Gorn's The Manly Art tells the story of boxing's origins and the sport's place in American culture. When first published in 1986, the book helped shape the ways historians write about American sport and culture, expanding scholarly boundaries by exploring masculinity as an historical subject and by suggesting that social categories like gender, class, and ethnicity can be understood only in relation to each other.

     Born in a California women’s prison in 1963, Laureen Pittman was relinquished for adoption. As a child, Laureen was conditioned to believe that being adopted didn’t matter. So, it didn’t . . . until it did. Through scraps of information, Laureen stitched together her history – one that started in the psychedelic sixties and ended up in a future where DNA could solve mysteries. She never imagined that spitting into a plastic tube, along with painstaking research and the explosion of technology would reveal the answers to her identity. Laureen’s tale is for anyone who has ever questioned who they are, where they came from, or how they fit in. Her journey to find her truth illustrates the strength and power of our need for connection, belonging, and healing through knowledge. What people are saying about The Lies That Bind "Pittman walks, with grace and wisdom, through the uncharted and difficult territory, where she uncovers secrets long buried and finds those who embrace one another as a family. Hers is a story of resilience and tenacity. It is about the peace that comes when we are in the shadows no more, and it will inspire others on their own healing path." ~ Linda Hoye, Author of Two Hearts: An Adoptee’s Journey Through Grief to Gratitude "Laureen’s tale from the point of view of an adoptee is one of incredible bravery and courage. Her beautiful voice echoes through the pages with pain and joy, disappointment and redemption. No matter if you have been involved in adoption directly or not, there is beauty to be found in this heart-wrenching book." ~ From the Foreword by Angie Martin, Bestselling & Award-winning author of Conduit and Chrysalis

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

     Social Welfare Policy; 2008 Election; Proposition 8; Economic issues. Social work and social welfare practitioners and students interested in enhancing their understanding and analysis of social welfare policy.

    As a brilliant survey of English literature in terms of changing attitudes towards country and city, Williams' highly-acclaimed study reveals the shifting images and associations between these two traditional poles of life throughout the major developmental periods of English culture.

    Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text.Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television."We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect.The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance.These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination.In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

    Carefully chosen selections from Frye, Benjamin, Lévi-Strauss, Lukács, Bakhtin, and other prominent theorists explore the historical significance of the novel as a genre, from its early beginnings to its modern variations in the postmodern novel and postcolonial novel.Offering a generous selection of key theoretical texts for students and scholars alike, Theory of the Novel also presents a provocative argument for studying the genre. In his introduction to the volume and in headnotes to each section, McKeon argues that genre theory and history provide the best approach to understanding the novel. All the selections in this anthology date from the twentieth century—most from the last forty years—and represent the attempts of different theorists, and different theoretical schools, to describe the historical stages of the genre's formal development.

    And a very strange, very English obsession. But where did this fixation develop? And what does it tell us about ourselves?In The Art of the English Murder, Lucy Worsley explores this phenomenon in forensic detail, revisiting notorious crimes like the Ratcliff Highway Murders, which caused a nationwide panic in the early nineteenth century, and the case of Frederick and Maria Manning, the suburban couple who were hanged after killing Maria's lover and burying him under their kitchen floor. Our fascination with crimes like these became a form of national entertainment, inspiring novels and plays, prose and paintings, poetry and true-crime journalism. At a point during the birth of modern England, murder entered our national psyche, and it's been a part of us ever since.The Art of the English Murder is a unique exploration of the art of crime and a riveting investigation into the English criminal soul by one of our finest historians.

    Johnson’s greatness to Bono’s gratingness, from doubts about Obama to utter belief in Don Cherry, from Aleksandr Solzhenitsyn’s outstanding oeuvre to — well, Pamela Anderson.The topics are as eclectic and wide ranging as the intelligence that put them together. The perspective is thoroughly Canadian, and so are many of the recurring topics and themes: of our domestic politics and our military involvements abroad, of our national identity, of human rights and human decency. You’ll find assessments of the reputations of Paul Martin, Conrad Black, Adrienne Clarkson, and Tim Hortons; tough but affectionate views of Newfoundland — of course — but also from Rex Murphy’s constant travels across Canada.But all the world is here, in all its glory and folly. The hard-hitting attacks on politicians, celebrities, those who would ban smoking, and anyone who uses the expression “global warming denial” will have you cheering or tearing your hair out, depending. You will be informed, infuriated perhaps, but always fascinated.

    S. Lewis gathers together forty book reviews, never before reprinted, as well as four major essays which have been unavailable for many decades. A fifth essay, "Image and Imagination," is published for the first time. Taken together, the collection presents some of Lewis's finest literary criticism and religious exposition. The essays and reviews substantiate his reputation as an eloquent and authoritative critic across a wide range of literature, and as a keen judge of contemporary scholarship, while his reviews of The Hobbit and The Lord of the Rings will be of additional interest to scholars and students of fantasy.

    In a quick, easy read, you can take the main principles from White Fragility: Why It’s So Hard for White People to Talk About Racism! The phrase “white fragility” has grown into a term that many people have accepted and referenced when talking about the defensiveness and discomfort a white person feels when talking about race. The term, originally coined in a 2011 article by Robin DiAngelo, is now used in various articles, books, TV shows, and more. Although it’s commonly heard, not many people truly understand what it means. That’s why Robin DiAngelo wrote the book entitled White Fragility: Why it’s So Hard for White People to Talk About Racism. DiAngelo is an author, former professor, and lecturer with a PhD in Multicultural Education from the University of Washington in Seattle. For more than 20 years, she’s focused on racial justice and whiteness studies. Her book on white fragility is a culmination of everything she’s learned from her personal experiences, her studies, and her interactions with white people and people of color. Her book aims to create a dialogue about race despite the white fragility that Americans feel when confronted with that topic. The book, published in 2018, has gained strong reviews because it explores race in-depth and attempts to break down those walls that white people have built in order to protect themselves from acknowledging their race and the benefits it gives them in life. The book debuted on the New York Times Bestseller List. DiAngelo is the two-time winner of the Student’s Choice Award for Educator of the Year at the University of Washington’s School of Social Work. Aside from her White Fragility book, DiAngelo has numerous other publications and books under her belt. White Fragility: Why It's So Hard for White People to Talk About Racism is the #1 bestseller in the discrimination & racism category on Amazon. That’s because it’s a useful tool that can be used in classrooms, discussions, lectures, and more. For those not in an academic setting, it’s also simply just a book that people from all different cultures can learn from, as it aims to teach us all how we got to this point in society, why we have the racial biases we do, and how we can overcome white fragility in order to have meaningful relationships with people of color.

    Written before the emergence of the Internet but newly updated for the twenty-first century reader, A Gentle Madness captures that last moment in time when collectors frequented dusty bookshops, street stalls, and high-stakes auctions, conducting themselves with the subterfuge befitting a true bibliomaniac. A Gentle Madness is vividly anecdotal and thoroughly researched. Nicholas A. Basbanes brings an investigative reporter’s heart and instincts to the task of chronicling collectors past and present in pursuit of bibliomania. Now a classic of collecting, A Gentle Madness is a book lover’s delight.

    Heinlein was sixty-six, at the height of his literary career; J. Neil Schulman was twenty and hadn't yet started his first novel. Because he was looking for a way to meet his idol, Schulman wangled an assignment from the New York Daily News--at the time the largest circulation newspaper in the U.S.--to interview Heinlein for its Sunday Book Supplement. The resulting taped interview lasted three-and-a-half hours. This turned out to be the longest interview Heinlein ever granted, and the only one in which he talked freely and extensively about his personal philosophy and ideology. "The Robert Heinlein Interview" contains Heinlein you won't find anywhere else--even in Heinlein's own "Expanded Universe." If you wnat to know what Heinlein had to say about UFO's, life after death, epistemology, or libertarianism, this interview is the only source available. Also included in this collection are articles, reviews, and letters that J. Neil Schulman wrote about Heinlein, including the original article written for The Daily News, about which the Heinleins wrote Schulman that it was, "The best article--in style, content, and accuracy--of the many, many written about him over the years." This book is must-reading for any serious student of Heinlein, or any reader seeking to know him better.

    Hailed by the New York Times as "one of the most influential texts in gender studies, men's studies and gay studies," this book uncovers the homosocial desire between men, from Restoration comedies to Tennyson's Princess.

    Expertly blending social history and cultural criticism, Judith Walkowitz shows how these narratives reveal the complex dramas of power, politics, and sexuality that were being played out in late nineteenth-century Britain, and how they influenced the language of politics, journalism, and fiction.Victorian London was a world where long-standing traditions of class and gender were challenged by a range of public spectacles, mass media scandals, new commercial spaces, and a proliferation of new sexual categories and identities. In the midst of this changing culture, women of many classes challenged the traditional privileges of elite males andasserted their presence in the public domain.An important catalyst in this conflict, argues Walkowitz, was W. T. Stead's widely read 1885 article about child prostitution. Capitalizing on the uproar caused by the piece and the volatile political climate of the time, women spoke of sexual danger, articulating their own grievances against men, inserting themselves into the public discussion of sex to an unprecedented extent, and gaining new entree to public spaces and journalistic practices. The ultimate manifestation of class anxiety and gender antagonism came in 1888 with the tabloid tales of Jack the Ripper. In between, there were quotidien stories of sexual possibility and urban adventure, and Walkowitz examines them all, showing how women were not simply figures in the imaginary landscape of male spectators, but also central actors in the stories of metropolotin life that reverberated in courtrooms, learned journals, drawing rooms, street corners, and in the letters columns of the daily press.A model of cultural history, this ambitious book will stimulate and enlighten readers across a broad range of interests.