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Jason Edward Black examines the ways the US government's rhetoric and American Indian responses contributed to the policies of Native-US relations throughout the nineteenth century's removal and allotment eras. Black shows how these discourses together constructed the perception of the US government and of American Indian communities. Such interactions-though certainly not equal-illustrated the hybrid nature of Native-US rhetoric in the nineteenth century. Both governmental, colonizing discourse and indigenous, decolonizing discourse shaped arguments, constructions of identity, and rhetoric in the colonial relationship.American Indians and the Rhetoric of Removal and Allotment demonstrates how American Indians decolonized dominant rhetoric through impeding removal and allotment policies. By turning around the US government's narrative and inventing their own tactics, American Indian communities helped restyle their own identities as well as the government's. During the first third of the twentieth century, American Indians lobbied for the successful passage of the Indian Citizenship Act of 1924 and the Indian New Deal of 1934, changing the relationship once again.In the end, Native communities were granted increased rhetorical power through decolonization, though the US government retained an undeniable colonial influence through its territorial management of Natives. The Indian Citizenship Act and the Indian New Deal-as the conclusion of this book indicates-are emblematic of the prevalence of the duality of US citizenship that fused American Indians to the nation yet segregated them on reservations. This duality of inclusion and exclusion grew incrementally and persists now, as a lasting effect of nineteenth-century Native-US rhetorical relations.

A collection of interviews with one of America's most influential authors, music journalists, and cultural critics. In this book, the author has explored the connections among figures, sounds, and events in culture, relating unrelated points of departure, mapping alternate histories and surprising correspondences.

Over the course of his career, legendary director Werner Herzog (b. 1942) has made almost sixty films and given more than eight hundred interviews. This collection features the best of these, focusing on all his major films. Together, these interviews offer an unprecedented look at Herzog's work, his career, and his public persona as it has developed and changed over time.

While undergoing routine surgery to remove a benign tumour, Ruby Elzy died. She was only thirty-five. Had she lived, she would have been one of the first black artists to appear in grand opera. During her brief career, Ruby Elzy was in the top tier of American sopranos. This biography recognizes her contribution to American music, and tells her tragic yet inspiring story.

East Meets Black examines the making and remaking of race and masculinity through the racialization of Asian and black men, confronting this important white stratagem to secure class and racial privilege, wealth, and status in the post-civil rights era. Indeed Asian and black men in neoliberal America are cast by white supremacy as oppositional. Through this opposition in the US racial hierarchy, Chong Chon-Smith argues that Asian and black men are positioned along binaries brain/body, diligent/lazy, nerd/criminal, culture/ genetics, student/convict, and technocrat/athlete--in what he terms "e;racial magnetism."e; Via this concept, East Meets Black traces the national conversations that oppose black and Asian masculinities, but also the Afro-Asian counterpoints in literature, film, popular sport, hip-hop music, performance arts, and internet subcultures. Chon-Smith highlights the spectacle and performance of baseball players such as Ichiro Suzuki within global multiculturalism and the racially coded controversy between Yao Ming and Shaquille O'Neal in transnational basketball. Further, he assesses the prominence of martial arts buddy films such as Romeo Must Die and Rush Hour that produce Afro-Asian solidarity in mainstream Hollywood cinema. Finally, Chon-Smith explores how the Afro-Asian cultural fusions in hip-hop open up possibilities for the creation of alternative subcultures, to disrupt myths of black pathology and the Asian model minority. In this first interdisciplinary book on Asian and black masculinities in literature and popular culture, Chon-Smith explores the inspiring, contradictory, hostile, resonant, and unarticulated ways in which the formation of Asian and black racial masculinity has affected contemporary America.

Agnes Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut's 400 Blows and Godard's Breathless. This is a collection of interviews with one of the most important, yet often overlooked, filmmakers of the New Wave.

Ranging over parts of three states, Wiregrass Country extends from north of Savannah, sweeps across rolling meadows into the southwest Georgia coastal plain, fans over into the southeastern corner of Alabama, and dips into the northwestern panhandle of Florida. This book is the first comprehensive study of the folklife of this unique region.

Fifty years after Freedom Summer, To Write in the Light of Freedom offers a glimpse into the hearts of the African American youths who attended the Mississippi Freedom Schools in 1964. One of the most successful initiatives of Freedom Summer, more than forty Freedom Schools opened doors to thousands of young African American students.

An anthology that examines the many achievements of the Nobel Laureate. Toni Morrison: Memory and Meaning boasts essays by well-known international scholars focusing on the author's literary production and including her very latest works - the theatrical production Desdemona and her tenth and latest novel, Home.

Offers he first in-depth critical analysis of Martin Ritt's films and a justification of his renown as America's premier social-issues filmmaker In a Hollywood career that spanned more than thirty years, Martin Ritt (1914-1990) directed twenty-six films. Among them were some of Hollywood's most enduring works.

Steven Spielberg has become a brand name and a force that extends far beyond the movie screen. Spanning twenty-five years of Spielberg's career, Steven Spielberg: Interviews explores the issues, the themes, and the financial considerations surrounding his work.

On March 13, 1956, ninety-nine members of the United States Congress promulgated the Declaration of Constitutional Principles, popularly known as the Southern Manifesto. Reprinted here, the Southern Manifesto formally stated opposition to the landmark United State Supreme Court decision Brown v. Board of Education, and the emergent civil rights movement. This statement allowed the white South to prevent Brown's immediate full-scale implementation and, for nearly two decades, set the slothful timetable and glacial pace of public school desegregation. The Southern Manifesto also provided the Southern Congressional Delegation with the means to stymie federal voting rights legislation, so that the dismantling of Jim Crow could be managed largely on white southern terms.In the wake of the Brown decision that declared public school segregation unconstitutional, seminal events in the early stages of the civil rights movement--like the Emmett Till lynching, the Montgomery bus boycott, and the Autherine Lucy riots at the University of Alabama brought the struggle for black freedom to national attention. Orchestrated by United States Senator Richard Brevard Russell Jr. of Georgia, the Southern Congressional Delegation in general, and the United States Senate's Southern Caucus in particular, fought vigorously and successfully to counter the initial successes of civil rights workers and maintain Jim Crow. The South's defense of white supremacy culminated with this most notorious statement of opposition to desegregation. The Southern Manifesto: Massive Resistance and the Fight to Preserve Segregation narrates this single worst episode of racial demagoguery in modern American political history and considers the statement's impact upon both the struggle for black freedom and the larger racial dynamics of postwar America.

From 30 Americans to Angry White Boy, from Bamboozled to The Boondocks, from Chappelle's Show to The Colored Museum, this collection of twenty-one essays takes an interdisciplinary look at the flowering of satire and its influence in defining new roles in black identity.

Before there was a death care industry where professional funeral directors offered embalming and other services, residents of the Arkansas Ozarks--and, for that matter, people throughout the South--buried their own dead. Every part of the complicated, labor-intensive process was handled within the deceased's community. This process included preparation of the body for burial, making a wooden coffin, digging the grave, and overseeing the burial ceremony, as well as observing a wide variety of customs and superstitions. These traditions, especially in rural communities, remained the norm up through the end of World War II, after which a variety of factors, primarily the loss of manpower and the rise of the funeral industry, brought about the end of most customs.Gone to the Grave, a meticulous autopsy of this now vanished way of life and death, documents mourning and practical rituals through interviews, diaries and reminiscences, obituaries, and a wide variety of other sources. Abby Burnett covers attempts to stave off death; passings that, for various reasons, could not be mourned according to tradition; factors contributing to high maternal and infant mortality; and the ways in which loss was expressed though obituaries and epitaphs. A concluding chapter examines early undertaking practices and the many angles funeral industry professionals worked to convince the public of the need for their services.

In a range of approaches, the contributors to this volume consider Faulkner's career as a scenarist and collaborator in Hollywood, the ways his screenplay work and the adaptations of his fiction informed his literary writing, and how Faulkner's craft anticipates, intersects with, or reflects upon changes in cultural history across the lifespan of cinema.

The personal account of a community and a lawyer united to battle one of the most recalcitrant bastions of resistance to civil rights

Originally published: Waarom elf Antillianen knielden voor het hart van Chopin / Jan Brokken. Amsterdam: Uitgeverij Atlas Contact, A2005.

Brings together new scholarship on the cross-cultural experiences of intellectuals of African descent since the eighteenth century. The book embraces historian Paul Gilroy's prominent thesis in The Black Atlantic: Modernity and Double-Consciousness and posits arguments beyond The Black Atlantic's traditional organisation and symbolism.

Katherine Anne Porter (1890-1980) produced a relatively small body of fiction, but she wrote thousands of letters. This selection of 135 unexpurgated letters, written to seventy-four different persons, begins with a 1916 letter written from a tuberculosis sanatorium in Texas and ends with a 1979 letter dictated to an unnamed nursing-home attendant in Maryland.

Examines Mississippi's Civil War defeat by both outside and inside forces. The first examination of the state's Civil War home front in seventy years, this book tells the story of all classes of Mississippians during the war, focusing new light on previously neglected groups such as women and African Americans.

A comprehensive exploration of the fascinating ecology and history of one of the South's most complex and thriving estuaries

The hurricane protection systems that failed New Orleans when Katrina roared on shore in 2005 were the product of four decades of engineering hubris, delays, and social conflict. Craig Colten traces the protracted process of erecting massive structures designed to fend off tropical storms and examines how human actions and inactions left the system incomplete on the eve of its greatest challenge.

David Fincher (b. 1962) did not go to film school and hates being defined as an auteur. He prefers to see himself as a craftsman, dutifully going about the art and business of making film. This collection of interviews highlights Fincher's unwavering commitment to his craft as he evolved from an entrepreneurial music video director into an enterprising feature filmmaker.

In this memoir, a child's recollections of her family and warm home life are lovingly preserved in a front-porch ambience. As Windham weaves her memories there are digressions into tales that mark the castes of a bygone South, tales that move in slow cadence and bring to life a family that accommodated all members in their entertaining oddities.

In this collection of interviews Maxine Hong Kingston talks about her life, her writing, and her objectives. As she answers her critics and readers, she both clarifies the differences and exults in the difficulties of distinguishing between the remembered and the re-created.

Casts a penetrating ray on the traditional canon of southern literature and questions the modes by which it was created. Michael Kreyling investigates the historical conditions under which literary and cultural critics have invented "the South" and how they have chosen its representations.