When the first edition of America Recommitted was published in 1991, the world was passing through a period of sweeping political and social change. The Cold War was over; China had reverted to harsh authoritarian rule; U.S. -led forces were deployed in Saudi Arabia for potential military action against Iraq; the Soviet Union was on the verge of disintegration; and the unraveling of Yugoslavia had set the stage for brutal ethnic conflicts in Bosnia and Kosovo.In the midst of this widespread upheaval, the United States reassessed its own role as the sole remaining superpower--a process that continues today. This new edition features three new chapters that assess U.

The problems and needs of rural substance abusers vary from those of abusers in urban areas. Accordingly, the means of treatment must acknowledge and address these differences. Despite this call for specialized care, no theoretically grounded therapy has yet been made available to rural patients. Behavioral Therapy for Rural Substance Abusers, developed and piloted over three years by University of Kentucky faculty and staff and substance abuse counselors in rural eastern Kentucky, provides a model for effective treatment for this segment of the population. A two-phase outpatient treatment, this approach combines group and individual sessions in an environment that is both comfortable and useful for the client.The success of this method lies in its regional approach to therapy. Rather than using role-playing techniques to examine old behaviors, therapy is designed around storytelling activities. Rural patients respond more positively to such time-honored traditions and thus become active participants in their own treatment.This manual offers a clear and well-constructed guide through the strategies of Structured Behavioral Outpatient Rural Therapy (SBORT). Supplemented with illustrations, sample exercises, and case studies, Behavioral Therapy for Rural Substance Abusers is a vital tool in meeting the treatment needs of an otherwise ignored rural population.

Raising the Devil reveals how the Christian Pentecostal movement, right-wing conspiracy theories, and an opportunistic media turned grassroots folk traditions into the Satanism scare of the 1980s. During the mid-twentieth century, devil worship was seen as merely an isolated practice of medieval times. But by the early 1980s, many influential experts in clinical medicine and in law enforcement were proclaiming that satanic cults were widespread and dangerous. By examining the broader context for alleged "cult" activity, Bill Ellis demonstrates how the image of contemporary Satanism emerged during the 1970s. Blaming a wide range of mental and physical illnesses on in-dwelling demons, a faction of the Pentecostal movement became convinced that their gifts of the spirit were being opposed by satanic activities. They attributed these activities to a "cult" that was the evil twin of true Christianity. In some of the cases Ellis considers, common folk beliefs and rituals were misunderstood as evidence of devil worship. In others, narratives and rituals themselves were used to combat satanic forces. As the media found such stories more and more attractive, any activity with even remotely occult overtones was demonized in order to fit a model of absolute good confronting evil. Ellis's wide-ranging investigation covers ouija boards, cattle mutilation, graveyard desecration, and "diabolical medicine"--the psychiatric community's version of exorcism. He offers a balanced view of contentious issues such as demonic possession, satanic ritual abuse, and the testimonies of confessing "ex-Satanists." A trained folklorist, Ellis seeks to navigate a middle road in this dialog, and his insights into informal religious traditions clarify how the image of Satanism both explained and created deviant behavior.

"Lynwood Montell has collected ghost tales all over the state of Kentucky, from coal mining settlements to river landings, from highways to battlefields. He presents these suspense-filled stories just as he first heard or read them: as bona fide personal experiences or as events witnessed by family members or friends. There are over 250 stories in Ghosts across Kentucky that are set in specific places and times. They include tales of graveyards, haunted dormitories, animal ghosts, and vanishing hitchhikers. Montell describes weird lights, unexplained sounds, felt presences, and disappearing apparitions. Phantom workmen, fallen soldiers, young lovers, and executed criminals appear in these pages, along with the living who chance upon them. Though the focus is on the stories themselves, Montell also includes a chapter explaining our fascination with the supernatural and the deep truths these storytelling traditions reveal about our lives and our pasts.William Lynwood Montell, emeritus professor of folk studies at Western Kentucky University, is the author of several books, including Killings."

A legend in the folk music community, John Jacob Niles enjoyed a lengthy career as a balladeer, folk collector, and songwriter. Ever close to his Kentucky roots, he spent much of his adulthood searching for the most well-loved songs of the southern Appalachia. The Ballad Book of John Jacob Niles brings together a wealth of songs with the stories that inspired them, arranged by a gifted performer. This new edition includes all of the melodies, text, commentary, and illustrations of the 1961 original and features a new introduction by Ron Pen, director of the John Jacob Niles Center for American Music at the University of Kentucky.

Few mementoes remain of what Ohio was like before white people transformed it. The readings in this anthology -- the diaries of a trader and a missionary, the letter of a frontier housewife, the travel account of a wide-eyed young English tourist, the memoir of an escaped slave, and many others -- are eyewitness accounts of the Ohio frontier. They tell what people felt and thought about coming to the very fringes of white civilization -- and what the people thought and did who saw them coming. Each succeeding group of newcomers -- hunters, squatters, traders, land speculators, farmers, missionaries, fresh European immigrants -- established a sense of place and community in the wilderness. Their writings tell of war, death, loneliness, and deprivation, as well as courage, ambition, success, and fun. We can see the lust for the land, the struggle for control of it, the terrors and challenges of the forest, and the determination of white settlers to change the land, tame it, "improve" it.The new Ohio these settlers created had no room for its native inhabitants. Their dispossession is a defining theme of the book. As the forests receded and the farms expanded, the Indians were pressured to move out. By the time the last tribe, the Wyandots, left in 1843, they were regarded as relics of the romantic past, and the frontier experience came to a close.Anyone fascinated by the panorama of America's westward migration will respond to the dramatic stories told in these pages.

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.