, teetering between crisis and farce, he tries to piece together the puzzle of his own life.

On February 12, 1965, in the Audubon Ballroom, Yuri Kochiyama cradled Malcolm X in her arms as he died, but her role as a public servant and activist began much earlier than this pivotal public moment. Heartbeat of Struggle is the first biography of this courageous woman, the most prominent Asian American activist to emerge during the 1960s. Based on extensive archival research and interviews with Kochiyama's family, friends, and the subject herself, Diane C. Fujino traces Kochiyama's life from an "all-American" childhood to her achievements as a tireless defender of - and fighter for - human rights. Raised by a Japanese immigrant family in California during the 1920s and 1930s, Kochiyama was active in sports, school, and church. She was both unquestioningly patriotic and largely unconscious of race and racism in the United States. After Pearl Harbor, however, Kochiyama's family was among the thousands of Japanese Americans forcibly removed to internment camps for the duration of the war, a traumatic experience that opened her eyes to the existence of social injustice. After the war, Kochiyama moved to New York. It was in the context of the vibrant Black movement in Harlem in the 1960s that she began her activist career. There, she met Malcolm X, who inspired her radical political development and the ensuing four decades of incessant work for Black liberation, Asian American equality, Puerto Rican independence, and political prisoner defense. Kochiyama is widely respected for her work in forging unity among diverse communities, especially between Asian and African Americans. Fujino, a scholar and activist, offers an in-depth examination of Kochiyama's political awakening, rich life, and impressive achievements with particular attention to how her public role so often defied gender, racial, and cultural norms. Heartbeat of Struggle is a source of inspiration and guidance for anyone committed to social change.

It is in the Presidio of San Francisco, California, that Leslie Carol Roberts walks. The Presidio, America’s only residential national park tucked wholly into an urban setting, is a fading historic forest. Here is where Leslie’s memories of other places, people, and travels emerge. Here is where the author’s home has been for more than a decade, and here is the place she raised her two children as a single mother.

In layered stories of her life and travels, Leslie turns her daily walks into revelations of deeper meaning. From Maryland to Iowa to Tasmania, we follow a fierce and keenly observant walker through places of exquisite beauty and complexity. Her daily walks inspire Leslie to accept the invitation of the beckoning trees where she finds herself colliding with the urban coyote, the peculiar banana slug, and the manzanita. She also notes both ridiculous and poignant aspects of human ecosystems in pursuit of what it means to live a life of creativity and creation from scientist-activists battling to save environments to the tragic realities of ordinary life.

In this finely crafted eco-memoir, each place provides Leslie with exactly the scaffolding needed to survive, with nature serving as the tonic. Here is Where I Walk provides a vivid answer to how we can find our place, not only in nature but within ourselves and the world we walk.
 

Hip Hop Underground is a vivid ethnography of the author's observations and experiences in the multiracial world of the San Francisco underground hip hop scene. While Anthony Kwame Harrison interviewed area hip hop artists for this entertaining and informative book, he also performed as the emcee "Mad Squirrel." His immersion in the subculture provides him with unique insights into this dynamic and racially diverse but close-knit community.

Hip Hop Underground examines the changing nature of race among young Americans, and examines the issues of ethnic and racial identification, interaction, and understanding. Critiquing the notion that the Bay Area underground music scene is genuinely "colorblind," Harrison focuses on the issue of race to show how various ethnic groups engage hip hop in remarkably divergent ways—as a means to both claim subcultural legitimacy and establish their racial authenticity.

Volume 3, Life Writings of Frontier Women series, ed. Maureen Ursenbach Beecher

In her memoir, and 1870s revision of her journal and diary, Louisa Barnes Pratt tells of childhood in Massachusetts and Canada during the War of 1812, and independent career as a teacher and seamstress in New England, and her marriage to the Boston seaman Addison Pratt.

Converting to the LDS Church, the Pratts moved to Nauvoo, Illinois, from where Brigham Young sent Addison on the first of the long missions to the Society Islands that would leave Louisa on her own. As a sole available parent, she hauled her children west to Winter Quarters, to Utah in 1848, to California, and, in Addison's wake, to Tahiti in 1850.

The Pratts joined the Mormon colony at San Bernardino, California. When in 1858 a federal army's march on Utah led to the colonists' recall, Addision—alienated from the Mormon Church after long absences—chose not to go. Mostly separated thereafter (Addison died in 1872), Louisa settled in Beaver, Utah, where she campaigned for women's rights, contributed to the Woman's Exponent, and depended on her own means, as she had much of her life, until her death in 1880.

This collection of evocative personal testimonies by three generations of Hmong refugees is the first to describe their lives in Laos as slash-and-burn farmers, as refugees after a Communist government came to power in 1975, and as immigrants in the United States. Reflecting on the homes left behind, their narratives chronicle the difficulties of forging a new identity.

From Jou Yee Xiong's Life Story: 
"I stopped teaching my sons many of the Hmong ways because I felt my ancestors and I had suffered enough already. I thought that teaching my children the old ways would only place a burden on them."

From Ka Pao Xiong's (Jou Yee Xiong's son) Life Story: 
"It has been very difficult for us to adapt because we had no professions or trades and we suffered from culture shock. Here in America, both the husband and wife must work simultaneously to earn enough money to live on. Many of our children are ignorant of the Hmong way of life…. Even the old people are forgetting about their life in Laos, as they enjoy the prosperity and good life in America."

From Xang Mao Xiong's Life Story: 
"When the Communists took over Laos and General Vang Pao fled with his family, we, too, decided to leave. Not only my family, but thousands of Hmong tried to flee. I rented a car for thirty thousand Laotian dollars, and it took us to Nasu…. We felt compelled to leave because many of us had been connected to the CIA…. Thousands of Hmong were traveling on foot. Along the way, many of them were shot and killed by Communist soldiers. We witnessed a bloody massacre of civilians."

From Vue Vang's Life Story: 
"Life was so hard in the [Thai refugee] camp that when we found out we could go to the United States, we did not hesitate to grasp the chance. We knew that were we to remain in the camp, there would be no hope for a better future. We would not be able to offer our children anything better than a life of perpetual poverty and anguish."

In Hold-Outs, Bill Mohr, long a figure on the Los Angeles poetry scene, reveals the complicated evolution of the literary landscape in a city famous for its production of corporate culture. Mohr’s multigenerational account of the role of the poet-editor-publisher in Los Angeles community formation is nothing less than a radiant mosaic of previously little-known details about an important center of American poetry. While explaining the important role of L.A. in contemporary American poetry, Mohr also explores the ideals and perils of the small press movement in the twentieth century, providing a new generation of literary activists with the knowledge that is needed to inspire their own redefinitions of the social value of alternative artistic practices.

 

Drawing on extensive archival research of original documents, Mohr argues that West Coast poets in general (and Los Angeles poets in particular) have been part of what can be called not so much a haven of more imaginatively inspired artists but, rather, a site of revisionist creativity. Revealed here are the personalities (including Stuart Perkoff, Wanda Coleman, Leland Hickman, Paul Vangelisti, Don Gordon, Suzanne Lummis, John Thomas, Ron Koertge, and Charles Bukowski, among others), the institutions, the publications, and the informal poetry groups that together formed a matrix that encouraged poetry to be written, performed, published, and acknowledged.

 

Hold-Outs is a stunning roadmap of the interwoven contexts of an ongoing cultural debate whose most important witnesses are finally being heard.

Rebecca Prime documents the untold story of the American directors, screenwriters, and actors who exiled themselves to Europe as a result of the Hollywood blacklist. During the 1950s and 1960s, these Hollywood émigrés directed, wrote, or starred in almost one hundred European productions, their contributions ranging from crime film masterpieces like Du rififi chez les hommes (1955, Jules Dassin, director) to international blockbusters like The Bridge on the RiverKwai (1957, Carl Foreman and Michael Wilson, screenwriters) and acclaimed art films like The Servant (1963, Joseph Losey, director).

At once a lively portrait of a lesser-known American “lost generation” and an examination of an important transitional moment in European cinema, the book offers a compelling argument for the significance of the blacklisted émigrés to our understanding of postwar American and European cinema and Cold War relations. Prime provides detailed accounts of the production and reception of their European films that clarify the ambivalence with which Hollywood was regarded within postwar European culture. Drawing upon extensive archival research, including previously classified material, Hollywood Exiles in Europe suggests the need to rethink our understanding of the Hollywood blacklist as a purely domestic phenomenon. By shedding new light on European cinema’s changing relationship with Hollywood, the book illuminates the postwar shift from national to transnational cinema.

In Christianity, as with most religions, attaining holiness and a higher spirituality while simultaneously pursuing worldly ideals such as fame and fortune is nearly impossible. So how do people pursuing careers in Hollywood's entertainment industry maintain their religious devotion without sacrificing their career goals? For some, the answer lies just two miles south of the historic center of Hollywood, California, at the Oasis Christian Center.

In Hollywood Faith, Gerardo Marti shows how a multiracial evangelical congregation of 2,000 people accommodates itself to the entertainment industry and draws in many striving to succeed in this harsh and irreverent business. Oasis strategically sanctifies ambition and negotiates social change by promoting a new religious identity as "champion of life"-an identity that provides people who face difficult career choices and failed opportunities a sense of empowerment and endurance.

The first book to provide an in-depth look at religion among the "creative class," Hollywood Faith will fascinate those interested in the modern evangelical movement and anyone who wants to understand how religion adapts to social change.

Hollywood Independents explores the crucial period from 1948 to 1962 when independent film producers first became key components of the modern corporate entertainment industry. Denise Mann examines the impact of the radically changed filmmaking climate—the decline of the studios, the rise of television, and the rise of potent talent agencies like MCA—on a group of prominent talent-turned-producers including Burt Lancaster, Joseph Mankiewicz, Elia Kazan, and Billy Wilder.

In order to show how these newly independent filmmakers negotiated through an increasingly fraught, reactionary creative atmosphere, Mann analyzes the reflexive portraits of their altered working conditions in such films as A Face in the Crowd, Sweet Smell of Success, and Will Success Spoil Rock Hunter? These artists, she shows, took on the corporate middle-managers at television networks and talent agencies as a way of challenging the status quo without risking censorship or blacklisting.

This period saw the evolution of film production from the studio-governed system to one of entrepreneurs. Out of this new arrangement, which encouraged greater creative freedom, emerged a nascent form of independent art cinema that sowed the seeds of the Hollywood Renaissance that followed.

Denise Mann is associate professor of film, TV and digital media at UCLA. She is coeditor of Private Screenings: Television and the Female Consumer (Minnesota, 1992).

Hollywood culture has been dismissed as insignificant for so long that film buffs and critics might be forgiven for forgetting that for two decades an unprecedented interaction of social and cultural forces shaped American film. In this probing account of how a  generation of industry newcomers attempted to use the modernist art of the cinema to educate the public in anti-Fascist ideals, Saverio Giovacchini traces the profound transformation that took place in the film industry from the 1930's to the 1950's. Rejecting the notion that European emigres and New Yorkers sought a retreat from politics or simply gravitated toward easy money, he contends that Hollywood became their mecca precisely because they wanted a deeper engagement in the project of democratic modernism.

Seeing Hollywood as a forcefield, Giovacchini examines the social networks, working relationships, and political activities of artists, intellectuals, and film workers who flocked to Hollywood from Europe and the eastern United States before and during the second world war. He creates a complex and nuanced portrait of this milieu, adding breadth and depth to the conventional view of the era's film industry as little more than an empire for Jewish moguls or the major studios. In his rendering Hollywood's newcomers joined with its established elite to develop a modernist aesthetic for film that would bridge popular and avant-garde sensibilities; for them, realism was the most  effective vehicle for conveying their message and involving a mass audience in the democratic struggle for process.

By March 2020, the spread of COVID-19 had reached pandemic proportions, forcing widespread shutdowns across industries, including Hollywood. Studios, networks and production companies, and the thousands of workers who make film and television possible, were forced to adjust their time-honored business and labor practices. In this book, Kate Fortmueller asks what happened when the coronavirus closed Hollywood.

Hollywood Shutdown examines how the COVID-19 pandemic affected film and television production, influenced trends in distribution, reshaped theatrical exhibition, and altered labor practices. From January movie theater closures in China to the bumpy September release of Mulan on the Disney+ streaming platform, Fortmueller probes various choices made by studios, networks, unions and guilds, distributors, and exhibitors during the evolving crisis. In seeking to explain what happened in the first nine months of 2020, this book also considers how the pandemic will transform Hollywood practices in the twenty-first century.

This is the first collection of short stories by W.T. Ballard. This volume is just a sampling of Ballard's most famous character Bill Lennox, a selection for both the connoisseur of crime and the lover of good, fast-moving crime/adventure stories.

"Michele Hilmes has produced
  an excellent introduction to a most important subject. This is an invaluable
  work for both scholars and students that places film, radio, and television
  within the context of the national culture experience."
  --- American Historical Review
"Hilmes is one of the few historians
  of broadcasting to move beyond a political economy of the media. . . . Her work
  should serve as a model for future histories of broadcasting."
  --- Journal of Communication
"All media historians will
  find this work a critical addition to their bookshelves."
  --- American Journalism
"A major addition to media
  history literature."
  --- Journalism History
 

How do homeless people perceive their plight? Specifically, how does their situation affect their sense of personal dignity? In intensive interviews with one hundred adult heads of homeless families, Barry Seltser and Donald Miller ask these questions, previously not dealt with in the growing literature on homelessness. Homeless Families sensitizes readers, challenging them to consider their own moral and social responses to homeless people.
 

We like to think of ourselves as possessing an essential self, a core identity that is who we really are, regardless of where we live, work, or play. But places actually make us much more than we might think, argues Japonica Brown-Saracino in this novel ethnographic study of lesbian, bisexual, and queer individuals in four small cities across the United States.

Taking us into communities in Ithaca, New York; San Luis Obispo, California; Greenfield, Massachusetts; and Portland, Maine; Brown-Saracino shows how LBQ migrants craft a unique sense of self that corresponds to their new homes. How Places Make Us demonstrates that sexual identities are responsive to city ecology. Despite the fact that the LBQ residents share many demographic and cultural traits, their approaches to sexual identity politics and to ties with other LBQ individuals and heterosexual residents vary markedly by where they live. Subtly distinct local ecologies shape what it feels like to be a sexual minority, including the degree to which one feels accepted, how many other LBQ individuals one encounters in daily life, and how often a city declares its embrace of difference. In short, city ecology shapes how one “does” LBQ in a specific place. Ultimately, Brown-Saracino shows that there isn’t one general way of approaching sexual identity because humans are not only social but fundamentally local creatures. Even in a globalized world, the most personal of questions—who am I?—is in fact answered collectively by the city in which we live.  

At fifteen, Victor Rios found himself a human target—flat on his ass amid a hail of shotgun fire, desperate for money and a place on the street. Faced with the choice of escalating a drug turf war or eking out a living elsewhere, he turned to a teacher, who mentored him and helped him find a job at an auto shop. That job would alter the course of his whole life—putting him on the road to college and eventually a PhD. Now, Rios is a rising star, hailed for his work studying the lives of African American and Latino youth.

In Human Targets, Rios takes us to the streets of California, where we encounter young men who find themselves in much the same situation as fifteen-year-old Victor. We follow young gang members into schools, homes, community organizations, and detention facilities, watch them interact with police, grow up to become fathers, get jobs, get rap sheets—and in some cases get killed. What is it that sets apart young people like Rios who succeed and survive from the ones who don’t? Rios makes a powerful case that the traditional good kid/bad kid, street kid/decent kid dichotomy is much too simplistic, arguing instead that authorities and institutions help create these identities—and that they can play an instrumental role in providing young people with the resources for shifting between roles. In Rios’s account, to be a poor Latino youth is to be a human target—victimized and considered an enemy by others, viewed as a threat to law enforcement and schools, and burdened by stigma, disrepute, and punishment. That has to change.

This is not another sensationalistic account of gang bangers. Instead, the book is a powerful look at how authority figures succeed—and fail—at seeing the multi-faceted identities of at-risk youths, youths who succeed—and fail—at demonstrating to the system that they are ready to change their lives. In our post-Ferguson era, Human Targets is essential reading.

More than two decades after serving as a juror on the high-profile seven-month murder trial People v. Erik Galen Menendez, Hazel Thornton updates her book Hung Jury with a new preface and a postscript essay of observations about the Menendez brothers’ second trial. Includes psychological commentary by Lawrence S. Wrightsman and Amy J. Posey, and legal commentary by Alan Scheflin.