Download Free White Rooms Imaginary Westerns Book in PDF and EPUB Free Download. You can read online White Rooms Imaginary Westerns and write the review.

Text and Drugs and Rock'n'Roll explores the interaction between two of the most powerful socio-cultural movements in the post-war years - the literary forces of the Beat Generation and the musical energies of rock and its attendant culture. Simon Warner examines the interweaving strands, seeded by the poet/novelists Jack Kerouac, Allen Ginsberg, William Burroughs and others in the 1940s and 1950s, and cultivated by most of the major rock figures who emerged after 1960 - Bob Dylan, the Beatles, Bowie, the Clash and Kurt Cobain, to name just a few. This fascinating cultural history delves into a wide range of issues: Was rock culture the natural heir to the activities of the Beats? Were the hippies the Beats of the 1960s? What attitude did the Beat writers have towards musical forms and particularly rock music? How did literary works shape the consciousness of leading rock music-makers and their followers? Why did Beat literature retain its cultural potency with later rock musicians who rejected hippie values? How did rock musicians use the material of Beat literature in their own work? How did Beat figures become embroiled in the process of rock creativity? These questions are addressed through a number of approaches - the influence of drugs, the relevance of politics, the effect of religious and spiritual pursuits, the rise of the counter-culture, the issue of sub-cultures and their construction, and so on. The result is a highly readable history of the innumerable links between two of the most revolutionary artistic movements of the last 60 years.
Pete Brown, lyricist for 60s super group Cream, has been a poet, singer, percussionist, record producer and screenwriter. As a Beat poet he worked alongside Spike Milligan, Allen Ginsberg and Robert Graves. As songwriter he is best known for his work with Cream, whose guitarist was Eric Clapton. Having been part of the Underground, he emerged as the lyricist of their massive hit songs ‘White Room’, ‘I Feel Free’, and ‘Sunshine of your Love’. White Rooms and Imaginary Westerns is the personal odyssey of this poet, musician and writer. Brown takes the reader from the green fields of Surrey to the claustrophobia of a Jewish school in Hendon, from surreal day jobs operating lifts to hitch-hiking around Britain in a search for identity and girls. White Rooms deals honestly with the problems he faced – from the sexual side effects of a having a Jewish mother, to the mental adjustment necessary when, after years of earning £20 a week as a performing poet, he began receiving major sums his hit songs. There are many hilarious tales of being a touring musician, as well as anarchic opinions on drugs, love, music and movies. There are stories of the many more famous people Brown has worked with and met from Ginsberg and Burroughs to Spike Milligan, from Clapton to Peter Green and Jeff Beck, and from Alasdair Gray to Ken Campbell and Martin Scorsese.From affairs with actresses to Browns’ 30-year collaboration with Cream singer, Jack Bruce, this is a fascinating journey into music, poetry, love and life by one of the biggest unsung heroes of rock and the beat movement.
Frank, fearless letters from poets of all colors, genders, classes about the material conditions under which their art is made.
The Outlaws of the Wild West: 150+ Westerns in One Edition stands as a monumental anthology that explores the allure and the multifaceted nature of the American West through its most emblematic genre: the Western. Within its pages, readers are treated to a diverse array of literary styles, from the rugged realism of pioneer life to the mythmaking narratives of outlaws and heroes. This collection, unparalleled in its scope, showcases the evolution of Western literature over time, presenting seminal works alongside lesser-known gems, offering a comprehensive insight into the genre's development and its lasting impact on American culture. The inclusion of works by celebrated authors such as Mark Twain and Jack London alongside those by niche writers ensures a rich and varied reading experience, encapsulating the broad expanse of the Western narrative landscape. The collective backgrounds of the anthology's authors provide a vivid tapestry of the American literary canon. From Twains razor-sharp wit to Londons raw depiction of adversity and survival, and Cathers evocative portrayal of frontier life, the anthology spans a critical period in American history. These authors, hailing from diverse walks of life, bring authenticity and depth to their depiction of the West, reflecting the socio-political landscapes and cultural shifts of their respective eras. The anthology not only commemorates the traditional Western but also underscores the genres role in exploring themes of identity, conflict, and the American dream, echoing the complexity and contradictions of American society itself. The Outlaws of the Wild West: 150+ Westerns in One Edition offers readers an unparalleled opportunity to dive deep into the heart of American literary heritage. It appeals not only to aficionados of the Western genre but also to those keen on exploring the narratives that have shaped American identity and mythology. This anthology opens up a dialogue among a wide array of voices, each adding its unique perspective to the vast, untamed landscapes of the American West. As such, it is an essential read for anyone looking to grasp the full spectrum of American literary output, offering an educational journey through time and across the plains, mountains, and deserts that have inspired generations of storytellers.
At every turn in the development of what we now know as the western, women writers have been instrumental in its formation. Yet the myth that the western is male-authored persists. Westerns: A Women’s History debunks this myth once and for all by recovering the women writers of popular westerns who were active during the late nineteenth and early twentieth centuries when the western genre as we now know it emerged. Victoria Lamont offers detailed studies of some of the many women who helped shape the western. Their novels bear the classic hallmarks of the western—cowboys, schoolmarms, gun violence, lynchings, cattle branding—while also placing female characters at the center of their western adventures and improvising with western conventions in surprising and ingenious ways. In Emma Ghent Curtis’s The Administratrix a widow disguises herself as a cowboy and infiltrates the cowboy gang responsible for lynching her husband. Muriel Newhall’s pulp serial character, Sheriff Minnie, comes to the rescue of a steady stream of defenseless female victims. B. M. Bower, Katharine Newlin Burt, and Frances McElrath use cattle branding as a metaphor for their feminist critiques of patriarchy. In addition to recovering the work of these and other women authors of popular westerns, Lamont uses original archival analysis of the western-fiction publishing scene to overturn the long-standing myth of the western as a male-dominated genre.
2021 Top Ten Finalist for the Locus Awards in Nonfiction Joshua Smith’s chapter “Uncle Tom’s Cabin Showdown” won the 2021 Don D. Walker Prize from the Western Literature Association Weird Westerns is an exploration of the hybrid western genre—an increasingly popular and visible form that mixes western themes, iconography, settings, and conventions with elements drawn from other genres, such as science fiction, horror, and fantasy. Despite frequent declarations of the western’s death, the genre is now defined in part by its zombie-like ability to survive in American popular culture in weird, reanimated, and reassembled forms. The essays in Weird Westerns analyze a wide range of texts, including those by Native American authors Stephen Graham Jones (Blackfeet) and William Sanders (Cherokee); the cult television series Firefly and The Walking Dead; the mainstream feature films Suicide Squad and Django Unchained; the avant-garde and bizarre fiction of Joe R. Lansdale; the tabletop roleplaying game Deadlands: The Weird West; and the comic book series Wynonna Earp. The essays explore how these weird westerns challenge conventional representations by destabilizing or subverting the centrality of the heterosexual, white, male hero but also often surprisingly reinforce existing paradigms in their inability to imagine an existence outside of colonial frameworks.
The Western, though a singularly American art form, is one of the great genres of world literature with a truly global readership. It is also durable despite being often unfairly maligned. Ever since James Fenimore Cooper transformed frontier yarns into a distinct literary form, the Western has followed two paths: one populist - what Time magazine famously billed 'the American Morality Play' - capable of taking many points of view, from red to redneck, but always populist, with a sentimental attachment to the misfit; the other literary - eschewing heroism, debunking with unsettling candour many of the myths of the West. It can sometimes be difficult to draw a sure line between the two forms, but both are represented in this outstanding collection which includes stories by Rick Bass, Walter Van Tilburg Clark, Larry McMurtry, Mari Sandoz, Christopher Tilghman, and Mark Twain, among many others.
He Was Some Kind of a Man: Masculinities in the B Western explores the construction and representation of masculinity in low-budget western movies made from the 1930s to the early 1950s. These films contained some of the mid-twentieth-century’s most familiar names, especially for youngsters: cowboys such as Roy Rogers, Hopalong Cassidy, and Red Ryder. The first serious study of a body of films that was central to the youth of two generations, He Was Some Kind of a Man combines the author’s childhood fascination with this genre with an interdisciplinary scholarly exploration of the films influence on modern views of masculinity. McGillis argues that the masculinity offered by these films is less one-dimensional than it is plural, perhaps contrary to expectations. Their deeply conservative values are edged with transgressive desire, and they construct a male figure who does not fit into binary categories, such as insider/outsider or masculine/feminine. Particularly relevant is the author’s discussion of George W. Bush as a cowboy and how his aspirations to cowboy ideals continue to shape American policy. This engagingly written book will appeal to the general reader interested in film, westerns, and contemporary culture as well as to scholars in film studies, gender studies, children’s literature, and auto/biography.
NEW YORK TIMES BESTSELLER The “paradigm-influencing” book (Christianity Today) that is fundamentally transforming our understanding of white evangelicalism in America. Jesus and John Wayne is a sweeping, revisionist history of the last seventy-five years of white evangelicalism, revealing how evangelicals have worked to replace the Jesus of the Gospels with an idol of rugged masculinity and Christian nationalism—or in the words of one modern chaplain, with “a spiritual badass.” As acclaimed scholar Kristin Du Mez explains, the key to understanding this transformation is to recognize the centrality of popular culture in contemporary American evangelicalism. Many of today’s evangelicals might not be theologically astute, but they know their VeggieTales, they’ve read John Eldredge’s Wild at Heart, and they learned about purity before they learned about sex—and they have a silver ring to prove it. Evangelical books, films, music, clothing, and merchandise shape the beliefs of millions. And evangelical culture is teeming with muscular heroes—mythical warriors and rugged soldiers, men like Oliver North, Ronald Reagan, Mel Gibson, and the Duck Dynasty clan, who assert white masculine power in defense of “Christian America.” Chief among these evangelical legends is John Wayne, an icon of a lost time when men were uncowed by political correctness, unafraid to tell it like it was, and did what needed to be done. Challenging the commonly held assumption that the “moral majority” backed Donald Trump in 2016 and 2020 for purely pragmatic reasons, Du Mez reveals that Trump in fact represented the fulfillment, rather than the betrayal, of white evangelicals’ most deeply held values: patriarchy, authoritarian rule, aggressive foreign policy, fear of Islam, ambivalence toward #MeToo, and opposition to Black Lives Matter and the LGBTQ community. A much-needed reexamination of perhaps the most influential subculture in this country, Jesus and John Wayne shows that, far from adhering to biblical principles, modern white evangelicals have remade their faith, with enduring consequences for all Americans.
Our Walk with the Lord begins when we take our first step in faith by believing that Jesus is who he says he is. Thereafter, day after day, we willingly take up our cross and attempt to follow in his footsteps, finding out all too soon that “The Way” is not easy. Some will not understand our belief in the “invisible God.” They will consider us fools and secretly despise us for claiming to see what they cannot. While they may be blind to his presence, we see God everywhere, and in everything. Ours is a life-long spiritual journey which tests our strength, courage, faith, and convictions. While it may seem that we are walking alone, we are not. The Lord is always with us. Look around my friends...there are other Believers, each walking at their own pace...some far ahead, while others trail behind. Occasionally, someone comes along who falls into step and walks the long road with us. Know that they have been intentionally sent by God to pick us up when we stumble and fall, get lost, or become discouraged. We need their uplifting prayers, encouragement, and testimonies of faith, to remind us never to give up hope. This book is about my walk with The Lord. However, I believe the sentiments expressed are not mine alone, but universal to Christians everywhere. It is my hope that the words God has given me, will also minister to you as you walk your walk.