As Americans, we often take our many freedoms for granted. It is easy to forget the difficulties many of our ancestors faced when fighting for the rights we now enjoy. Because the United States is a "nation of laws and not of men," these people were able to challenge unfair laws in hope of a better future. Fights for Rights explains our everyday rights of free speech and religion, the rights of the accused, and how our Constitution guarantees these rights for all people, including women and African Americans.

The captivity narrative has always been a literary genre associated with America. Joe Snader argues, however, that captivity narratives emerged much earlier in Britain, coinciding with European colonial expansion, the development of anthropology, and the rise of liberal political thought. Stories of Europeans held captive in the Middle East, America, Africa, and Southeast Asia appeared in the British press from the late sixteenth through the late eighteenth centuries, and captivity narratives were frequently featured during the early development of the novel. Until the mid-eighteenth century, British examples of the genre outpaced their American cousins in length, frequency of publication, attention to anthropological detail, and subjective complexity. Using both new and canonical texts, Snader shows that foreign captivity was a favorite topic in eighteenth-century Britain. An adaptable and expansive genre, these narratives used set plots and stereotypes originating in Mediterranean power struggles and relocated in a variety of settings, particularly eastern lands. The narratives' rhetorical strategies and cultural assumptions often grew out of centuries of religious strife and coincided with Europe's early modern military ascendancy. Caught Between Worlds presents a broad, rich, and flexible definition of the captivity narrative, placing the American strain in its proper place within the tradition as a whole. Snader, having assembled the first bibliography of British captivity narratives, analyzes both factual texts and a large body of fictional works, revealing the ways they helped define British identity and challenged Britons to rethink the place of their nation in the larger world.

William Louis Poteat (1856-1938), the son of a conservative Baptist slaveholder, became one of the most outspoken southern liberals during his lifetime. He was a rarity in the South for openly teaching evolution beginning in the 1880s, and during his tenure as president of Wake Forest College (1905-1927) his advocacy of social Christianity stood in stark contrast to the zeal for practical training that swept through the New South's state universities.Exceptionally frank in his support of evolution, Poteat believed it represented God at work in nature. Despite repeated attacks in the early 1920s, Poteat stood his ground on this issue while a number of other professors at southern colleges were dismissed for teaching evolution. One of the few Baptists who stressed the social duties of Christians, Poteat led numerous campaigns during the Progressive era for reform on such issues as public education, child labor, race relations, and care of the mentally ill. His convictions were grounded in a respect for high culture and learning, a belief in the need for leadership, and a deep-seated faith in God.Poteat also embodied the struggle with the intellectual compromises that tortured contemporary social critics in the South. Though he took a liberal position on numerous issues, he was a staunch advocate for prohibition and became a strong supporter of eugenics, a position he adopted after following his beliefs in a natural hierarchy and absolute moral order to their ultimate conclusion.Randal Hall's revisionist biography presents a nuanced portrait of Poteat, shedding new light on southern intellectual life, religious development, higher education, and politics in the region during his lifetime.

In 1995, Kentucky governor Brereton Jones granted parole to ten women who had been convicted of killing, conspiring to kill, or assaulting the men who had abused them for years. The media began referring to them as the "Sisters in Pain," a name they embraced. These are their stories. Linda Elisabeth Beattie and Mary Angela Shaughnessy's interviews of seven of the Sisters in Pain detail the physical, sexual, or psychological abuse they suffered at the hands of their husbands or boyfriends, battery beyond comprehension. Anyone who has ever asked, "Why don't they just leave?" will come to understand the interconnected strands of abuse that make just living through another day a personal triumph.Beattie and Shaughnessy address the pervasive nature of domestic violence in America and explore the legal ramifications of fighting back. Their interviews with the Sisters in Pain reveal the ways in which these women have picked up the pieces of their shattered lives and learned to face the future.

The most prolific woman writer of the eighteenth century, Eliza Haywood (1693-1756?) was a key player in the history of the English novel. Along with her contemporary Defoe, she did more than any other writer to create a market for fiction prior to the emergence of Richardson, Fielding, and Smollett. Also one of Augustan England's most popular authors, Haywood came to fame in 1719 with the publication of her first novel, Love in Excess. In addition to writing fiction, she was a playwright, translator, bookseller, actress, theater critic, and editor of The Female Spectator, the first English periodical written by women for women. Though tremendously popular, her novels and plays from the 1720s and 30s scandalized the reading public with explicit portrayals of female sexuality and led others to call her "the Great Arbitress of Passion."Essays in this collection explore themes such as the connections between Haywood's early and late work, her experiments with the form of the novel, her involvement in party politics, her use of myth and plot devices, and her intense interest in the imbalance of power between men and women. Distinguished scholars such as Paula Backschieder, Felicity Nussbaum, and John Richetti approach Haywood from a number of theoretical and topical positions, leading the way in a crucial reexamination of her work. The Passionate Fictions of Eliza Haywood examines the formal and ideological complexities of her prose and demonstrates how Haywood's texts deft traditional schematization.

Fifty years ago Harry S. Truman pulled off the greatest upset in U.S. political history. With his party split on both the left and the right, and facing a formidable Republican opponent in New York governor Thomas E. Dewey, the Missourian was thought to have little chance of remaining in the White House.But politics in the postwar years were changing dramatically. Truman and his advisers successfully read those changes: their strategy focused on building a coalition of organized labor, African Americans in large northern cities, and traditional liberals--and ignoring protests from the conservative South.Donaldson argues that Dewey did nearly as much to lose the election as Truman did to win it. Dewey entered the campaign so overconfident that he refused to confront Truman on the issues. The Republicans, certain of a mandate from the public after the midterm elections of 1946, prepared to disassemble the New Deal. Yet they suffered from even more severe internal division than the Democrats.The 1948 presidential campaign was a watershed event in the history of American politics. It encompassed Truman's rousing "Give 'em Hell Harry" speeches and intriguing behind-the-scenes political maneuvering. It was the first election after Roosevelt's death and the last before the advent of television. It marked the new political prominence of African American voters and organized labor, as well as the South's declining influence over the Democratic Party.

Since the 1930s, appeasement has been labeled as a futile and possibly dangerous policy. In this landmark study, Stephen Rock seeks to restore appeasement to its proper place as a legitimate--and potentially successful--diplomatic strategy. Appeasement was discredited by Neville Chamberlain's disastrous attempt to satisfy Adolf Hitler's territorial ambitions and avoid war in 1938. Rock argues, however, that there is very little evidence to support the belief that dissatisfied states and their leaders cannot be appeased or that appeasement undermines a state's credibility in later attempts at deterrence.Rock looks at five case studies from the past 100 years, revealing under what conditions appeasement can achieve its goals. From British appeasement of the United States near the beginning of the twentieth century to American conciliation of North Korea in the early 1990s, Rock concludes that appeasement succeeds or fails depending on the nature of the adversary, the nature of the inducements used on the antagonist, and the existence of other incentives for the adversary to acquiesce. Appeasement in International Politics suggests the type of appeasement strategy most appropriate for various situations. The options range from pure inducements, reciprocity, to a mixture of inducements and threats. In addition to this theoretical framework, Rock's explicit comparison of appeasement and deterrence offers important guidelines for policymakers on when and how to implement a strategy of appeasement.At a time when the strategy of engagement plays an increasingly central--and controversial--role in U.S. foreign policy, Appeasement in International Politics reestablishes the long-discredited use of inducements as an effective means of preventing conflict.

Black on Black provides the first comprehensive analysis of the modern African American literary response to Africa, from W.E.B. Du Bois's The Souls of Black Folk to Alice Walker's The Color Purple. Combining cutting-edge theory, extensive historical and archival research, and close readings of individual texts, Gruesser reveals the diversity of the African American response to Countee Cullen's question, "What is Africa to Me?"John Gruesser uses the concept of Ethiopianism--the biblically inspired belief that black Americans would someday lead Africans and people of the diaspora to a bright future--to provide a framework for his study. Originating in the eighteenth century and inspiring religious and political movements throughout the 1800s, Ethiopianism dominated African American depictions of Africa in the first two decades of the twentieth century, particularly in the writings of Du Bois, Sutton Griggs, and Pauline Hopkins. Beginning with the Harlem Renaissance and continuing through the Italian invasion and occupation of Ethiopia, however, its influence on the portrayal of the continent slowly diminished.Ethiopianism's decline can first be seen in the work of writers closely associated with the New Negro Movement, including Alain Locke and Langston Hughes, and continued in the dramatic work of Shirley Graham, the novels of George Schuyler, and the poetry and prose of Melvin Tolson. The final rejection of Ethiopianism came after the dawning of the Cold War and roughly coincided with the advent of postcolonial Africa in works by authors such as Richard Wright, Lorraine Hansberry, and Alice Walker.

Originally published in 1992 in conjunction with Kentucky's bicentennial observations and designed for use in the high school classroom, Our Kentucky remains one of the most concise, well-written introductions to the Bluegrass State. While the focus is on history, specialists in other fields contribute chapters that provide a comprehensive description of Kentucky's people and their past, present, and future. This expanded edition brings the scholarship up to date, ensuring the book's continued availability for students and general readers. State historian James C. Klotter, together with a teachers' advisory group, has gathered nineteen authorities on the Commonwealth, each of whom has written a section in his or her area of expertise. The topics range widely, from architecture to women's rights, from Native Americans to Kentucky's future -- and much in between. Well-respected authors from various disciplines -- including geography, history, literature, religion, journalism, education, and political science -- have crafted concise and stimulating chapters that help explain the state's past, present, and future.Designed for use in the Kentucky Studies high school elective course, the book has been praised for covering so many aspects of Kentucky life and for bringing together such a wide array of writers. A special feature is the inclusion of seventeen award-winning essays written by high school students. These brief "sidebars" demonstrate the level of work that can be done by today's young Kentuckians. The combination of essays by students, chapters by experts, and a generous selection of photographs and original documents results in a book that will inform and delight all Kentucky readers.

Kentucky emerged as a prime site for theatrical activity in the early nineteenth century. Most towns, even quite small ones, constructed increasingly elaborate opera houses, which stood as objects of local pride and symbols of culture. These theaters often hosted amateur performances, providing a forum for talent and a focus for community social life. As theatrical attendance rose, performance halls began offering everything from drama to equestrian shows to burlesque.Today many architects believe that the design of a theater should not detract from the stage or screen. Marilyn Casto shows that nineteenth-century Kentucky audiences, however, not only expected elaborate decor but considered it a delightful part of the theatergoing experience. Embellished arches and painted and gilded walls and ceilings enhanced the theatricality of the performance while adding to the excitement of an evening out.In Actors, Audiences, and Historic Theaters of Kentucky, Casto investigates the social and architectural history of Kentucky theaters, paying special attention to the actors who performed in them and the audiences who saw it all. A captivating glimpse into a disappearing slice of American popular culture, her work examines what people considered entertaining, what they hoped to gain from theatergoing, and how they chose and experienced the theaters' architectural settings. In the social and physical design of these theaters, Casto explores nearly two centuries of the state's and nation's cultural history.

After writing Hill Man, Janice Holt Giles said, "I was struck by its strength. It is the most realistic ridge book we have written, completely honest and presenting the truest picture of most of the ridge men."Giles originally published the book in paperback in 1954 under the pseudonym John Garth. Her usual publisher declined to issue the novel, arguing that it was too sexual and violent for a writer whose other books were popular family book club selections. Now one of the most sought-after novels in the Giles canon, Hill Man is desired as much for its rarity as for its compelling and unromanticized portrayal of poor, rural Kentuckians. This special edition marks the first time the book has ever been available in hardback.The novel's hero is Rady Cromwell, a man with dangerous ways that make men admire him and women love him. Born the son of a preacher in the hills of Kentucky, Rady grows into a shrewd but likeable prankster and hell-raiser with a gift for separating people from their money. Beginning his adult life with nothing more than a gun, a dog, and a guitar, Rady becomes a backwoods entrepreneur, working diligently to climb the social and economic ladder.Hill Man follows Rady from his poor beginnings through his conquests of various women and pieces of property. Bold, inventive, hard working, and good natured, Rady follows every opportunity that comes along and takes great pride in raising a herd of cattle or a successful crop of corn or tobacco. Yet he also delights in singing folk ballads around a fire, in the thrill of a foxhunt by moonlight, and in the refreshing waters of a stream after a long day in the fields.

William Frederick "Billy" Klair (1875-1937) was the undisputed czar of Lexington, Kentucky, for decades. As political boss in a mid-sized, southern city, he faced problems strikingly similar to those of large cities in the North. As he watched the city grow from a sleepy market town of 16,000 residents to a bustling, active urban center of over 50,000, Klair saw changes that altered not just Lexington but the nation and the world: urbanization, industrialization, and immigration. But Klair did not merely watch these changes; like other political bosses and social reformers, he actively participated in the transformation of his city.As a political boss and a practitioner of what George Washington Plunkitt of Tammany Hall referred to as "honest graft," Klair applied lessons of organization, innovation, manipulation, power, and control from the machine age to bring together diverse groups of Lexingtonians and Kentuckians as supporters of a powerful political machine. James Duane Bolin also examines the underside of the city, once known as the Athens of the West. He balances the postcard view of Bluegrass mansions and horse farms with the city's well-known vice district, housing problems, racial tensions, and corrupt politics. With the reality of life in Lexington as a backdrop, the career of Billy Klair provides as a valuable and engaging case study of the inner workings of a southern political machine.

" Anna Held (1870?-1918), a petite woman with an hourglass figure, was America's most popular musical comedy star during the two decades preceding World War I. In the colorful world of New York theater during La Belle Époque, she epitomized everything that was glamorous, sophisticated, and suggestive about turn-of-the-century Broadway. Overcoming an impoverished life as an orphan to become a music-hall star in Paris, Held rocketed to fame in America. From 1896 to 1910, she starred in hit after hit and quickly replaced Lillian Russell as the darling of the theatrical world. The first wife of legendary producer Florenz Ziegfeld Jr., Held was the brains and inspiration behind his Follies and shared his knack for publicity. Together, they brought the Paris scene to New York, complete with lavish costumes and sets and a chorus of stunningly beautiful women, dubbed ""The Anna Held Girls."" While Held was known for a champagne giggle as well as for her million-dollar bank account, there was a darker side to her life. She concealed her Jewish background and her daughter from a previous marriage. She suffered through her two husbands' gambling problems and Ziegfeld's blatant affairs with showgirls. With the outbreak of fighting in Europe, Held returned to France to support the war effort. She entertained troops and delivered medical supplies, and she was once briefly captured by the German army. Anna Held and the Birth of Ziegfeld's Broadway reveals one of the most remarkable women in the history of theatrical entertainment. With access to previously unseen family records and photographs, Eve Golden has uncovered the details of an extraordinary woman in the vibrant world of 1900s New York.

First published in an era when most novels about young women concentrated on courtship and ended with marriage, The Recess daringly portrays women involved in political intrigues, overseas journeys, and even warfare. The novel is set during the reign of Elizabeth I and features as narrators twin daughters of Mary, Queen of Scots, by a secret marriage. One of the earliest Gothic novels, The Recess pioneered the genre of historical fiction. The novel was also one of the first to describe characters and events from conflicting points of view and was wildly popular in its day.

Sor Juana Inés de la Cruz (1648-1695) wrote poetry, prose, and plays and is considered the greatest of Mexican women writers. She was an intellectual prodigy, reportedly mastering Latin in twenty lessons, and at sixteen she entered a convent so that she might continue her learning. One of the most influential early feminists in the New World, she answered a bishop's criticism in a letter that has become a classic defense of the education of women. She collected a private library of 4,000 volumes, but when she was told that her studies were delaying the progress of her spiritual education, she gave away her books and devoted herself to religious studies.Traditionally, scholars have attributed only one complete play to Sor Juana, but in 1989 Guillermo Schmidhuber discovered a lost play, The Second Celestina, which he proved conclusively to be Sor Juana's earliest comedia, co-authored with Agustin Salazar y Torres. Schmidhuber's critical study is the first dedicated exclusively to the secular plays and the first to confirm Sor Juana's authorship of three dramatic pieces. Combining literary history and criticism, Schmidhuber explores the life and originality of Sor Juana's dramas and helps elucidate her enigmatic genius.Though Sor Juana's work as a poet and intellectual has received increasing attention in the last decade, writing about her has rarely taken into account her role as dramatist. Schmidhuber helps correct this critical imbalance by examining Sor Juana's plays in light of dramatic theory. He finds elements of both mannerist and baroque theater in her work, sometimes both within the same play.

Winner of the 1997 Appalachian Studies Award Appalachian Writers Association 1999 Book of the Year Winner of the Susan Koppleman Award of the Popular Culture Association for Best Edited Collection in Women's Studies Joyce Dyer is director of writing and associate professor of English at Hiram College, Ohio."