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A memoir by novelist Daphne Athas about coming of age in Chapel Hill during the Depression, life during WWII and the McCarthy era. Athas delves into the world of Southern writers and the shifting of a small college town into the New South's technocracy juggernaut. These tales snatch "the veil off racism, classism, politics and Vanity Fair-worthy scandals that haunt," says writer Randall Kenan.
In tracing the rise of the modern idea of the American "new woman," Lynn Dumenil examines World War I's surprising impact on women and, in turn, women's impact on the war. Telling the stories of a diverse group of women, including African Americans, dissidents, pacifists, reformers, and industrial workers, Dumenil analyzes both the roadblocks and opportunities they faced. She richly explores the ways in which women helped the United States mobilize for the largest military endeavor in the nation's history. Dumenil shows how women activists staked their claim to loyal citizenship by framing their war work as homefront volunteers, overseas nurses, factory laborers, and support personnel as "the second line of defense." But in assessing the impact of these contributions on traditional gender roles, Dumenil finds that portrayals of these new modern women did not always match with real and enduring change. Extensively researched and drawing upon popular culture sources as well as archival material, The Second Line of Defense offers a comprehensive study of American women and war and frames them in the broader context of the social, cultural, and political history of the era.
In Plain Sight explores how the poetry of nineteenth-century American women that was once so visible within American culture could have, with the exception of that by Emily Dickinson, so thoroughly disappeared from literary history. By investigating erasure not merely as something that was done to these women but as the result of the conventions that once made the circulation of their poetry possible in the first place, this volume offers the first book-length analysis of the conventions of nineteenth-century American women's poetry. While each of the chapters focuses on a specific convention, taken together they tell the complicated story of nineteenth-century American women's poetry, tracing the spaces within literary culture where it lived and thrived, the spaces from which it was always in the process of vanishing. By reclaiming these conventions as a constitutive part of nineteenth-century American women's poetry, this book asks readers to take seriously the work these women produced and the role their work might play in remapping American literary history.
In the decades leading up to the Civil War, abolitionists crafted a variety of visual messages about the plight of enslaved people, portraying the violence, familial separation, and dehumanization that they faced. In response, proslavery southerners attempted to counter these messages either through idealization or outright erasure of enslaved life. In Hidden in Plain Sight: Concealing Enslavement in American Visual Culture, Rachel Stephens addresses an enormous body of material by tracing themes of concealment and silence through paintings, photographs, and ephemera, connecting long overlooked artworks with both the abolitionist materials to which they were responding and archival research across a range of southern historical narratives. Stephens begins her fascinating study with an examination of the ways that slavery was visually idealized and defended in antebellum art. She then explores the tyranny—especially that depicted in art—enacted by supporters of enslavement, introduces a range of ways that artwork depicting slavery was tangibly concealed, considers photographs of enslaved female caretakers with the white children they reared, and investigates a printmaker’s confidential work in support of the Confederacy. Finally, she delves into an especially pernicious group of proslavery artists in Richmond, Virginia. Reading visual culture as a key element of the antebellum battle over slavery, Hidden in Plain Sight complicates the existing narratives of American art and history.
The Land Act of 1820 made it possible for settlers to begin to populate the West and added to the confiscation of land from Native Americans. Former landowners – a mix of Native American, African and European ancestry – migrated to the northern frontier and founded at least thirty well-defined free black communities between 1820 and 1850 in the Old Northwest, becoming an important safe haven and beacon of freedom. Its notoriety and size grew as slaves often migrated to these locations after they were granted emancipation in the wills of slave owners who purchased land in the area for them to settle on. The newly free people found sanctuary as these communities were also rumored to shelter runaway slaves in their role as active participants in the Underground Railroad Movement. However, the prosperity of blacks living in these villages angered some of the local whites – many of whom were migrating at the same time and were connected to local law officials and politicians. Archival documents reveal continued acts of terrorism perpetuated against blacks which heightened the importance of the strength of the communities they founded – specifically schools, churches, businesses, and intergenerational family structures—in providing a unified front that allowed them to bond and thrive in an environment that was not always conducive to their survival. Invisible in Plain Sight: Self-Determination Strategies of Free Blacks in the Old Northwest provides a rare detailed examination of an often overlooked piece of the American tapestry. It is perfect reading for history classes in high school and college, as well as for history enthusiasts looking for something new.
For as long as the United States owed its prosperity to a New World plantation complex, from colonial settlement until well into the twentieth century, the toxic practices associated with its permutations stimulated imaginary solutions to the contradiction with the nation’s enlightenment ideals and republican ideology. Ideals of liberty, democracy, and individualism could not be separated from a history of forcible coercion, oligarchic power, and state-protected economic opportunism. While recent historical scholarship about the relation of capitalism to slavery explores the depths at which U.S. ascension was indebted to global plantation slave economies, John T. Matthews probes how exemplary works of literature represented the determination to deny the open secret of a national atrocity. Difficult truths were hidden in plain sight, allowing beholders at once to recognize and disavow knowledge they would not act on. What were the habits of mind that enabled free Americans to acknowledge what was intolerable yet act as if they did not? In what ways did non-slave-owning Americans imagine a relation to slavery that both admitted its iniquity and accepted its benefits? How did the reconfiguration of the plantation system after the Civil War elicit new literary forms for dealing with its perpetuation of racial injustice, expropriation of labor, and exploitation for profit of the land? Hidden in Plain Sight examines signal nineteenth-century works by Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, and Joel Chandler Harris to show how writers portrayed a nation founded on the unseen seen of slavery’s capitalism.
Hide in Plain Sight completes Buhle and Wagner's trilogy on the Hollywood blacklist. When the blacklistees were hounded out of Hollywood, some left for television where many worked on children's shows like "Rocky and Bullwinkle." A number wrote adult sitcoms such as The Donna Reed Show, and M*A*S*H while some of them ultimately returned to Hollywood and made great films such as Norma Rae, and Midnight Cowboy. This is a thoughtful look at the rising fear of communism in America and the aftermath of the horror that was the McCarthy period, from two expert historians of the blacklist period.
Hiding Politics in Plain Sight examines the costs of market mechanisms, especially cause marketing, as a strategy for change. Industry and corporate-connected individuals use market mechanisms to brand issues like breast cancer widely, shaping public understanding. But framed as consensus-based social issues rather than contentious political issues, they essentially hide politics in plain sight.
Cartoonist and animator Cathy Malkasian follows up her 2007 graphic novel Percy Gloom (a minor classic) with the further adventures of the small, immortal man with a light-up head. In Wake Up, Percy Gloom, kindhearted Percy awakens from (what he thinks is) a 200-year nap and finds himself in a strange new land. As Percy goes on a quest to locate his mother, he encounters many inspired inventions and bizarre, and sometimes dangerous, characters and situations, such as singing goats and furniture parades. Through it all he pines for his long-lost love and soul mate, Miss Margaret―but his love may not be as doomed as he thinks. Malkasian’s lush and detailed pencil drawings, surreal humor, absurdist characters and stunning visual storytelling ensure that fans of the first graphic novel will find the sequel just as fantastical, touching, and hilarious; new readers will discover a gorgeously rendered world of luminous landscapes, gentle humor, and a cast composed variously of wise, naive, and flawed characters in a wide-ranging story that stands on its own.
Although overlooked by most narratives of American cinema history, films made for purposes outside of theatrical entertainment dominated twentieth-century motion picture production. This volume adds to the growing study of nontheatrical films by focusing on the ways filmmakers developed and audiences encountered ideas about race, identity, politics, and community outside the borders of theatrical cinema. The contributors to Screening Race in American Nontheatrical Film examine the place and role of race in educational films, home movies, industry and government films, anthropological films, and church films as well as other forms of nontheatrical filmmaking. From filmic depictions of Native Americans and films by 1920s African American religious leaders to a government educational film about the unequal treatment of Latin American immigrants, these films portrayed—for various purposes and intentions—the lives of those who were mostly excluded from the commercial films being produced in Hollywood. This volume is more than an examination of a broad swath of neglected twentieth-century filmmaking; it is a reevaluation of basic assumptions about American film culture and the place of race within it. Contributors. Crystal Mun-hye Baik, Jasmyn R. Castro, Nadine Chan, Mark Garrett Cooper, Dino Everett, Allyson Nadia Field, Walter Forsberg, Joshua Glick, Tanya Goldman, Marsha Gordon, Noelle Griffis, Colin Gunckel, Michelle Kelley, Todd Kushigemachi, Martin L. Johnson, Caitlin McGrath, Elena Rossi-Snook, Laura Isabel Serna, Jacqueline Najuma Stewart, Dan Streible, Lauren Tilton, Noah Tsika, Travis L. Wagner, Colin Williamson