Told by the comic legend Harvey Pekar, his frequent artistic collaborator Ed Piskor, and a range of artists and writers, including the feminist comic creator Trina Robbins and the Mad magazine artist Peter Kuper, The Beats takes us on a wild tour of a generation that, in the face of mainstream American conformity and conservatism, became known for its determined uprootedness, aggressive addictions, and startling creativity and experimentation.What began among a small circle of friends in New York and San Francisco during the late 1940s and early 1950s laid the groundwork for a literary explosion, and this striking anthology captures the storied era in all its incarnations—from the Benzedrine-fueled antics of Kerouac, Ginsberg, and Burroughs to the painting sessions of Jay DeFeo’s disheveled studio, from the jazz hipsters to the beatnik chicks, from Chicago’s College of Complexes to San Francisco’s famed City Lights bookstore. Snapshots of lesser-known poets and writers sit alongside frank and compelling looks at the Beats’ most recognizable faces. What emerges is a brilliant collage of—and tribute to—a generation, in a form and style that is as original as its subject.

    Bush to victory. That was ironic, because Winchester, like countless American small towns, is fast becoming the bedrock of a permanent underclass. Two in five of the people in his old neighborhood do not have high school diplomas. Nearly everyone over fifty has serious health problems, and many have no health care. Credit ratings are low or nonexistent, and alcohol, overeating, and Jesus are the preferred avenues of escape.A raucous mix of storytelling and political commentary, Deer Hunting with Jesus is Bageant's report on what he learned by coming home. He writes of his childhood friends who work at factory jobs that are constantly on the verge of being outsourced; the mortgage and credit card rackets that saddle the working poor with debt, i.e., white trashonomics; the ubiquitous gun culture”and why the left doesn't get it; Scots Irish culture and how it played out in the young life of Lynddie England; and the blinkered magical thinking of the Christian right. (Bageant's brother is a Baptist pastor who casts out demons.) What it adds up to, he asserts, is an unacknowledged class war. By turns brutal, tender, incendiary, and seriously funny, this book is a call to arms for fellow progressives with little real understanding of the great beery, NASCAR-loving, church-going, gun-owning America that has never set foot in a Starbucks.Deer Hunting with Jesus is a potent antidote to what Bageant dubs the "American hologram" the televised, corporatized virtual reality that distracts us from the insidious realities of American life.

    From Modernist/Postmodernist perspective, leading critics Richard Ruland (American) and Malcolm Bradbury (British) address questions of literary and cultural nationalism. They demonstrate that since the seventeenth century, American writing has reflected the political and historical climate of its time and helped define America's cultural and social parameters. Above all, they argue that American literature has always been essentially "modern," illustrating this with a broad range of texts: from Poe and Melville to Fitzgerald and Pound, to Wallace Stevens, Gwendolyn Brooks, and Thomas Pynchon.From Puritanism to Postmodernism pays homage to the luxuriance of American writing by tracing the creation of a national literature that retained its deep roots in European culture while striving to achieve cultural independence.

    She invites us behind the scenes of novel-writing, sharing her own habits and spilling the secrets of her craft. And she offers priceless advice to aspiring authors. As she works her way through one hundred novels–from classics such as the thousand-year-old Tale of Genji to recent fiction by Zadie Smith and Alice Munro–she infects us anew with the passion for reading that is the governing spirit of this gift to book lovers everywhere.

    Jones, CEO of the Public Religion Research Institute, spells out the profound political and cultural consequences of a new reality—that America is no longer a majority white Christian nation. “Quite possibly the most illuminating text for this election year” (The New York Times Book Review).For most of our nation’s history, White Christian America (WCA) set the tone for our national policy and shaped American ideals. But especially since the 1990s, WCA has steadily lost influence, following declines within both its mainline and evangelical branches. Today, America is no longer demographically or culturally a majority white, Christian nation. Drawing on more than four decades of polling data, The End of White Christian America explains and analyzes the waning vitality of WCA. Robert P. Jones argues that the visceral nature of today’s most heated issues—the vociferous arguments around same-sex marriage and religious and sexual liberty, the rise of the Tea Party following the election of our first black president, and stark disagreements between black and white Americans over the fairness of the criminal justice system—can only be understood against the backdrop of white Christians’ anxieties as America’s racial and religious topography shifts around them. Beyond 2016, the descendants of WCA will lack the political power they once had to set the terms of the nation’s debate over values and morals and to determine election outcomes. Looking ahead, Jones forecasts the ways that they might adjust to find their place in the new America—and the consequences for us all if they don’t. “Jones’s analysis is an insightful combination of history, sociology, religious studies, and political science….This book will be of interest to a wide range of readers across the political spectrum” (Library Journal).

    The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

    Beginning with its first publication as a cautionary tale on the perils of seduction, written in reaction to the licentiousness of the court of Louis XIV, Orenstein traces the many lives the tale has lived since then, from its appearance in modern advertisements for cosmetics and automobiles, the inspiration it brought to poets such as Anne Sexton, and its starring role in pornographic films. In Little Red Riding Hood Uncloaked, Red appears as seductress, hapless victim, riot grrrrl, femme fatale, and even she-wolf, as Orenstein shows how through centuries of different guises, the story has served as a barometer of social and sexual mores pertaining to women. Full of fascinating history, generous wit, and intelligent analysis, Little Red Riding Hood Uncloaked proves that the story of one young girl's trip through the woods continues to be one of our most compelling modern myths.

    Meacham writes a celebration of the history and songs of the eras, and McGraw reflects on these songs as an artist and performer. Beginning with the battle hymns of the Revolution, and taking us through songs from the defining events of the Civil War, the two World Wars, the Great Depression, the Civil Rights movement, the Vietnam War, into the twenty-first century, Meacham and McGraw explore the songs that defined generations and the cultural and political climates that made them. The songs of America remind us where we've been, who we are—and what we can be.

    America was founded by wishful dreamers, magical thinkers, and true believers, by hucksters and their suckers. Fantasy is deeply embedded in our DNA.Over the course of five centuries--from the Salem witch trials to Scientology to the Satanic Panic of the 1980s, from P. T. Barnum to Hollywood and the anything-goes, wild-and-crazy sixties, from conspiracy theories to our fetish for guns and obsession with extraterrestrials--our love of the fantastic has made America exceptional in a way that we've never fully acknowledged. From the start, our ultra-individualism was attached to epic dreams and epic fantasies--every citizen was free to believe absolutely anything, or to pretend to be absolutely anybody. With the gleeful erudition and tell-it-like-it-is ferocity of a Christopher Hitchens, Andersen explores whether the great American experiment in liberty has gone off the rails.

    Coauthors John Hope Franklin and Alfred A. Moss, Jr., give us a vividly detailed account of the journey of African Americans from their origins in the civilizations of Africa, through their years of slavery in the New World, to the successful struggle for freedom and its aftermath in the West Indies, Latin America, and the United States.This eighth edition has been revised to include expanded coverage of Africa; additional material in every chapter on the history and current situation of African Americans in the United States; new charts, maps, and black-and-white illustrations; and a third four-page color insert. The authors incorporate recent scholarship to examine slavery, the Civil War, Reconstruction, and the period between World War I and World War II (including the Harlem Renaissance).From Slavery to Freedom describes the rise of slavery, the interaction of European and African cultures in the New World, and the emergence of a distinct culture and way of life among slaves and free blacks. The authors examine the role of blacks in the nation's wars, the rise of an articulate, restless free black community by the end of the eighteenth century, and the growing resistance to slavery among an expanding segment of the black population. The book deals in considerable detail with the period after slavery, including the arduous struggle for first-class citizenship that has extended into the twentieth century. Many developments in recent African American history are examined, including demographic change; educational efforts; literary and cultural changes; problems in housing, health, juvenile matters, and poverty; the expansion of the black middle class; and the persistence of discrimination in the administration of justice. All who are interested in African Americans' continuing quest for equality will find a wealth of information based on the recent findings of many scholars. Professors Franklin and Moss have captured the tragedies and triumphs, the hurts and joys, the failures and successes, of blacks in a lively and readable volume that remains the most authoritative and comprehensive book of its kind.

    Grant heeded the advice of Mark Twain and finally agreed to write his memoirs. Little did Grant or Twain realize that this seemingly straightforward decision would profoundly alter not only both their lives but the course of American literature. Over the next fifteen months, as the two men became close friends and intimate collaborators, Grant raced against the spread of cancer to compose a triumphant account of his life and times—while Twain struggled to complete and publish his greatest novel, Adventures of Huckleberry Finn.In this deeply moving and meticulously researched book, veteran writer Mark Perry reconstructs the heady months when Grant and Twain inspired and cajoled each other to create two quintessentially American masterpieces.In a bold and colorful narrative, Perry recounts the early careers of these two giants, traces their quest for fame and elusive fortunes, and then follows the series of events that brought them together as friends. The reason Grant let Twain talk him into writing his memoirs was simple: He was bankrupt and needed the money. Twain promised Grant princely returns in exchange for the right to edit and publish the book—and though the writer’s own finances were tottering, he kept his word to the general and his family.Mortally ill and battling debts, magazine editors, and a constant crush of reporters, Grant fought bravely to get the story of his life and his Civil War victories down on paper. Twain, meanwhile, staked all his hopes, both financial and literary, on the tale of a ragged boy and a runaway slave that he had been unable to finish for decades. As Perry delves into the story of the men’s deepening friendship and mutual influence, he arrives at the startling discovery of the true model for the character of Huckleberry Finn.With a cast of fascinating characters, including General William T. Sherman, William Dean Howells, William Henry Vanderbilt, and Abraham Lincoln, Perry’s narrative takes in the whole sweep of a glittering, unscrupulous age. A story of friendship and history, inspiration and desperation, genius and ruin, Grant and Twain captures a pivotal moment in the lives of two towering Americans and the age they epitomized.From the Hardcover edition.

    It gives moral legitimacy to the state. It makes limited forms of dissent and incremental change possible. The liberal class posits itself as the conscience of the nation. It permits us, through its appeal to public virtues and the public good, to define ourselves as a good and noble people. Most importantly, on behalf of the power elite the liberal class serves as bulwarks against radical movements by offering a safety valve for popular frustrations and discontentment by discrediting those who talk of profound structural change. Once this class loses its social and political role then the delicate fabric of a democracy breaks down and the liberal class, along with the values it espouses, becomes an object of ridicule and hatred. The door that has been opened to proto-fascists has been opened by a bankrupt liberalism The Death of the Liberal Class examines the failure of the liberal class to confront the rise of the corporate state and the consequences of a liberalism that has become profoundly bankrupted. Hedges argues there are five pillars of the liberal establishment – the press, liberal religious institutions, labor unions, universities and the Democratic Party— and that each of these institutions, more concerned with status and privilege than justice and progress, sold out the constituents they represented. In doing so, the liberal class has become irrelevant to society at large and ultimately the corporate power elite they once served.

    For more than forty years, Bloom has transformed college students into lifelong readers with his unrivaled love for literature. Now, at a time when faster and easier electronic media threatens to eclipse the practice of reading, Bloom draws on his experience as critic, teacher, and prolific reader to plumb the great books for their sustaining wisdom. Shedding all polemic, Bloom addresses the solitary reader, who, he urges, should read for the purest of all reasons: to discover and augment the self. His ultimate faith in the restorative power of literature resonates on every page of this infinitely rewarding and important book.

    Glaude Jr., in a moment when the struggles of Black Lives Matter and the attempt to achieve a new America have been challenged by the election of Donald Trump, a president whose victory represents yet another failure of America to face the lies it tells itself about race. From Charlottesville to the policies of child separation at the border, his administration turned its back on the promise of Obama's presidency and refused to embrace a vision of the country shorn of the insidious belief that white people matter more than others.We have been here before: For James Baldwin, these after times came in the wake of the civil rights movement, when a similar attempt to compel a national confrontation with the truth was answered with the murders of Medgar Evers, Malcolm X, and Martin Luther King, Jr. In these years, spanning from the publication of The Fire Next Time in 1963 to that of No Name in the Street in 1972, Baldwin transformed into a more overtly political writer, a change that came at great professional and personal cost. But from that journey, Baldwin emerged with a sense of renewed purpose about the necessity of pushing forward in the face of disillusionment and despair.In the story of Baldwin's crucible, Glaude suggests, we can find hope and guidance through our own after times, this Trumpian era of shattered promises and white retrenchment. Mixing biography--drawn partially from newly uncovered interviews--with history, memoir, and trenchant analysis of our current moment, Begin Again is Glaude's endeavor, following Baldwin, to bear witness to the difficult truth of race in America today. It is at once a searing exploration that lays bare the tangled web of race, trauma, and memory, and a powerful interrogation of what we all must ask of ourselves in order to call forth a new America.

    Thompson wrote for Rolling Stone magazine while covering the 1972 election campaign of President Richard M. Nixon and his unsuccessful opponent, Senator George S. McGovern. Hunter focuses largely on the Democratic Party's primaries and the breakdown of the national party as it splits between the different candidates.With drug-addled alacrity and incisive wit, Thompson turned his jaundiced eye and gonzo heart to the repellent and seductive race for president, deconstructed the campaigns, and ended up with a political vision that is eerily prophetic