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Angola to Zydeco: Louisiana Lives is a collection of creative nonfiction pieces about the lively personalities who call south Louisiana home. Originally published in newspapers based in Lafayette-Times of Acadiana and Independent Weekly-the twenty-five profiles and features provide intriguing glimpses into the lives of well-known Louisianans such as James Lee Burke, Ernest J. Gaines, Elemore Morgan Jr., Buckwheat Zydeco, Marc Savoy, Boozoo Chavis, Calvin Borel, Santy Runyon, and Eddie Shuler. Author R. Reese Fuller also details the sometimes zany and sometimes tragic subjects that populate the cultural landscape of south Louisiana, from Tabasco peppers to Angola prison to cockfighting.
Fuller brings years of experience in the newspaper industry to bear on this collection, offering behind-the-scenes access not available elsewhere. Of particular note are his interviews with musicians and local celebrities, who reveal how their love of the region has influenced their work. Fuller's natural approach to storytelling creates a book that is a joy to read and truly represents the people of south Louisiana.
Critiques of American Consumer Culture, 1939-1979
This book charts the reactions of prominent American writers to the unprecedented prosperity of the decades following World War II. It begins with an examination of Lewis Mumford’s wartime call for “democratic” consumption and concludes with an analysis of the origins of President Jimmy Carter’s “malaise” speech of 1979. Between these bookends, Daniel Horowitz documents a broad range of competing views, each in its own way reflective of a deep-seated ambivalence toward consumer culture.
The American Novel in the Age of Television
It almost goes without saying that the rise in popularity of television has killed the audience for “serious" literature. This is such a given that reading Fitzpatrick's challenge to this notion can be very disconcerting, as she traces the ways in which a small cadre of writers of "serious" literature--DeLillo, Pynchon, and Franzen, for instance--have propagated this myth in order to set themselves up as the last bastions of good writing. Fitzpatrick first explores whether serious literature was ever as all-pervasive as critics of the television culture claim and then asks the obvious question: what, or who, exactly, are these guys defending good writing against? Fitzpatrick examines the ways in which the anxiety about the supposed death of the novel is built on a myth of the novel's past ubiquity and its present displacement by television. She explores the ways in which this myth plays out in and around contemporary fiction and how it serves as a kind of unacknowledged discourse about race, class, and gender. The declaration constructs a minority status for the “white male author” who needs protecting from television's largely female and increasingly non-white audience. The novel, then, is transformed from a primary means of communication into an ancient, almost forgotten, and thus, treasured form reserved for the well-educated and well-to-do, and the men who practice it are exalted as the practitioners of an almost lost art. Such positioning serves to further marginalize women writers and writers of color because it makes the novel, by definition, the preserve of the poor endangered white man. If the novel is only a product of a small group of white men, how can the contributions of women and writers of color be recognized? Instead, this positioning abandons women and people of color to television as a creative outlet, and in return, cedes television to them. Fitzpatrick argues that there's a level of unrecognized patronization in assuming that television serves no purpose but to provide dumb entertainment to bored women and others too stupid to understand novels. And, instead, she demonstrates the real positive effects of a televisual culture.
American Film at the Turn of the Millennium
In Apocalyptic Dread, Kirsten Moana Thompson examines how fears and anxieties about the future are reflected in recent American cinema. Through close readings of such films as Cape Fear, Candyman, Dolores Claiborne, Se7en, Signs, and War of the Worlds, Thompson argues that a longstanding American apocalyptic tradition permeates our popular culture, spreading from science-fiction and disaster films into horror, crime, and melodrama. Drawing upon Kierkegaard’s notion of dread—that is, a fundamental anxiety and ambivalence about existential choice and the future—Thompson suggests that the apocalyptic dread revealed in these films, and its guiding tropes of violence, retribution, and renewal, also reveal deep-seated anxieties about historical fragmentation and change, anxieties that are in turn displaced onto each film’s particular “monster,” whether human, demonic, or eschatological.
The Last of the Welcome Immigrants
Born of a Palestinian father and British mother, Bill Rezak has always been intrigued by the different worlds his parents came from. His father’s ancestors were highwaymen on the Arabian Peninsula in the eighteenth century. They sparred unsuccessfully with ruling Ottoman Turks and escaped with their family to America. His mother’s parents were sent to Canada from Great Britain into indentured servitude as children separately and alone at the ages of 10 and 16. They worked off their servitude, met, married and moved to New York State. In The Arab and the Brit, a memoir that spans multiple generations and countries, Rezak traces the remarkable lives of his ancestors. Narrating their experiences against the backdrop of two World Wars and an emerging modern Middle East, the author gives readers a textured and vivid immigrant story. Rezak recalls his paternal grandmother apprehending would-be Russian saboteurs during World War One, his grandfather’s time at Dr. Bernardo’s home, a shelter for destitute children, and his father’s work with the United Nations Relief and Rehabilitation Association following the war. Told with humor and captivating detail, The Arab and the Brit, chronicles the trials and triumphs of one family’s struggle to succeed in the New World.
Vol. 1 (1997) through current issue
Since 1997, the Arizona Journal of Hispanic Cultural Studies has been publishing insightful essays on the relationships between economics and politics as they come to bear on the cultures of Spain, Latin America, Africa, Asia and the Chicano and Latino United States. Past special issues have included titles such as Market Matters: Literary Culture and the Publishing Industry in Spain and Latin America; The Hispanic Atlantic; Equatorial Guinea and Spanish Letters; Barcelona and the Projection of Catalonia; On the Border.
How Bear Hunters, Hillbillies, and Good Ol’ Boys Defined a State
Arkansas/Arkansaw is the first book to explain how Arkansas’s image began and how the popular culture stereotypes have been perpetuated and altered through succeeding generations. Brooks Blevins argues that the image has not always been a bad one. He discusses travel accounts, literature, radio programs, movies, and television shows that give a very positive image of the Natural State. From territorial accounts of the Creole inhabitants of the Mississippi River Valley to national derision of the state’s triple-wide governor’s mansion to Li’l Abner, the Beverly Hillbillies, and Slingblade, Blevins leads readers on an entertaining and insightful tour through more than two centuries of the idea of Arkansas. One discovers along the way how one state becomes simultaneously a punch line and a source of admiration for progressives and social critics alike.
Murder as Art in Modern Mexico
Violence as a way of life, and murder as a political tool. This philosophy is nothing new to Mexico, most recently demonstrated in the wave of assassination and indiscriminate killing brought on by the drug war gripping the country. In Artful Assassins, author and scholar Fernando Fabio Sánchez unveils the long record of violence inspiring artistic expression in Mexico, focusing on its use and portrayal in film and literature. Sánchez is uniquely positioned to explore this topic, through his work as a novelist and poet in Mexico before entering academia in the United States. Sanchez argues that the seemingly hopeless cycle of violence experienced by Mexico in the 20th century, as reflected in its "crime genre," reveals a broader intrinsic cultural and political failure that suggests grave implications for the current state of crisis. Tracing the development of a national Mexican identity from the 1910 Mexican Revolution onward, Sánchez focuses on the indelible presence of violence and crime underlying the major works that contributed to a larger communal narrative. Artful Assassins ultimately offers a panoramic overview of the evolution of Mexican arts and letters, as well as nationalism, by claiming murder and assassination as literary and cinematic motifs. The collapse of post-revolutionary political unity was presaged all along in Mexican culture, Sanchez argues. It need only to have been sought in the art of the nation.
Grand in its scope, Asian Comics dispels the myth that, outside of Japan, the continent is nearly devoid of comic strips and comic books. Relying on his fifty years of Asian mass communication and comic art research, during which he traveled to Asia at least seventy-eight times and visited many studios and workplaces, John A. Lent shows that nearly every country had a golden age of cartooning and has experienced a recent rejuvenation of the art form.
As only Japanese comics output has received close and by now voluminous scrutiny, Asian Comics tells the story of the major comics creators outside of Japan. Lent covers the nations and regions of Bangladesh, Cambodia, China, Hong Kong, India, Indonesia, Korea, Malaysia, Myanmar, Nepal, the Philippines, Singapore, Sri Lanka, Taiwan, Thailand, and Vietnam.
Organized by regions of East, Southeast, and South Asia, Asian Comics provides 178 black-and-white illustrations and detailed information on comics of sixteen countries and regions--their histories, key creators, characters, contemporary status, problems, trends, and issues. One chapter harkens back to predecessors of comics in Asia, describing scrolls, paintings, books, and puppetry with humorous tinges, primarily in China, India, Indonesia, and Japan.
The first overview of Asian comic books and magazines (both mainstream and alternative), graphic novels, newspaper comic strips and gag panels, plus cartoon/humor magazines, Asian Comics brims with facts, fascinating anecdotes, and interview quotes from many pioneering masters, as well as younger artists.
Life Writing in Pictures
A troubled childhood in Iran. Living with a disability. Grieving for a dead child. Over the last forty years the comic book has become an increasingly popular way of telling personal stories of considerable complexity and depth.
In Autobiographical Comics: Life Writing in Pictures, Elisabeth El Refaie offers a long overdue assessment of the key conventions, formal properties, and narrative patterns of this fascinating genre. The book considers eighty-five works of North American and European provenance, works that cover a broad range of subject matters and employ many different artistic styles.
Drawing on concepts from several disciplinary fields--including semiotics, literary and narrative theory, art history, and psychology--El Refaie shows that the traditions and formal features of comics provide new possibilities for autobiographical storytelling. For example, the requirement to produce multiple drawn versions of one's self necessarily involves an intense engagement with physical aspects of identity, as well as with the cultural models that underpin body image. The comics medium also offers memoirists unique ways of representing their experience of time, their memories of past events, and their hopes and dreams for the future. Furthermore, autobiographical comics creators are able to draw on the close association in contemporary Western culture between seeing and believing in order to persuade readers of the authentic nature of their stories.