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What happens when a woman dares to imagine herself a hero? Questing, she sets out for unknown regions. Lighting a torch, she elicits from the darkness stories never told or heard before. The woman hero sails against the tides of great legends that recount the adventures of heroic men, legends deemed universal, timeless, and essential to our understanding of the natural order that holds us and completes us in its spiral. Yet these myths and rituals do not fulfill her need for an empowering self-image nor do they grant her the mobility she requires to imagine, enact, and represent her quest for authentic self-knowledge.

The Feminization of Quest-Romance proposes that a female quest is a revolutionary step in both literary and cultural terms. Indeed, despite the difficulty that women writers face in challenging myths, rituals, psychological theories, and literary conventions deemed universal by a culture that exalts masculine ideals and universalizes male experience, a number of revolutionary texts have come into existence in the second half of the twentieth century by such American women writers as Jean Stafford, Mary McCarthy, Anne Moody, Marilynne Robinson, and Mona Simpson, all of them working to redefine the literary portrayal of American women's quests. They work, in part, by presenting questing female characters who refuse to accept the roles accorded them by restrictive social norms, even if it means sacrificing themselves in the name of rebellion. In later texts, female heroes survive their "lighting out" experiences to explore diverse alternatives to the limiting roles that have circumscribed female development.

This study of The Mountain Lion, Memories of a Catholic Girlhood, Coming of Age in Mississippi, Housekeeping, and Anywhere but Here identifies transformations of the quest-romance that support a viable theory of female development and offer literary patterns that challenge the male monopoly on transformative knowledge and heroic action.

The second of this two-volume edition of The Fenwick Letters covers the North American phase of Eliza Fenwick’s transformative, transnational odyssey, from 1822 to 1840. Although no longer the radical author she was in the 1790s, advocating for the rights of women to be educated, or the innovative author of children’s books that she was in the early 1800s, she was still very much a writer. In her North American incarnation, however, she was primarily an educator, a businesswoman running her own school, and a single, working grandmother attempting to find safety as well as economic and domestic stability for herself and her remaining family. Eliza’s letters are consistently riveting, filled with sharply drawn portraits of the people, places, environment, politics, and culture of each community in which she lived. The letters also reveal Eliza’s genius for developing networks of social, political, and cultural connections as she established and sought to support herself and her family in North America.

Artists fighting racism and sexism from the end of the Great Depression through the Civil Rights era

In 1943, the production of the Columbia Pictures film The Heat’s On halted for three days due to an on-set protest by featured performer Hazel Scott. Appalled by the racially demeaning and stereotypical depictions of Black women extras and dancers, Scott—one of the top African American performers of the era—forced the studio to relent. But her protest of Hollywood racism angered powerful white men in the industry, and despite her rising career, she was soon banished from American film.

Scott was far from the only Black woman in a creative field to use her professional success as leverage against prejudice. In The Fiercest Kind, cultural historian H. Zahra Caldwell explores the biographical narratives of five Black women at the top of their artistic crafts in the mid-20th century to understand how they pushed back against racism and sexism. From 1937–1965, pianist Hazel Scott, dancer Katherine Dunham, cartoonist Jackie Ormes, multihyphenate fine artist (graphic artist, painter, and sculptor) Elizabeth Catlett, and singer Lena Horne were among the most popular and nationally known Black women in their respective fields, spanning film, television, print media, and fine art. Generating creative works at the end of the Great Depression through the Civil Rights era, they used their professional and personal lives to confront seemingly insurmountable repression through what Caldwell defines as “layered resistance.”

A Black feminist practice, layered resistance consists of four tactics: claiming and adapting cultural spaces for Black women; strategically crafting positive images of Black womanhood that directly challenge white supremacy; combining performance and/or visual representation with social and political activism; and choosing unconventional lifestyles that defy rigid gender and racial norms. These artists also lived in, worked in, and supported important Black spaces such as Harlem and Black Chicago. Using a methodology that combines textual analysis, archival research, and oral history, Caldwell understands this strategy within larger movements for Black freedom and equality that spanned the twentieth century and continue to the present day.  

One of the first new interpretations of West Virginia’s origins in over a century—and one that corrects previous histories’ tendency to minimize support for slavery in the state’s founding.

Every history of West Virginia’s creation in 1863 explains the event in similar ways: at the start of the Civil War, political, social, cultural, and economic differences with eastern Virginia motivated the northwestern counties to resist secession from the Union and seek their independence from the rest of the state. In The Fifth Border State, Scott A. MacKenzie offers the first new interpretation of the topic in over a century—one that corrects earlier histories’ tendency to minimize support for slavery in the state’s founding.

Employing previously unused sources and reexamining existing ones, MacKenzie argues that West Virginia experienced the Civil War in the same ways as the border states of Missouri, Kentucky, Maryland, and Delaware. Like these northernmost slave states, northwestern Virginia supported the institution of slavery out of proportion to the actual presence of enslavement there. The people who became West Virginians built a new state first to protect slavery, but radical Unionists and escaping slaves forced emancipation on the statehood movement. MacKenzie shows how conservatives and radicals clashed over Black freedom, correcting many myths about West Virginia’s origins and making The Fifth Border State an important addition to the literature in Appalachian and Civil War history.

The ancient Aztecs dwelt at the center of a dazzling and complex cosmos. From this position they were acutely receptive to the demands of their gods. The Fifth Sun represents a dramatic overview of the Aztec conception of the universe and the gods who populated it—Quetzalcoatl, the Plumed Serpent; Tezcatlipoca, the Smoking Mirror; and Huitzilopochtli, the Southern Hummingbird. Burr Cartwright Brundage explores the myths behind these and others in the Aztec pantheon in a way that illuminates both the human and the divine in Aztec life.

The cult of human sacrifice is a pervasive theme in this study. It is a concept that permeated Aztec mythology and was the central preoccupation of the aggressive Aztec state. Another particularly interesting belief explored here is the “mask pool,” whereby gods could exchange regalia and, thus, identities.

This vivid and eminently readable study also covers the use of hallucinogens; cannibalism; the calendars of ancient Mexico; tlachtli, the life-and-death ball game; the flower wars; divine transfiguration; and the evolution of the war god of the Mexica. A splendid introduction to Aztec religion, The Fifth Sun also contains insights for specialists in ethnohistory, mythology, and religion.

The city of Juárez is ground zero for the drug war that is raging across Mexico and has claimed close to 60,000 lives since 2007. Almost a quarter of the federal forces that former President Felipe Calderón deployed in the war were sent to Juárez, and nearly 20 percent of the country’s drug-related executions have taken place in the city, a city that can be as unforgiving as the hardest places on earth. It is here that the Mexican government came to turn the tide. Whatever happens in Juárez will have lasting repercussions for both Mexico and the United States.

Ricardo Ainslie went to Juárez to try to understand what was taking place behind the headlines of cartel executions and other acts of horrific brutality. In The Fight to Save Juárez, he takes us into the heart of Mexico’s bloodiest city through the lives of four people who experienced the drug war from very different perspectives—Mayor José Reyes Ferriz, a mid-level cartel player’s mistress, a human rights activist, and a photojournalist. Ainslie also interviewed top Mexican government strategists, including members of Calderón’s security cabinet, as well as individuals within U.S. law enforcement. The dual perspective of life on the ground in the drug war and the “big picture” views of officials who are responsible for the war’s strategy, creates a powerful, intimate portrait of an embattled city, its people, and the efforts to rescue Juárez from the abyss.

The rootless Jew, wandering disconnected from history, homeland, and nature, was often  the target of early twentieth-century nationalist rhetoric aimed against modern culture. But following World War II, a number of prominent French philosophers recast this maligned figure in positive terms, and in so doing transformed postwar conceptions of politics and identity.

Sarah Hammerschlag explores this figure of the Jew from its prewar usage to its resuscitation by Jean-Paul Sartre, Emmanuel Levinas, Maurice Blanchot, and Jacques Derrida. Sartre and Levinas idealized the Jew’s rootlessness in order to rethink the foundations of political identity. Blanchot and Derrida, in turn, used the figure of the Jew to call into question the very nature of group identification. By chronicling this evolution in thinking, Hammerschlag ultimately reveals how the figural Jew can function as a critical mechanism that exposes the political dangers of mythic allegiance, whether couched in universalizing or particularizing terms.

Both an intellectual history and a philosophical argument, The Figural Jew will set the agenda for all further consideration of Jewish identity, modern Jewish thought, and continental philosophy.

Bong Joon Ho won the Oscar® for Best Director for Parasite (2019), which also won Best Picture, the first foreign film to do so, and two other Academy Awards. Parasite was the first Korean film to win the Palme d’Or at Cannes. These achievements mark a new career peak for the director, who first achieved wide international acclaim with 2006’s monster movie The Host and whose forays into English-language film with Snowpiercer (2013) and Okja (2017) brought him further recognition.

As this timely book reveals, even as Bong Joon Ho has emerged as an internationally known director, his films still engage with distinctly Korean social and political contexts that may elude many Western viewers. The Films of Bong Joon Ho demonstrates how he hybridizes Hollywood conventions with local realities in order to create a cinema that foregrounds the absurd cultural anomie Koreans have experienced in tandem with their rapid economic development. Film critic and scholar Nam Lee explores how Bong subverts the structures of the genres he works within, from the crime thriller to the sci-fi film, in order to be truthful to Korean realities that often deny the reassurances of the happy Hollywood ending. With detailed readings of Bong’s films from Barking Dogs Never Bite (2000) through Parasite (2019), the book will give readers a new appreciation of this world-class cinematic talent.

Organized alphabetically as a reference guide, this volume provides a biographical sketch of each architect's life, education, and professional career, and a list of known works and sources for further research. Many of these remarkable women have never before appeared in any other history, making The First American Women Architects a unique and invaluable reference for students and scholars interested in women's history and architecture. As an instructive record of the legacy of women in architectural history, this book will also serve as a stimulating indicator of the broadening potential for women and other minorities within the field of architecture.

A revealing study on the little-known and misunderstood provincial navies established by North American British colonists.

In The First Fleets, Benjamin C. Schaffer reveals how, contrary to widespread beliefs, the American colonies had a long tradition of independent naval defense decades before the Revolution. He demonstrates that Anglo-American governments established and maintained significant provincial naval forces and that the history of provincial navies illuminates broader aspects of colonial history and the colonies’ ultimate break with the British Crown.

Based on meticulous research, Schaffer recounts the sea-borne threats that American colonies faced from the French, Spanish, pirates, and others. He reviews colonial governance and the relationships between colonial governments and Great Britain. Highlighting Britain’s scant naval power in North America, Schaffer demonstrates how the vulnerable coastal colonies undertook their own self-defense.

Schaffer’s readable study offers many fascinating episodes from colonial history. Establishing a navy was controversial in pacifist-minded, Quaker-dominated Pennsylvania. South Carolina deployed its scout-boat navy to pursue enslaved Africans who fled colonial capture. The first paper money issued in North America was an initiative to pay for a naval expedition against French Quebec in 1690. These and other episodes show the intimate connection between these little-known provincial navies and the major sociopolitical developments of their day.

The First Fleets will be of great interest to historians and readers of early American history, particularly colonial maritime and naval activities. Readers interested in the political and military dynamics of pre-Revolutionary America, as well as enthusiasts of naval history and maritime trade, will find The First Fleets both a valuable resource and an engrossing narrative.

The founding of la Villa Rica de la Veracruz (the rich town of the True Cross) is prominently mentioned in histories of the conquest of Mexico, but scant primary documentation of the provocative act exists. During a research session at the Spanish archives, when John Schwaller discovered an early-sixteenth-century letter from Veracruz signed by the members of Cortés’s company, he knew he had found a trove of historical details. Providing an accessible, accurate translation of this pivotal correspondence, along with in-depth examinations of its context and significance, The First Letter from New Spain gives all readers access to the first document written from the mainland of North America by any European, and the only surviving original document from the first months of the conquest.

The timing of Cortés’s Good Friday landing, immediately before the initial assault on the Aztec Empire, enhances the significance of this work. Though the expedition was conducted under the authority of Diego Velázquez, governor of Cuba, the letter reflects an attempt to break ties with Velázquez and form a strategic alliance with Carlos V, the Holy Roman Emperor and King of Spain. Brimming with details about the events surrounding Veracruz’s inception and accompanied by mini-biographies of 318 signers of the document—socially competitive men who risked charges of treason by renouncing Velázquez—The First Letter from New Spain gives evidence of entrepreneurship and other overlooked traits that fueled the conquest.

The story of the Star Film Ranch and its pioneering crew, who created the first “authentic” Westerns filmed in Texas.

In 1910, the Méliès Star Film Company of Manhattan set up a moving-picture studio outside San Antonio, the first in Texas. Determined to make the most authentic Westerns possible, the company filmed there for a little over a year. In that brief time, it created more than seventy single-reel films, leaving a lasting mark on moviemaking.

Film historians Kathryn Fuller-Seeley and Frank Thompson return to a moment when on-location filmmaking was emerging as an artform. We meet producer Gaston Méliès, older brother of early-cinema legend Georges Méliès, and his cast and crew of young innovators, old hands, and genuine cowboys—like seventeen-year-old Edith Storey, the tomboy star who helped to ignite modern celebrity culture, and Francis Ford, who learned the art of film directing on the job and mentored his younger brother, Hollywood legend John Ford. The First Movie Studio in Texas traces the company’s trials and accomplishments, its influence on the depiction of race and gender in Western filmmaking, its surviving works, and its crowning achievement: The Immortal Alamo (1911), the earliest cinematic depiction of that famous battle.

Finally recovered from the shadows, the forgotten Méliès brother proves to be one of the key founders of the Western myth on screen.

One of the most fascinating books on pre-Columbian and early colonial Peru was written by a Peruvian Indian named Felipe Guaman Poma de Ayala. This book, The First New Chronicle and Good Government, covers pre-Inca times, various aspects of Inca culture, the Spanish conquest, and colonial times up to around 1615 when the manuscript was finished. Now housed in the Royal Library, Copenhagen, Denmark, and viewable online at www.kb.dk/permalink/2006/poma/info/en/frontpage.htm, the original manuscript has 1,189 pages accompanied by 398 full-page drawings that constitute the most accurate graphic depiction of Inca and colonial Peruvian material culture ever done.

Working from the original manuscript and consulting with fellow Quechua- and Spanish-language experts, Roland Hamilton here provides the most complete and authoritative English translation of approximately the first third of The First New Chronicle and Good Government. The sections included in this volume (pages 1–369 of the manuscript) cover the history of Peru from the earliest times and the lives of each of the Inca rulers and their wives, as well as a wealth of information about ordinances, age grades, the calendar, idols, sorcerers, burials, punishments, jails, songs, palaces, roads, storage houses, and government officials. One hundred forty-six of Guaman Poma's detailed illustrations amplify the text.

Newspaper publishers played a crucial role in transforming Texas into a modern state. By promoting expanded industrialization and urbanization, as well as a more modern image of Texas as a southwestern, rather than southern, state, news barons in the early decades of the twentieth century laid the groundwork for the enormous economic growth and social changes that followed World War II. Yet their contribution to the modernization of Texas is largely unrecognized.

This book investigates how newspaper owners such as A. H. Belo and George B. Dealey of the Dallas Morning News, Edwin Kiest of the Dallas Times Herald, William P. Hobby and Oveta Culp Hobby of the Houston Post, Jesse H. Jones and Marcellus Foster of the Houston Chronicle, and Amon G. Carter Sr. of the Fort Worth Star-Telegram paved the way for the modern state of Texas. Patrick Cox explores how these news barons identified the needs of the state and set out to attract the private investors and public funding that would boost the state's civic and military infrastructure, oil and gas industries, real estate market, and agricultural production. He shows how newspaper owners used events such as the Texas Centennial to promote tourism and create a uniquely Texan identity for the state. To balance the record, Cox also demonstrates that the news barons downplayed the interests of significant groups of Texans, including minorities, the poor and underemployed, union members, and a majority of women.

A fresh look at early urban churches

This collection of essays examines the urban context of early Christian churches in the first-century Roman world. A city-by-city investigation of the early churches in the New Testament clarifies the challenges, threats, and opportunities that urban living provided for early Christians. Readers will come away with a better understanding of how scholars assemble an accurate picture of the cities in which the first Christians flourished.

Features:

• Analysis of urban evidence of the inscriptions, papyri, archaeological remains, coins, and iconography
• Discussion of how to use different types of evidence responsibly
• Outline of what constitutes proper methodological use for establishing a nuanced, informed portrait of ancient urban life

Investigate the challenges, threats, and opportunities experienced by the early church

Volume two of The First Urban Churches focuses on the urban context of Christian churches in first-century Roman Corinth. An investigation of the material evidence of Corinth helps readers today understand properly the challenges, threats, and opportunities that the early Corinthian believers faced in the city. The essays demonstrate decisively the difference that such an approach makes in grappling with the meaning and context of the Corinthian epistles in the New Testament.

Features:

• Analysis of urban evidence of the inscriptions, papyri, archaeological remains, coins, and iconography
• Proposed reeconstructions of the past and its social, religious, and political significance
• A nuanced, informed portrait of ancient urban life in Corinth

Investigate the challenges, threats, and opportunities experienced by the early church in Ephesus

The third installment of The First Urban Churches focuses on the urban context of Christian churches in first-century Ephesus. As with previous volumes, contributors illustrate how an investigation of the material evidence will help readers understand properly the challenges, threats, and opportunities that the early Ephesian believers faced in that city. Brad Bitner, James R. Harrison, Michael Haxby, Fredrick J. Long, Guy M. Rogers, Michael Theophilos, Paul Trebilco, and Stephan Witetschek demonstrate decisively the difference that such an approach makes in grappling with the meaning and context of the New Testament writings, particularly Ephesians, Acts, and Revelation.

Features

• Analysis of urban evidence of the inscriptions, papyri, archaeological remains, coins, and iconography
• Proposed reconstructions of the past and its social, religious and political significance
• A nuanced, informed portrait of ancient urban life in Ephesus

Investigate the challenges and opportunities experienced by the early church

This fourth installment of The First Urban Churches, edited by James R. Harrison and L. L. Welborn, focuses on the urban context of Christian churches in first-century Roman Philippi. The international team of New Testament and classical scholars contributing to the volume present essays that use inscriptions, papyri, archaeological remains, coins, and iconography to examine the rivalries, imperial context, and ecclesial setting of the Philippian church.

Features:

• Analysis of the material and epigraphic evidence relating to first- and second-century CE Roman Philippi
• Examination of important passages from Philippians within their ancient urban context
• Investigation of the social composition and membership of the Philippian church from the archaeological and documentary evidence

An examination of early Roman Christianity by New Testament and classical scholars

Building on the methodologies introduced in the first volume of The First Urban Churches and supplementing the in-depth studies of Corinth, Ephesus, Philippi, Colossae, Hierapolis, and Laodicea (vols. 2–5), essays in this volume challenge readers to reexamine what we know about the early church within Rome and the port city of Ostia. In the introductory section of the book, James R. Harrison discusses the material and documentary evidence of both cities, which sets the stage for the essays that follow. In the second section, Mary Jane Cuyler, James R. Harrison, Richard Last, Annelies Moeser, Thomas A. Robinson, Michael P. Theophilos, and L. L. Welborn examine a range of topics, including the Ostian Synagogue, Romans 1:2–4 against the backdrop of Julio-Claudian adoption and apotheosis traditions, and the epistle of 1 Clement. In the final section of this volume, Jutta Dresken-Welland and Mark Reasoner engage Peter Lampe’s magnum opus From Paul to Valentinus; Lampe wraps up the section and the volume with a response. Throughout, readers are provided with a rich demonstration of how the material evidence of the city of Rome illuminates the emergence of Roman Christianity, especially in the first century CE.