Orson Welles was once asked which directors he most admired. He replied: "The old masters. By which I mean John Ford, John Ford, and John Ford. " A legend in his own time, John Ford (1894–1973) received a record four Academy Awards for best director, and two of his World War II documentaries won Oscars for the US Navy. He directed 136 films in a career that lasted from the early silent era through the late 1960s. Ford is celebrated throughout the world as the cinema's foremost chronicler of American history, the leading poet of the Western genre, and a wide-ranging filmmaker of profound emotional impact. His classic films - including Stagecoach (1939), The Grapes of Wrath (1940), How Green Was My Valley (1941), The Quiet Man (1952), The Searchers (1956), and The Man Who Shot Liberty Valance (1962) - remain widely popular, and he has been acknowledged as a major influence on filmmakers such as Jean Renoir, Ingmar Bergman, Akira Kurosawa, Howard Hawks, Frank Capra, Samuel Fuller, Elia Kazan, Sidney Lumet, Martin Scorsese, Steven Spielberg, and George Lucas.In this groundbreaking critical study, Joseph McBride and Michael Wilmington provide an overview of Ford's career as well as in-depth analyses of key Ford films. Analyzing recurring Fordian themes and relating each film to his entire body of work, the authors insightfully explore the full richness of Ford's tragicomic vision of history. This new and revised version includes a study of the twenty-seven Ford silent films now known to survive in whole or in part (more than double the number available when the original edition was published); essays on three controversial aspects of Ford: his tragicomic sensibility, his views of race, and the influence of his Irish heritage; and an expanded version of McBride's interview with Ford on the last day of his career.

Rural life and culture hold a practical and symbolic importance in American society. A central tenet to the survival of our cherished values—and of ourselves as a species—is the stewardship of cultural diversity and the places that foster it, like rural America. These may be the places that teach us to use land to make a living and to make a life, to forge and carry on our identities, and to feel history. They may yield a harvest of policies for managing an environmental balancing act that will preserve essential resources for America's children's children.Power and Place: Preservation, Progress, and the Culture War over Land examines the ongoing culture wars that pit conservation against economic progress. For author Melinda Bollar Wagner, what began as a study of Appalachia's long-standing and continuing status as an energy sacrifice zone evolved into a twenty-four-year research project that sheds new light on the physical and emotional parameters of cultural attachment to land. Drawing on interviews with more than 220 residents from ten communities in five Appalachian counties, Power and Place gives voice to rural citizens whose place at the table is far from assured with regard to critical energy, environmental, and infrastructure decisions.

From her idyllic childhood in the American Midwest to her Oscar–nominated performance in Sunset Boulevard (1950) and the social circles of New York and Los Angeles, actress Nancy Olson Livingston has lived abundantly. In her memoir, A Front Row Seat, Livingston treats readers to an intimate, charming chronicle of her life as an actress, wife, and mother, and her memories of many of the most notable figures and moments of her time. Livingston shares reminiscences of her marriages to lyricist and librettist Alan Jay Lerner, creator of award-winning musicals Paint Your Wagon, Gigi, and My Fair Lady (which was dedicated to her), and to Alan Wendell Livingston, former president of Capitol Records, who created Bozo the Clown and worked with legendary musical artists, including Nat King Cole, Frank Sinatra, Judy Garland, the Beach Boys, the Beatles, the Band, and Don McLean. One of the last living actors of the Golden Age of Hollywood, Livingston shares memorable encounters with countless celebrities—William Holden, Billy Wilder, Bing Crosby, Marilyn Monroe, and John Wayne, to name a few—and less pleasant experiences with Howard Hughes and John F. Kennedy that act as reminders of women's long struggle for equality.Entertaining and engrossing, A Front Row Seat deftly interweaves Livingston's life with her observations of the artists, celebrities, and luminaries with whom she came in contact—a paean to the twentieth century and a treasure for readers enamored with a bygone era.

The fall of the Iron Curtain in the early 1990s ushered in a new tide of European immigrants to the United States. These populations, which hailed primarily from Eastern Europe and the former Soviet Union, were largely adrift in America's cultural melting pot. Laden with their belongings and informed by their experiences, these immigrants became citizens of a new diaspora searching for space to exist in their adopted home. In Between a Bird Cage and a Bird House, author Katerina Stoykova follows that which "calls / the roaming mind / looking for land" with the shell of her homeland at her back. Through themes of domestic abuse, the death of a parent, the loss of a friend, and the search for cultural identity, the poems in this collection transcend the borders of language and nation-states. As a Bulgarian immigrant, Stoykova weighs the differences between safety and captivity, exploring how one can feel sheltered yet still not feel at home.Through a series of addresses to her new domestic partner, America, the speaker in this collection expresses gratitude while simultaneously interrogating the landscape that has come to "home" her. With every line of verse, Stoykova's unique grasp on the turns of the English language brings a fresh perspective to immigrant identity and lays bare the terrifying and thrilling duality of living between two cultures.

Deviant Hollers: Queering Appalachian Ecologies for a Sustainable Future uses the lens of queer ecologies to explore environmental destruction in Appalachia while mapping out alternative futures that follow from critical queer perspectives on the United States' exploitation of the land. With essays by Lis Regula, Jessica Cory, Chet Pancake, Tijah Bumgarner, MJ Eckhouse, and other essential thinkers, this collection brings to light both emergent and long-standing marginalized perspectives that give renewed energy to the struggle for a sustainable future. A new and valuable contribution to the field of Appalachian studies, rural queer studies, Indigenous studies, and ethnographic studies of the United States, Deviant Hollers presents a much-needed objection to the status quo of academic work, as well as to the American exceptionalism and white supremacy pervading US politics and the broader geopolitical climate. By focusing on queer critiques and acknowledging the status of Appalachia as a settler colony, Deviant Hollers offers new possibilities for a reimagined way of life.

For decades, smiling images of "Aunt Jemima" and other historical and fictional black cooks could be found on various food products and in advertising. Although these images were sanitized and romanticized in American popular culture, they represented the untold stories of enslaved men and women who had a significant impact on the nation's culinary and hospitality traditions, even as they were forced to prepare food for their oppressors.Kelley Fanto Deetz draws upon archaeological evidence, cookbooks, plantation records, and folklore to present a nuanced study of the lives of enslaved plantation cooks from colonial times through emancipation and beyond. She reveals how these men and women were literally "bound to the fire" as they lived and worked in the sweltering and often fetid conditions of plantation house kitchens. These highly skilled cooks drew upon knowledge and ingredients brought with them from their African homelands to create complex, labor-intensive dishes. However, their white owners overwhelmingly received the credit for their creations. Deetz restores these forgotten figures to their rightful place in American and Southern history by uncovering their rich and intricate stories and celebrating their living legacy with the recipes that they created and passed down to future generations.

General of the Armies John J. Pershing (1860–1948) had a long and decorated military career but is most famous for leading the American Expeditionary Forces in World War I. He published a memoir, My Experiences in the World War, and has been the subject of numerous biographies, but the literature regarding this towering figure and his enormous role in the First World War deserves to be expanded to include a collection of his wartime correspondence. Carefully edited by John T. Greenwood, volume 3 of John J. Pershing and the American Expeditionary Forces in World War I, 1917–1919 covers the period of January 1 through March 20, 1918, as General Pershing encounters logistical and organizational challenges that originated in the last months of 1917. With the collapse of the Eastern Front and Allied defeats in Italy, British and French commanders were preparing for a renewed German offensive and proposed that American troops be put under their control for training and frontline combat in order to replenish losses. Pershing's diary entries indicate that he rejected these proposals and yet offered four segregated African American regiments to be placed under French control. The conclusion of the AEF autonomy debate allowed Pershing to focus on reorganizing the General Headquarters of the AEF, establishing effective communication lines, and contracting Allied European governments to produce armaments for the AEF with American raw materials. In March 1918, Maj. Gen. Peyton C. March replaced Gen. Tasker H. Bliss as chief of staff. The sources included in this edition show the origin of Pershing and March's personal feud, which persisted well after the war.Pershing's letters during this time period convey a long and arduous struggle to build an American army at the front. Together, these volumes of wartime correspondence provide new insight into the work of a legendary soldier and the historic events in which he participated.

Amy M. Alvarez explores the cultural, spiritual, and place-based experiences of Afro-Caribbean and African American diasporic peoples in this haunting and emotionally charged collection of poems that meditates on the meaning of home and existence. Born in New York City to Jamaican and Puerto Rican parents, Alvarez draws readers into a journey of self-discovery and identity, connecting the past with the present while highlighting the complexities of navigating life as a multicultural American. The musicality of her language weaves together themes of environment, family, and migration, as well as her own ancestry as a Black Latinx woman. Makeshift Altar is an intimate collection that explores identities forged by colonialism and displacement and shaped by individual choice and collective power.

In the New Hollywood Era of the 1960s and 1970s, as weakening studio control granted directors more artistic freedom, the auteur theory, which regards the director as the primary artist among all those who contribute to filmmaking, gained traction. It was embraced by both the media and by directors themselves, who were glad to see their contribution so glorified. One positive was the discovery of filmmakers whose work was under the radar but virtually all the feted directors were white and overwhelmingly heterosexual—only in recent decades have the contributions of marginalized auteur filmmakers been recognized. Mavericks: Interviews with the World's Iconoclast Filmmakers amplifies the voices of a wide-ranging group of groundbreaking filmmakers, including Samira Makhmalbaf, Roberta Findlay, Howard Alk, Ousmane Sembéne, and John Waters, whose identities, perspectives, and works are antithetical to typical Hollywood points of view. Author Gerald Peary, whose experience as a film studies professor, film critic, arts journalist, and director of documentaries culminates in a lifetime of film scholarship, presents a riveting collection of interviews with directors—including Black, queer, female, and non-Western filmmakers—whose unconventional work is marked by their unique artistic points of view and molded by their social and political consciousness. With contextualizing introductions and insightful questions, Peary reveals the brilliance of these maverick directors and offers readers a lens into the minds of these incredible and engaging artists.

Born and raised in rural West Virginia, Jonathan Corcoran was the youngest and only son of three siblings in a family balanced on the precipice of poverty. His mother, a traditional, evangelical, and insular woman who had survived abuse and abandonment, was often his only ally. Together they navigated a strained homelife dominated by his distant, gambling-addicted father and shared a seemingly unbreakable bond. When Corcoran left home to attend Brown University, a chasm between his upbringing and his reality began to open. As his horizons and experiences expanded, he formed new bonds beyond bloodlines, and met the upper-middle-class Jewish man who would become his husband. But this authentic life would not be easy, and Corcoran was forever changed when his mother disowned him after discovering his truth. In the ensuing fifteen years, the two would come together only to violently spring apart. As the COVID-19 pandemic raged in 2020, the cycle finally ended when he received the news that his mother had died. In No Son of Mine, Corcoran traces his messy estrangement from his mother through lost geographies: the trees, mountains, and streams that were once his birthright, as well as the lost relationships with friends and family and the sense of home that were stripped away when she said he was no longer her son. A biography nestled inside a memoir, No Son of Mine is Corcoran's story of alienation and his attempts to understand his mother's choice to cut him out of her life. Through grief, anger, questioning, and growth, Corcoran explores the entwined yet separate histories and identities of his mother and himself.

Nineteen months after Japanese forces attacked Pearl Harbor and forced the United States to enter World War II, boats carrying the 7th US Army landed on the shores of southern Sicily. Dubbed Operation Husky, the campaign to establish an Allied foothold in Sicily was led by two of the most noted American tacticians of the twentieth century: Major General George S. Patton Jr. and Major General Geoffrey Keyes. While Patton is the renowned subject of numerous books and films, Keyes's life and achievements have gone unrecognized, but his anonymity is by no means an accurate reflection of the value of his contributions and dedicated service in World War II and the Cold War.Patton's Tactician: The War Diary of Lieutenant General Geoffrey Keyes is the first transcribed edition of Keyes's personal diary to be published. Edited by James W. Holsinger Jr., the diary begins in October 1942, prior to the invasion of French Morocco and Keyes's engagement in World War II and the Cold War. Holsinger has integrated a variety of related sources, including correspondence between Keyes, Patton, and Eisenhower. A day-to-day chronicle of Keyes's experiences in the World War II Mediterranean theater and the early days of the Cold War in occupied Germany and Austria, Patton's Tactician is an invaluable primary source that offers readers a glimpse into the mind of one of America's most distinguished World War II corps commanders.

A vital moment in Kentucky's queer history captured in sumptuous visuals—half a century in the making.The conceptual lovechild of photographer John Denny Ashley and artist Robert Morgan, Pagan Babies has at long last emerged as a vibrant witness to a particular moment in American history, a time when sexual revolution and gay liberation manifested even in small Southern towns like Lexington, Kentucky.Pagan Babies, the name adopted by Morgan and his band of guerrilla-style street artists, was a natural moniker for this collection, which draws inspiration from art-house movies, Greek mythology, Ovid, Shakespeare, the decadence of Weimar Berlin, punk rock, the Pre-Raphaelites, David Bowie, and—above all—the expressive and ingenious realm of queer Kentucky. In Robert Morgan, John Denny Ashley found his archetypal sexual outlaw, and in Ashley, Morgan discovered an artistic collaborator worthy of documenting the emerging free-spirited, sexually adventurous rebels of the American South. Together, they brought forth a collective work that serves as a bracing testament to Morgan's baroque imagination and Ashley's talent for breathing life into his vision.The result is this book. At last.

Quilts are much more than fabrics or less conventional materials stitched or otherwise secured together to adorn beds and walls. While many of these beautiful and intricate works of art are rich in history and tradition and provide a gateway into the past, others reflect the avant-garde mastery of contemporary, cutting-edge talent. Kentucky Quilts and Quiltmakers: Three Centuries of Creativity, Community, and Commerce is the first comprehensive study to approach quilts as objects of material culture that have appeared consistently throughout the history of the commonwealth and the country. Linda Elisabeth LaPinta highlights such topics as the role of quilt making in women's history; the influence of early Black quiltmakers and quilters; popular Kentucky quilt patterns, types, and colors; and the continuing importance to Kentuckians of preserving quilt history and traditions.The author provides a panoramic view of the Kentucky quilt world—from Colonial America through the American Revolution, the Civil War to the 1900s, to the new millennium and the ever-changing landscape of today's quilting industry. LaPinta reveals the pivotal role that Kentucky's quilts and quiltmakers have played in shaping significant aspects of the national quilt scene, including the first statewide quilt documentation project, significant exhibits, major quilt organizations, and the National Quilt Museum. Rounding out this all-encompassing volume is a collection of significant and intimate recollections and artistic commentaries by notable quiltmakers who created these works of art, as well as discussion of the curators, collectors, historians, entrepreneurs, and other key players who have created, conserved, celebrated, and showcased the commonwealth's extraordinary quilt world culture.

In poems at once profound and accessible, Nadia Colburn finds splendor and astonishment in a natural world - and a human world - that is deeply troubled yet still majestically beautiful. Both elegy and celebration, I Say the Sky addresses some of the most challenging aspects of human existence, from childhood trauma to environmental devastation, and discovers, in unexpected and clear-sighted ways, wisdom, wonder, and peace. Colburn's brilliant second book charts a journey to meet the self. From girlhood to parenthood, loss to discovery, in poems that sing, the book explores how meaning is made. Claiming the female voice from silence, the poems find their grounding in the body and achieve rootedness and hope. I Say the Sky is a meditative and ultimately inspiring book that will be savored by seasoned readers as well as those new to poetry.

Before Salma Hayek, Eva Longoria, and Penelope Cruz, there was Lupe Velez—one of the first successful Latin-American Hollywood stars, who swept past the xenophobia of Old Hollywood to pave the way for future icons from around the world. Her career began in the silent era when her beauty was enough to make it onto the silver screen, but with the rise of talkies, Velez could no longer hope to hide her Mexican accent. Yet Velez proved to be a talented dramatic and comedic actress (and singer) and was much more versatile than such legends as Greta Garbo, Katharine Hepburn, and Gloria Swanson. Velez starred in such films as Hot Pepper (1933), Strictly Dynamite (1934), and Hollywood Party (1934). In the 1940s, Velez's popularity peaked after appearing as Carmelita Fuentes in eight Mexican Spitfire films, a series created to capitalize on Velez's well-documented fiery personality.Nicknamed "the Mexican Spitfire" by the media, Velez's personal life was as colorful as her screen persona. Fan magazines mythologized her mysterious childhood in Mexico, while mainstream publications obsessed over the drama of her romances with such figures as Gary Cooper, Erich Maria Remarque, and John Gilbert, along with her stormy marriage to Johnny Weissmuller. In 1944, a pregnant and unmarried Velez died of an intentional drug overdose. Her tumultuous life and the circumstances surrounding her early death have been the subject of speculation and controversy.In Strictly Dynamite: The Sensational Life of Lupe Velez, author Eve Golden uses extensive research to parse fact from fiction and offer a thorough, riveting, and comprehensive examination of the real woman underneath the gossip columns' caricature. Through astute analysis of the actress's iconic filmography and interviews, Golden illuminates the path Velez blazed through Hollywood. Her success was unexpected and extraordinary at a time when her distinctive accent was an obstacle, yet very few published books have focused entirely on Velez's life and career. Written with even-handedness, humor, and empathy, Golden has finally given the remarkable Mexican actress the uniquely nuanced portrait she deserves.

For decades, James Bawden and Ron Miller have established themselves as maestros of provocative interviews, giving fans unmatched insights into the lives of Hollywood A-listers. In their fourth collection, the authors pay tribute to film pioneers who lit up Tinseltown from the 1930s through the 1960s. They Made the Movies features conversations with legendary directors who created many of film's all-time classics, including Frank Capra (It's A Wonderful Life, 1946), Richard Fleischer (20,000 Leagues Under the Sea, 1954), Alfred Hitchcock (Psycho, 1960), Ralph Nelson (Lilies of the Field, 1963), Robert Wise (The Sound of Music, 1965), and Chuck Jones (How the Grinch Stole Christmas! 1966). Tantalizing firsthand details about many acclaimed films are revealed, such as the revelation of Mervyn LeRoy's first-choice of lead actress for The Wizard of Oz ("Shirley Temple… but Shirley couldn't sing like Judy [Garland]"), Billy Wilder's insights on directing ("You have to be a sycophant, a sadist, a nurse, a philosopher"), and how megaproducer Hal B. Wallis purchased an unproduced play titled Everyone Comes to Rick's and transformed it into Casablanca ("The part [of Sam] almost went to Lena Horne, but I thought she was too beautiful"). The authors also celebrate the contributions of marginalized filmmakers such as Ida Lupino, James Wong Howe, Oscar Micheaux, and Luis Valdez, who prevailed in Hollywood despite the discrimination they faced throughout their careers. They Made the Movies appeals to film and television enthusiasts of all ages.