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Returns us to Gertrude Stein’s theater by way of the modernist medium of radio

What happens when we listen to Gertrude Stein’s plays as radio and music theater? This book explores the sound of Stein’s theater and proposes that radio, when approached both historically and phenomenologically, offers technical solutions to her texts’ unique challenges. Adam J. Frank documents the collaborative project of staging Stein’s early plays and offers new critical interpretations of these lesser-known works. Radio Free Stein grapples with her innovative theater poetics from a variety of disciplinary perspectives: sound and media studies, affect and object relations theory, linguistic performativity, theater scholarship, and music composition.

For a brief period from the late 1950s to the mid-1960s, folk music captured a mass audience in the United States, as college students and others swarmed to concerts by the likes of Peter, Paul & Mary, Joan Baez, and Bob Dylan. In this comprehensive study, Ronald D. Cohen reconstructs the history of this singular cultural moment, tracing its origins to the early decades of the twentieth century. Drawing on scores of interviews and numerous manuscript collections, as well as his own extensive files, Cohen shows how a broad range of traditions—from hillbilly, gospel, blues, and sea shanties to cowboy, ethnic, and political protest music—all contributed to the genre known as folk. He documents the crucial work of John Lomax and other collectors who, with the assistance of recording companies, preserved and distributed folk music in the 1920s. 

During the 1930s and 1940s, the emergence of left-wing politics and the rise of the commercial music marketplace helped to stimulate wider interest in folk music. Stars emerged, such as Woody Guthrie, Leadbelly, Pete Seeger, Burl Ives, and Josh White. With the success of the Weavers and the Kingston Trio in the 1950s, the stage was set for the full-blown “folk revival” of the early 1960s. Centered in New York's Greenwich Village and sustained by a flourishing record industry, the revival spread to college campuses and communities across the country. It included a wide array of performers and a supporting cast of journalists, club owners, record company executives, political activists, managers, and organizers. By 1965 the boom had passed its peak, as rock and roll came to dominate the marketplace, but the folk revival left an enduring musical legacy in American culture.

A rich history of the development of American minimum wage policy with lessons for today.

Despite broad popular support for robust minimum wage policy, the federal minimum wage is now worth less—in real, inflation-adjusted terms—than at any time since 1949. While some state and local governments have stepped in to fill this void, others have declined to set any minimum wage standard at all. Traversing more than 100 years of history, Raising the Floor examines how interest groups have navigated the highly decentralized American political system to shape the development of federal, state, and local minimum wage laws.

In her analysis, Shanna Rose highlights the importance of American federalism. She argues that because federalism creates multiple arenas for policy change, interest groups have sought out the sites most conducive to their goals, shifting their lobbying efforts as new obstacles and opportunities emerge. Federalism has facilitated minimum wage policymaking by fostering policy experimentation, learning, and diffusion across states and by allowing state and local governments to overcome gridlock and status-quo biases at the national level. Yet, federalism has also been an instrument for containment, enabling those opposed to minimum wage increases to litigate and preempt local-level laws.

With rich historical chapters that illuminate different phases in the development of today’s patchwork of wage standards, Raising the Floor is a deep examination of the past, present, and future of American minimum wage law.

At the height of his powers as a poetic prose stylist, Bradbury shifted his creative attention to film and television, where new successes gave him an enduring platform as a compelling cultural commentator. His passionate advocacy validated the U.S. space program's mission, extending his pivotal role as a chronicler of human values in an age of technological wonders.

Informed by many years of interviews with Bradbury as well as an unprecedented access to personal papers and private collections, Ray Bradbury Unbound provides the definitive portrait of how a legendary American author helped shape his times.

This biography of the African-American activist and scholar, Rayford W. Logan, draws from his own work, letters, diaries and autobiography to create a portrait of a lesser-known member of the Black scholarly elite in the mid-20th century.

Vocals tinged with pain and desperation. The deep thuds of an upright bass. Women with short bangs and men in cuffed jeans. These elements and others are the unmistakable signatures of rockabilly, a musical genre normally associated with white male musicians of the 1950s. But in Los Angeles today, rockabilly's primary producers and consumers are Latinos and Latinas. Why are these "Razabillies" partaking in a visibly "un-Latino" subculture that's thought of as a white person's fixation everywhere else?

As a Los Angeles Rockabilly insider, Nicholas F. Centino is the right person to answer this question. Pairing a decade of participant observation with interviews and historical research, Centino explores the reasons behind a Rockabilly renaissance in 1990s Los Angeles and demonstrates how, as a form of working-class leisure, this scene provides Razabillies with spaces of respite and conviviality within the alienating landscape of the urban metropolis. A nuanced account revealing how and why Los Angeles Latinas/os have turned to and transformed the music and aesthetic style of 1950s rockabilly, Razabilly offers rare insight into this musical subculture, its place in rock and roll history, and its passionate practitioners.

This study of T.S. Eliot's The Waste Land guides the reader through the poem line by line, taking into account a number of previous interpretations. Aims to offer a part-by-part analysis of the poem with periodic summations and a meditation on the limits of interpretation and the problematic nature of reading in the late 20th century.

During the Cold War, the editor of Time magazine declared, “A good citizen is a good reader.” As postwar euphoria faded, a wide variety of Americans turned to reading to understand their place in the changing world. Yet, what did it mean to be a good reader? And how did reading make you a good citizen?

In Reading America, Kristin L. Matthews puts into conversation a range of political, educational, popular, and touchstone literary texts to demonstrate how Americans from across the political spectrum—including “great works” proponents, New Critics, civil rights leaders, postmodern theorists, neoconservatives, and multiculturalists—celebrated particular texts and advocated particular interpretive methods as they worked to make their vision of "America" a reality. She situates the fiction of J. D. Salinger, Ralph Ellison, Thomas Pynchon, John Barth, and Maxine Hong Kingston within these debates, illustrating how Cold War literature was not just an object of but also a vested participant in postwar efforts to define good reading and citizenship.

Prior to the twentieth century, Arab society in Palestine was predominantly illiterate, with most social and political activities conducted through oral communication. There were no printing presses, no book or periodical production, and no written signs in public places. But a groundswell of change rapidly raised the region's literacy rates, a fascinating transformation explored for the first time in Reading Palestine.

Addressing an exciting aspect of Middle Eastern history as well as the power of the printed word itself, Reading Palestine describes how this hurried process intensified the role of literacy in every sphere of community life. Ami Ayalon examines Palestine's development of a modern educational system in conjunction with the emergence of a print industry, libraries and reading clubs, and the impact of print media on urban and rural populations. Drawn from extensive archival sources, official reports, autobiographies, and a rich trove of early Palestinian journalism, Reading Palestine provides crucial insight into the dynamic rise of literacy that revolutionized the way Palestinians navigated turbulent political waters.

Drawing on the ordinary language philosophy of Toril Moi and Stanley Cavell, Dan Dixon argues that the act of reading shares emotional ground with our social lives. It prompts us to attend to the kinds of affective attachments that frequently resist description, as well as the attachments that encourage debate among scholars of literature.

Dixon posits that the interpretation of a text is significantly shaped by our impression of the writer. Through the lens of persona, this book examines the work of influential and iconic post-1945 American essayists, such as Joan Didion, Maggie Nelson, James Baldwin, Janet Malcolm, Teju Cole, David Foster Wallace, and Ben Lerner. The attachments we form might facilitate insight, consolation, distrust, or vanity. But whatever their effects, they can’t be ignored.

2025 René Wellek Prize, Monograph, American Comparative Literature Association

The dynamic and interconnected ways Afghans and Iranians invented their modern selves through literature.

Contrary to the presumption that literary nationalism in the Global South emerged through contact with Europe alone, Reading across Borders demonstrates how the cultural forms of Iran and Afghanistan as nation-states arose from their shared Persian heritage and cross-cultural exchange in the twentieth century. In this book, Aria Fani charts the individuals, institutions, and conversations that made this exchange possible, detailing the dynamic and interconnected ways Afghans and Iranians invented their modern selves through new ideas about literature.

Fani illustrates how voluntary and state-funded associations of readers helped formulate and propagate "literature" as a recognizable notion, adapting and changing Persian concepts to fit this modern idea. Focusing on early twentieth-century periodicals with readers in Afghan and Iranian cities and their diaspora, Fani exposes how nationalism intensified—rather than severed—cultural contact among two Persian-speaking societies amidst the diverging and competing demands of their respective nation-states. This interconnected history was ultimately forgotten, shaping many of the cultural disputes between Iran and Afghanistan today.

From 1932 to 1953, during the Black Chicago Renaissance, numerous literary events were held within and for the city’s Black community. In book clubs, public forums, print reviews, little magazines, local programming, and other public venues, Black women in particular debated the role of literature in racial uplift efforts, set literary standards, and acted as community gatekeepers for cultural production during a time known as the Black Chicago Renaissance. Through these inspiring efforts, a mix of publishers, well-known authors, and everyday readers significantly fostered a robust literary culture in the Windy City.

Reading the Renaissance constructs a reception history of the Black women who read and reviewed, published and promoted, and collected and curated literature of the era. Mary Unger interprets how local figures such as Vivian G. Harsh, Ora Morrow, Gwendolyn Brooks, Alice Browning, Fern Gayden, and Margaret Walker cultivated particular literary tastes through collective acts of reading and reception. She does so by recovering a network of readers, book clubs, literary magazines, civic programs, and book businesses that Black women created, led, and transformed during the early 1930s through the early 1950s in Bronzeville, Chicago’s predominantly Black South Side neighborhood.

This illuminating work includes close readings of texts alongside letters, scrapbooks, meeting minutes, reviews, and other ephemera of local reading practices to show how Black women facilitated diverse strategies of reading while instructing community members how to engage a variety of print cultures at the time. Unger demonstrates how Black women readers influenced individual authors as well as the norms and expectations of African American literature more broadly, becoming important (yet too often overlooked) players in American literary history.

2022 National Association for Chicana and Chicano Studies Book Award
Tejas Foco Non-fiction Book Award, National Association for Chicana and Chicano Studies
2021 Tejano Book Prize, Tejano Genealogy Society of Austin
2021 Jim Parish Award for Documentation and Publication of Local and Regional History, Webb County Heritage Foundation
2021 Runner-up, Ramirez Family Award for Most Significant Scholarly Book

The first book on the history of escuelitas, Reading, Writing, and Revolution examines the integral role these grassroots community schools played in shaping Mexican American identity.

Language has long functioned as a signifier of power in the United States. In Texas, as elsewhere in the Southwest, ethnic Mexicans’ relationship to education—including their enrollment in the Spanish-language community schools called escuelitas—served as a vehicle to negotiate that power. Situating the history of escuelitas within the contexts of modernization, progressivism, public education, the Mexican Revolution, and immigration, Reading, Writing, and Revolution traces how the proliferation and decline of these community schools helped shape Mexican American identity.

Philis M. Barragán Goetz argues that the history of escuelitas is not only a story of resistance in the face of Anglo hegemony but also a complex and nuanced chronicle of ethnic Mexican cultural negotiation. She shows how escuelitas emerged and thrived to meet a diverse set of unfulfilled needs, then dwindled as later generations of Mexican Americans campaigned for educational integration. Drawing on extensive archival, genealogical, and oral history research, Barragán Goetz unravels a forgotten narrative at the crossroads of language and education as well as race and identity.

2026 American Theatre and Drama Society John W. Frick Book Award Winner

Starting in 1966, African American activist Stokely Carmichael and other political leaders adopted the phrase "Black Power!" The slogan captured a militant, revolutionary spirit that was already emerging in the work of playwrights, poets, musicians, and visual artists throughout the Black Arts movement of the mid-1960s. But the story of those theater artists and performers whose work helped bring about the Black Arts revolution has not fully been told. Readying the Revolution: African American Theater and Performance from Post-World War II to the Black Arts Movement explores the dynamic era of Black culture between the end of World War II and the start of the Black Arts Movement (1946-1964) by illuminating how artists and innovators such as Jackie Robinson, Lorraine Hansberry, Ossie Davis, Nina Simone, and others helped radicalize Black culture and Black political thought. In doing so, these artists defied white cultural hegemony in the United States, and built the foundation for the revolutionary movement in Black theater that followed in the mid 1960s. Through archival research, close textual reading, and an analysis of performance artifacts, Shandell demonstrates how these artists negotiated a space on the public stage for cultivating radical Black aesthetics and built the foundation for the revolutionary movement in Black theater that followed in the mid-1960s.