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Mexico's Melting Pot and Civil Rights in the United States
Like the United States, Mexico is a country of profound cultural differences. In the aftermath of the Mexican Revolution (1910-20), these differences became the subject of intense government attention as the Republic of Mexico developed ambitious social and educational policies designed to integrate its multitude of ethnic cultures into a national community of democratic citizens. To the north, Americans were beginning to confront their own legacy of racial injustice, embarking on the path that, three decades later, led to the destruction of Jim Crow. Backroads Pragmatists is the first book to show the transnational cross-fertilization between these two movements.
In molding Mexico's ambitious social experiment, postrevolutionary reformers adopted pragmatism from John Dewey and cultural relativism from Franz Boas, which, in turn, profoundly shaped some of the critical intellectual figures in the Mexican American civil rights movement. The Americans Ruben Flores follows studied Mexico's integration theories and applied them to America's own problem, holding Mexico up as a model of cultural fusion. These American reformers made the American West their laboratory in endeavors that included educator George I. Sanchez's attempts to transform New Mexico's government agencies, the rural education campaigns that psychologist Loyd Tireman adapted from the Mexican ministry of education, and anthropologist Ralph L. Beals's use of applied Mexican anthropology in the U.S. federal courts to transform segregation policy in southern California.
Through deep archival research and ambitious synthesis, Backroads Pragmatists illuminates how nation-building in postrevolutionary Mexico unmistakably influenced the civil rights movement and democratic politics in the United States.
Politics and Public Service
Backstage in a Bureaucracy provides a first-hand day-to-day look at running a large bureaucracy. Susan Chandler candidly shares her experiences while serving as director of the Hawai‘i State Department of Human Services for eight years, while Dick Pratt, a public administration professor and advisor to numerous public and private organizations here and abroad, offers his thoughts on what these experiences tell us about the inner workings of government agencies. Their stories—some sad, some funny, but all educational—reveal the challenges and rewards of public service.
Frances Burney and the Theater Arts
In Backstage in the Novel, Francesca Saggini traces the unique interplay between fiction and theater in the eighteenth century through an examination of the work of the English novelist, diarist, and playwright Frances Burney. Moving beyond the basic identification of affinities between the genres, Saggini establishes a literary-cultural context for Burney's work, considering the relation between drama, a long-standing tradition, and the still-emergent form of the novel.
Through close semiotic analysis, intertextual comparison, and cultural contextualization, Saggini highlights the extensive metatextual discourse in Burney's novels, allowing the theater within the novels to surface. Saggini’s comparative analysis addresses, among other elements, textual structures, plots, characters, narrative discourse, and reading practices. The author explores the theatrical and spectacular elements that made the eighteenth-century novel a hybrid genre infused with dramatic conventions. She analyzes such conventions in light of contemporary theories of reception and of the role of the reader that underpinned eighteenth-century cultural consumption. In doing so, Saggini contextualizes the typical reader-spectator of Burney’s day, one who kept abreast of the latest publications and was able to move effortlessly between "high" (sentimental, dramatic) and "low" (grotesque, comedic) cultural forms that intersected on the stage.
Backstage in the Novel aims to restore to Burney's entire literary corpus the dimensionality that characterized it originally. It is a vivid, close-up view of a writer who operated in a society saturated by theater and spectacle and who rendered that dramatic text into narrative. More than a study of Burney or an overview of eighteenth-century literature and theater, this book gives immediacy to an understanding of the broad forces informing, and channeled through, Burney's life and work.
Interviews with Screenwriters of the 1990s
Patrick McGilligan continues his celebrated interviews with exceptional screenwriters in Backstory 5, focusing on the 1990s. The thirteen featured writers—Albert Brooks, Jean-Claude Carrière, Nora Ephron, Ronald Harwood, John Hughes, David Koepp, Richard LaGravenese, Barry Levinson, Eric Roth, John Sayles, Tom Stoppard, Barbara Turner, and Rudy Wurlitzer—are not confined to the 1990s, but their engrossing, detailed, and richly personal stories create, in McGilligan’s words, "a snapshot of a profession in motion." Emphasizing the craft of writing and the process of collaboration, this new volume looks at how Hollywood is changing to meet new economic and creative challenges. Backstory 5 explores how these writers come up with their ideas, how they go about adapting a stage play or work of fiction, how they organize and structure their work, and much more.
The Mississippi Flood of 1927 in the African American Imagination
The Mississippi River flood of 1927 was the most destructive river flood in U.S. history, reshaping the social and cultural landscape as well as the physical environment. Often remembered as an event that altered flood control policy and elevated the stature of powerful politicians, Richard M. Mizelle Jr. examines the place of the flood within African American cultural memory and the profound ways it influenced migration patterns in the United States.
In Backwater Blues, Mizelle analyzes the disaster through the lenses of race and charity, blues music, and mobility and labor. The book’s title comes from Bessie Smith’s “Backwater Blues,” perhaps the best-known song about the flood. Mizelle notes that the devastation produced the richest groundswell of blues recordings following any environmental catastrophe in U.S. history, with more than fifty songs by countless singers evoking the disruptive force of the flood and the precariousness of the levees originally constructed to protect citizens. Backwater Blues reveals larger relationships between social and environmental history. According to Mizelle, musicians, Harlem Renaissance artists, fraternal organizations, and Creole migrants all shared a sense of vulnerability in the face of both the Mississippi River and a white supremacist society. As a result, the Mississippi flood of 1927 was not just an environmental crisis but a racial event.
Challenging long-standing ideas of African American environmental complacency, Mizelle offers insights into the broader dynamics of human interactions with nature as well as ways in which nature is mediated through the social and political dynamics of race.Includes discography.
Paddy McGann, Sharp Snaffles, and Bill Bauldy
The twelfth volume in the ongoing Arkansas Edition of the works of William Gilmore Simms, Backwoods Tales brings together three of the best examples of his comic writing. All were written during the last decade of Simms’s life, when he had become a master of his craft. These three tales belong in the tradition of southern backwoods humor, a genre that flourished before the Civil War and produced classic tales by such authors as George Washington Harris, Johnson Jones Hooper, and Thomas Bangs Thorpe. Paddy McGann, “Sharp Snaffles,” and “Bill Bauldy” are all frame tales, told by rustic narrators in authentic dialect, with frequent pauses for libation and comment. These three pieces of writing, never before published together, stand among the best examples of American humor of the nineteenth century.
Tradition, Media, and Technological Horizons
Sharp, exact, and unrelentingly honest, Michaels records with an extraordinary combination of distance and immersion the intervention of technology into a remote Aboriginal community and that community’s forays into the technology of broadcasting. Michaels’s analyses in Bad Aboriginal Art will disrupt and redirect current debates surrounding the theory and practice of anthropology, ethnography, film and video making, communications policy, and media studies - no less than his work has already disrupted and redirected the cultural technologies of both the Warlpiri and Australian technocrats.
The Murderous Life of Kenneth Allen McDuff
In October of 1989, the State of Texas set Kenneth Allen McDuff, the Broomstick Murderer, free on parole. By choosing to murder again, McDuff became the architect of an extraordinarily intolerant atmosphere in Texas. The spasm of prison construction and parole reforms—collectively called the “McDuff Rules”—resulted from an enormous display of anger vented towards a system that allowed McDuff to kill, and kill again. Bad Boy from Rosebud is a chilling account of the life of one of the most heartless and brutal serial killers in American history. Gary M. Lavergne goes beyond horror into an analysis of the unbelievable subculture in which McDuff lived. Equally compelling are the lives of remarkable law enforcement officers determined to bring McDuff to justice, and their seven-year search for his victims. “Texas still feels the pain inflicted by Kenneth Allen McDuff, despite the relentless efforts of law enforcement officials to solve his crimes and bind up its wounds. Bad Boy from Rosebud is an impeccably researched, compellingly detailed account of the crimes and the long search for justice. Gary Lavergne takes us directly to the scenes of the crimes, deep inside the mind of a killer, and in the process learns not only whom McDuff killed and how—but why. This is classic crime reporting.”—Dan Rather, CBS News
Public Schools in the Making of Black Masculinity
Statistics show that black males are disproportionately getting in trouble and being suspended from the nation's school systems. Based on three years of participant observation research at an elementary school, Bad Boys offers a richly textured account of daily interactions between teachers and students to understand this serious problem. Ann Arnett Ferguson demonstrates how a group of eleven- and twelve-year-old males are identified by school personnel as "bound for jail" and how the youth construct a sense of self under such adverse circumstances. The author focuses on the perspective and voices of pre-adolescent African American boys. How does it feel to be labeled "unsalvageable" by your teacher? How does one endure school when the educators predict one's future as "a jail cell with your name on it?" Through interviews and participation with these youth in classrooms, playgrounds, movie theaters, and video arcades, the author explores what "getting into trouble" means for the boys themselves. She argues that rather than simply internalizing these labels, the boys look critically at schooling as they dispute and evaluate the meaning and motivation behind the labels that have been attached to them. Supplementing the perspectives of the boys with interviews with teachers, principals, truant officers, and relatives of the students, the author constructs a disturbing picture of how educators' beliefs in a "natural difference" of black children and the "criminal inclination" of black males shapes decisions that disproportionately single out black males as being "at risk" for failure and punishment. Bad Boys is a powerful challenge to prevailing views on the problem of black males in our schools today. It will be of interest to educators, parents, and youth, and to all professionals and students in the fields of African-American studies, childhood studies, gender studies, juvenile studies, social work, and sociology, as well as anyone who is concerned about the way our schools are shaping the next generation of African American boys. Anne Arnett Ferguson is Assistant Professor of Afro-American Studies and Women's Studies, Smith College.
Justice and Injustice in the Old Southwest
Bad Company and Burnt Powder is a collection of twelve stories of when things turned "Western" in the nineteenth-century Southwest. Each chapter deals with a different character or episode in the Wild West involving various lawmen, Texas Rangers, outlaws, feudists, vigilantes, lawyers, and judges. Covered herein are the stories of Cal Aten, John Hittson, the Millican boys, Gid Taylor and Jim and Tom Murphy, Alf Rushing, Bob Meldrum and Noah Wilkerson, P. C. Baird, Gus Chenowth, Jim Dunaway, John Kinney, Elbert Hanks and Boyd White, and Eddie Aten. Within these pages the reader will meet a nineteen-year-old Texas Ranger figuratively dying to shoot his gun. He does get to shoot at people, but soon realizes what he thought was a bargain exacted a steep price. Another tale is of an old-school cowman who shut down illicit traffic in stolen livestock that had existed for years on the Llano Estacado. He was tough, salty, and had no quarter for cow-thieves or sympathy for any mealy-mouthed politicians. He cleaned house, maybe not too nicely, but unarguably successful he was. Then there is the tale of an accomplished and unbeaten fugitive, well known and identified for murder of a Texas peace officer. But the Texas Rangers couldn't find him. County sheriffs wouldn't hold him. Slipping away from bounty hunters, he hit Owlhoot Trail.