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The first academic study dedicated to Please Sir!, a program that provides valuable insights into British society, television culture, education, and youth culture during the late 1960s and early 1970s.

The situation comedy Please Sir! was televised from 1968 to 1972. This book explores its background, comedic style, cast of characters, its depictions of contemporary issues, and the impact of crises faced by its production company. It argues that Please Sir! reveals much about the social, cultural, and televisual era in which it was produced.

Stacey Copeland’s Lavender Sounds explores lesbian radio history and its evolution into queer feminist podcasting today, exploring the politics, aesthetics, and cultural activism embedded in queer feminist soundwork. Through deeply personal and archival explorations, Stacey Copeland traces the emergence of queer feminist soundwork—a unique blend of community-led storytelling, political resistance, and creative expression rooted in feminist and LGBTQ+ activism. At the heart of the book lies a powerful idea: sound is not just heard but felt, connecting generations through shared voices and struggles. In conversation with award-winning and cutting-edge queer and feminist podcast producers from across Canada and the U.S., Lavender Sounds invites us to turn a feminist-embodied ear to the past to uncover the ways gender, race, and sexual orientations are embedded in our everyday media listening practices. From pioneering Canadian radio shows like Vancouver's The Lesbian Show and Montreal's Dykes on Mykes to today’s queer chumcasts and audio documentary, Lavender Sounds is a journey through auditory landscapes where joy, protest, intimacy, and identity intersect. This book opens a vibrant conversation about how radio and podcasting are vital tools for marginalized communities to connect, create, and claim space in the media world. 

What Brown did was to elevate race from the country's dirty secret to its most urgent topic of conversation. This book stands alone in presenting, in one source, stories of black and white Americans, men and women, from all parts of the nation, who were public school students during the years immediately after Brown. All shared an epiphany. Some became aware of race and the burden of racial separation. Others dared to hope that the yoke of racial oppression would at last be lifted.

The editors surveyed 4750 law professors born between 1936 and 1954, received 1000 responses, and derived these forty essays from those willing to write personal accounts of their childhood experiences in the classroom and in their communities. Their moving stories of how Brown affected them say much about race relations then and now. They also provide a picture of how social change can shape the careers of an entire generation in one profession.

Contributors provide accounts from across the nation. Represented are
-de jure states, those segregated by law at the time of Brown, including Alabama, Florida, Georgia, Louisiana, Maryland, Mississippi, North Carolina, South Carolina, Tennessee, Virginia, as well as the District of Columbia
-de facto states, those where segregation was illegal but a common practice, including California, Illinois, Kansas, Massachusetts, Missouri, New Jersey, New York, Ohio, Washington, and Wisconsin.

Reclaiming Southern history through the voices, memories, and experiences of African Americans.

In Laying Claim: African American Cultural Memory and Southern Identity, Patricia Davis identifies the Civil War as the central narrative around which official depictions of southern culture have been defined. Because that narrative largely excluded African American points of view, the resulting southern identity was monolithically white. Davis traces how the increasing participation of black public voices in the realms of Civil War memory—battlefields, museums, online communities—has dispelled the mirage of “southernness” as a stolid cairn of white culture and has begun to create a more fluid sense of southernness that welcomes contributions by all of the region’s peoples.

Laying Claim offers insightful and penetrating examinations of African American participation in Civil War reenactments; the role of black history museums in enriching representations of the Civil War era with more varied interpretations; and the internet as a forum within which participants exchange and create historical narratives that offer alternatives to unquestioned and dominant public memories. From this evolving cultural landscape, Davis demonstrates how simplistic caricatures of African American experiences are giving way to more authentic, expansive, and inclusive interpretations of southernness.

As a case-study and example of change, Davis cites the evolution of depictions of life at Thomas Jefferson’s Monticello. Where visitors to the site once encountered narratives that repeated the stylized myth of Monticello as a genteel idyll, modern accounts of Jefferson’s day offer a holistic, inclusive, and increasingly honest view of Monticello as the residents on every rung of the social ladder experienced it.

Contemporary violence and attacks about or inspired by the causes, outcomes, and symbols of the Civil War, even one hundred and fifty years after its end, add urgency to Davis’s argument that the control and creation of public memories of that war is an issue of concern not only to scholars but all Americans. Her hopeful examination of African American participation in public memory illuminates paths by which this enduring ideological impasse may find resolutions.

Focusing largely on the controversial website Wikipedia, the author explores the challenges confronting teachers of college writing in the increasingly electronic and networked writing environments their students use every day. Rather than praising or condemning that site for its role as an encyclopedia, Cummings instead sees it as a site for online collaboration between writers and a way to garner audience for student writing.

Applying an understanding of Commons-Based Peer Production theory, as developed by Yochai Benkler, this text is arranged around the following propositions:

-- Commons-Based Peer Production is a novel economic phenomenon which informs our current teaching model and describes a method for making sense of future electronic developments.

-- College writers are motivated to do their best work when they write for an authentic audience, external to the class.

-- Writing for a networked knowledge community invites students to participate in making knowledge, rather than only consuming it.

-- A plan for integrating networked writing for an external audience helps students understand the transition from high school to college writing.

-- Allowing students to review and self-select points of entry into electronic discourse fosters "laziness," or a new work dynamic where writers seek to better understand their own creativity in terms of a project's demands.

Lazy Virtues offers networked writing assignments to foster development of student writers by exposing them to the demands of professional audiences, asking them to identify and assess their own creative impulses in terms of a project's needs, and removing the writing teacher from the role of sole audience.

Bringing to the fore the voices of Maya authors and what their poetry tells us about resistance, sovereignty, trauma, and regeneration 

In 1954, Guatemala suffered a coup d’etat, resulting in a decades-long civil war. During this period, Indigenous Mayans were subject to displacement, disappearance, and extrajudicial killing. Within the context of the armed conflict and the postwar period in Guatemala, K’iche’ Maya scholar Emil’ Keme identifies three historical phases of Indigenous Maya literary insurgency in which Maya authors use poetry to dignify their distinct cultural, political, gender, sexual, and linguistic identities.

Le Maya Q’atzij / Our Maya Word employs Indigenous and decolonial theoretical frameworks to critically analyze poetic works written by ten contemporary Maya writers from five different Maya nations in Iximulew/Guatemala. Similar to other Maya authors throughout colonial history, these authors and their poetry criticize, in their own creative ways, the continuing colonial assaults to their existence by the nation-state. Throughout, Keme displays the decolonial potentialities and shortcomings proposed by each Maya writer, establishing a new and productive way of understanding Maya living realities and their emancipatory challenges in Iximulew/Guatemala.

This innovative work shows how Indigenous Maya poetics carries out various processes of decolonization and, especially, how Maya literature offers diverse and heterogeneous perspectives about what it means to be Maya in the contemporary world.