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Owen Wister's The Virginian, considered to be the archetype western novel, left an imprint on American and European writers of that genre. Clarence Mitchell breaks from that mold in this, his final book, using the broader base of historical journalism. Montana Montage describes a sweltering summer in 1931, when a young man decided to follow his dream by going west. Mitchell left his small hometown in rural Illinois and drove to Billings, Montana, to work at the Reverse B. K. Bar Ranch, one of the earliest dude ranches in the country. There he spent a season among a cast of colorful characters. The Old West was changing, but bronc busters, gun fighters, remittance men, rattlesnakes, renegade outlaw stallions, and roaming bulls were still part of the larger-than-life landscape. Montana Montage is a unique look back at a bygone era, told with humor and insight by a keen observer. Readers will find themselves stepping back in time and being caught up in the drama that is reflected in the chapter titles, such as "The Rustler", "Midnight Canyon", "The Poker Game", "Bronc Breaking", and "The Gunfighter". Like the author himself, readers will feel this surely was a summer never to be forgotten.
A union list of serials commencing publication after Dec. 31, 1949.
Scarface meets Moby Dick in Say Hello to My Little Friend—“a masterclass in pace and precision…brilliant” (Nana Kwame Adjei-Brenyah, National Book Award Finalist of Chain Gang All Stars) about a young man’s attempt to capitalize on his mother’s murky legacy—a story steeped in Miami’s marvelous and sinister magic. Failed Pitbull impersonator Ismael Reyes—you can call him Izzy—might not be the Scarface type, but why should that keep him from trying? Growing up in Miami has shaped him into someone who dreams of being the King of the 305, with the money, power, and respect he assumes comes with it. After finding himself at the mercy of a cease-and-desist letter from Pitbull’s legal team and living in his aunt’s garage, Izzy embarks on an absurd quest to turn himself into a modern-day Tony Montana. When Izzy’s efforts lead him to the tank that houses Lolita, a captive orca at the Miami Seaquarium, she proves just how powerful she and the water surrounding her really are—permeating everything from Miami’s sinking streets to Izzy’s memories to the very heart of the novel itself. What begins as Izzy’s story turns into a super-saturated fever dream as sprawling and surreal as the Magic City, one as sharp as an iguana’s claws, and as menacing as a killer whale’s teeth. As the truth surrounding Izzy’s boyhood escape from Cuba surfaces, the novel reckons with the forces of nature, with the limits and absence of love, and with the dangers of pursuing a tragic inheritance. “Blistering, hilarious, [and] tragic” (The Miami Herald), Say Hello to My Little Friend is Jennine Capó Crucet’s most daring, heartbreaking, and fearless book yet.
A powerful female, pre-adolescent, consumer demographic has emerged in tandem with girls becoming more visible in popular culture since the 1990s. Yet the cultural anxiety that this has caused has received scant academic attention. In Tweenhood, Melanie Kennedy rectifies this and examines mainstream, pre-adolescent girls' films, television programmes and celebrities from 2004 onwards, including A Cinderella Story (2004), Hannah Montana (2006) and Camp Rock (2008). Her book forges a dialogue between post-feminism, film and television, celebrity and most importantly; the figure of the tween. Kennedy examines how these media texts, which are so key to tween culture, address and construct their target audience by helping them to 'choose' an appropriately feminine identity. Tweenhood then, she argues, is transient and a discursive construct whose unpacking highlights the deification of celebrity and femininity within its culture.
Yellowstone. Sacagawea. Lewis & Clark. Transcontinental railroad. Indians as college mascots. All are iconic figures, symbols of the West in the Anglo-American imagination. Well-known cultural critic Norman Denzin interrogates each of these icons for their cultural meaning in this finely woven work. Part autoethnography, part historical narrative, part art criticism, part cultural theory, Denzin creates a postmodern bricolage of images, staged dramas, quotations, reminiscences and stories that strike to the essence of the American dream and the shattered dreams of the peoples it subjugated.