William R. Buster, born in Harrodsburg, Kentucky, knew a soldier's combat experience and left a first hand account of it. He graduated from West Point in 1939, just in time to serve through one of the most crucial periods in national and world history. His story includes accounts of the incredible expansion, arming, and training of the US Army, as well as his experience in the great conflict itself, from North Africa and Sicily to the hedgerow country of Normandy, the Battle of the Bulge, and on to Berlin. For his service, he received the Silver Star with Oak Leaf Cluster, the Bronze Star, the Air Medal, and the French Croix de Guerre.

The eighteenth century saw the birth of the concept of literature as business: literature critiqued and promoted capitalism, and books themselves became highly marketable canonical objects. During this period, misogynous representations of women often served to advance capitalist desires and to redirect feelings of antagonism toward the emerging capitalist order. Misogynous Economies proposes that oppression of women may not have been the primary goal of these misogynistic depictions. Using psychoanalytic concepts developed by Julia Kristeva, Mandell argues that passionate feelings about the alienating socioeconomic changes brought on by capitalism were displaced onto representations that inspired hatred of women and disgust with the female body. Such displacements also played a role in canon formation. The accepted literary canon resulted not simply from choices made by eighteenth-century critics but also, as Mandell argues, from editorial and production practices designed to stimulate readers' desires to identify with male poets.Mandell considers a range of authors, from Dryden and Pope to Anna Letitia Barbauld, throughout the eighteenth century. She also reconsiders Augustan satire, offering a radically new view that its misogyny is an attempt to resist the commodification of literature. Mandell shows how misogyny was put to use in public discourse by a culture confronting modernization and resisting alienation.

One of the most exciting developments in Romantic studies in the past decade has been the rediscovery and repositioning of women poets as vital and influential members of the Romantic literary community. This is the first volume to focus on women poets of this era and to consider how their historical reception challenges current conceptions of Romanticism. With a broad, revisionist view, the essays examine the poetry these women produced, what the poets thought about themselves and their place in the contemporary literary scene, and what the recovery of their works says about current and past theoretical frameworks. The contributors focus their attention on such poets as Felicia Hemans, Letitia Elizabeth Landon, Charlotte Smith, Anna Barbauld, Mary Lamb, and Fanny Kemble and argue for a significant rethinking of Romanticism as an intellectual and cultural phenomenon. Grounding their consideration of the poets in cultural, social, intellectual, and aesthetic concerns, the authors contest the received wisdom about Romantic poetry, its authors, its themes, and its audiences. Some of the essays examine the ways in which many of the poets sought to establish stable positions and identities for themselves, while others address the changing nature over time of the reputations of these women poets.

Harris maintains that Lincoln held a fundamentally conservative position on the process of reintegrating the South, one that permitted a large measure of self-reconstruction, and that he did not modify his position late in the war. He examines the reasoning and ideology behind Lincoln's policies, describes what happened when military and civil agents tried to implement them at the local level, and evaluates Lincoln's successes and failures in bringing his restoration efforts to closure.

In The Young Philosopher, George Delmont embraces an agrarian life and devotes himself to the pursuit of knowledge. But it is George's love Medora Glenmorris and her mother Laura who provide the emotional core of the novel. Contrasting the pain and suffering of individuals with the idealism of the French Revolution and the hope provided by glimpses of life in America, Smith exposes philosophical enlightenment as an ineffective weapon for fighting the widespread corruption of English society. The early novels of Charlotte Smith (1749-1806) were precursors of the gothic tradition that came to dominate the Romantic period. Her later fiction, including The Young Philosopher (1798), were more political in nature and influenced both the form and substance of works by nineteenth-century novelists such as Austen and Dickens.

Within the American antislavery movement, abolitionists were distinct from others in the movement in advocating, on the basis of moral principle, the immediate emancipation of slaves and equal rights for black people. Instead of focusing on the "immediatists" as products of northern culture, as many previous historians have done, Stanley Harrold examines their involvement with antislavery action in the South--particularly in the region that bordered the free states. How, he asks, did antislavery action in the South help shape abolitionist beliefs and policies in the period leading up to the Civil War? Harrold explores the interaction of northern abolitionist, southern white emancipators, and southern black liberators in fostering a continuing antislavery focus on the South, and integrates southern antislavery action into an understanding of abolitionist reform culture. He discusses the impact of abolitionist missionaries, who preached an antislavery gospel to the enslaved as well as to the free. Harrold also offers an assessment of the impact of such activities on the coming of the Civil War and Reconstruction.

" Freddie Maas's revealing memoir offers a unique perspective on the film industry and Hollywood culture in their early days and illuminates the plight of Hollywood writers working within the studio system. An ambitious twenty-three-year-old, Maas moved to Hollywood and launched her own writing career by drafting a screenplay of the bestselling novel The Plastic Age for ""It"" girl Clara Bow. On the basis of that script, she landed a staff position at powerhouse MGM studios. In the years to come, she worked with and befriended numerous actors and directors, including Norma Shearer, Joan Crawford, and Eric von Stroheim, as well as such writers and producers as Thomas Mann and Louis B. Mayer. As a professional screenwriter, Fredderica quickly learned that scripts and story ideas were frequently rewritten and that screen credit was regularly given to the wrong person. Studio executives wanted well-worn plots, but it was the writer's job to develop the innovative situations and scintillating dialogue that would bring to picture to life. For over twenty years, Freddie and her friends struggled to survive in this incredibly competitive environment. Through it all, Freddie remained a passionate, outspoken woman in an industry run by powerful men, and her provocative, nonconformist ways brought her success, failure, wisdom, and a wealth of stories, opinions, and insight into a fascinating period in screen history.

While countless memoirs have been written about depression and therapy, no one has examined how the "talking cure" of psychotherapy is presented in novels and other works of literature. Beginning with an overview of the principles of psychotherapy and its growing use as a treatment for mental and emotional disorders, Lilian Furst addresses the patient's view of the value of talk.Patients' portrayals of psychotherapy in literary works range from serious to satirical and from comic to ironic, with some descriptions verging on the grotesque. Furst identifies the overtalkers, undertalkers, and duet voices that shape the individual experiences of psychotherapy. While the voices of the overtalkers overwhelm those of their therapists, undertalkers are reluctant to express or acknowledge their feelings. Particularly revealing are the instances where patient and therapist provide separate but parallel renderings of the same therapy.Just Talk looks at a wide range of questions about psychotherapy. Furst considers the patient's first impressions of the therapist and how the patient is prompted to engage in talk. She looks for signs of self-deception or self-betrayal on the patient's part and asks how the therapist's behavior affects the patient's responses and the ultimate outcome of the therapy.Furst examines such well-known works as Roth's Portnoy's Complaint, Plath's The Bell Jar, and Lodge's Therapy, as well as lesser-known novels, to discuss how patients react to psychotherapy as a cure for mental and emotional disorders. Her analysis of these narratives adds significantly to our understanding of the dynamic relationship between patient and therapist and reveals much about the healing process that is not addressed in technical casebooks.

In the twelve months centered around the Japanese attack on Pearl Harbor, a diverse group of American and British flyers fought one of the most remarkable air campaigns of WWII. Pilots including Claire Chennault, "Pappy" Boyington, and Art Donahue bought time for an Allied regrouping against Japan's relentless assault in the China-Burma-India theater. In the face of the 1941 bombings, Chiang Kai-shek turned to air power to survive, which he did thanks to Chennault's rebuilding of the Chinese Air Force and the leadership of the American Volunteer Group, or AVG. Formed by Chennault, the AVG, also known as the Flying Tigers, were contract employees working for the Chinese government. As a result, they received virtually no official American recognition for their efforts. The group was known for their romantic, reckless spirit. They performed remarkably with outdated planes and equipment in ill-repair, were almost always heavily outnumbered in battle, and were seen by outsiders as hard-drinking rebels.Whatever their image, the Flying Tigers were highly effective. In the words of Air Force Major General Charlie Bond, "During that first week of action the AVG destroyed fifty-five enemy bombers and fighters while losing only five Tomahawks. Unfortunately, two of our colleagues were killed, but at the same time two hundred enemy airmen were either killed or captured. We were shattering the myth that the Japanese Air Force was invincible."Jerome Klinkowitz, whose earlier books focused on flyers' attitudes toward the air war in Britain and Europe, continues his work with an exceptionally interesting group of Pacific warriors. He brings together not only the commanders' stories but the often more colorful--and sometimes more accurate--accounts of life and battle by the men who flew these planes and the women who participated on the ground.

Focusing on the work of A.R. Ammons, Wendell Berry, W. S. Merwin, and Gary Snyder, author Leonard Scigaj shows that just as a sustainable society does not depreciate its resource base, so a sustainable poetry does not restrict interest to language. Over the past thirty years many poets have shown an increasing sensitivity to ecological thinking. But critics trained in poststructuralist language theory often fail to explore the substance of ecopoetry. Scigaj is the first to define ecopoetry as separate and distinct from nature or environmental poetry, marked by its concern with balancing the interests of human beings with the needs of nature. Just as science learned that the earth was not the center of the universe, ecopoetry insists on the recognition that humans are not at the center of the natural world.

"She was one of the world's four best comediennes," said Milton Berle, "but she lived a life of personal disaster." Martha Raye sang, danced, and joked her way into the spotlight of the entertainment world with a career that spanned seven decades and encompassed everything from vaudeville to television commercials to entertaining U.S. troops.Take It from the Big Mouth, the first full-fledged biography of the multi-talented performer, explores Raye's life and career with candor and insight. Raye got her big break when she caught the attention of a film director as she kidded with audience members Joe E. Lewis and Jimmy Durante during an engagement at the Trocadero in Hollywood. In the late 1930s, Raye appeared in a number of films, and the press heralded her as a "stridently funny comedienne with a Mammoth Cave mouth." From there her career soared. She landed a role in Charlie Chaplain's film Monsieur Verdoux, and the New York Post commented that Raye was the only one who could hold her own with the comic master. By the 1950s she hosted her own highly rated television show, reaching millions with her clowning.Behind the huge smile and raucous laugh, though, there was a darker side to Martha Raye. She found solace from her insecurities and a frenzied schedule in the use of drugs and alcohol. Her seven rocky marriages, the last to a man 33 years her junior whom she had known less than two weeks, fueled headlines and gossip columns. Particularly painful was her turbulent relationship with her only daughter, Melodye.She was passionately committed to entertaining troops abroad during World War II, and she worked tirelessly as both entertainer and nurse in the remote jungles of Vietnam. Bob Hope commented that "she was Florence Nightingale, Dear Abby, and the only singer who could be heard over the artillery fire." The Green Berets designated her an honorary lieutenant colonel, and she later received the Presidential Medal of Freedom. After her death in 1994, "Colonel Maggie" became the only civilian laid to rest among the Green Berets at the Fort Bragg military cemetery.

Eliza Haywood (1693?-1756) was one of the first women in England to earn a living writing fiction. Her early tales of amorous intrigue, sometimes based on real people, were exceedingly popular though controversial. Haywood, along with her contemporary Daniel Defoe, did more than any other writer to create a market for fiction in the period just prior to the emergence of Samuel Richardson, Henry Fielding, and Tobias Smollett, the dominant novelists of the mid-eighteenth century.The scheming, sexually predatory anti-heroine of The Injur'd Husband is a memorable villain who defies all expectations of a woman's conduct in marriage. The heroine of Lasselia is initially a model of virtue who bravely resists the advances of a king, only to be driven by her passion and desire into an illicit affair with a married man and ultimately into ruin. These two provocative narratives strikingly represent Haywood's extraordinary contribution to the development of the novel.

Entertainers were the first group of successful women to capture the public eye, taking to the stage in vaudeville and film and redefining their place in society. June Sochen introduces the white, African American, and Latina women who danced on Broadway, fell on bananas in silent films, and wisecracked in smoky clubs, as well as the modern icons of today's movies and popular music. Sochen considers such women as Mae West, Bette Davis, Shirley Temple, Lucille Ball, and Mary Tyler Moore to discover what show business did for them and what they did for the world of entertainment. She uses the life of 30s and 40s Latina star Lupe Velez as a case study of the roles available to Latinas in popular culture. She then contrasts her story with that of the African American action star Pam Grier to demonstrate the old and new ways minority women are portrayed in popular culture.From Mae to Madonna places each woman within the context of her time and talks about her relationship with dominant female stereotypes. Sochen discusses women's roles as Mary, Eve, and Lilith and asks thought-provoking questions. Why did the Depression give women movie stars so many important roles while the so-called feminist 1970s did not? Why has television been a congenial venue for women comics while film has not? In examining how entertainers worked within or transformed particular genres and how their personal and public lives affected their careers, From Mae to Madonna casts the spotlight on a series of remarkable women and their dramatic effect on America's popular culture.

With personal interviews of players and owners and with over two decades of research in newspapers and archives, Bill Marshall tells of the players, the pennant races, and the officials who shaped one of the most memorable eras in sports and American history.At the end of World War II, soldiers returning from overseas hungered to resume their love affair with baseball. Spectators still identified with players, whose salaries and off-season employment as postmen, plumbers, farmers, and insurance salesmen resembled their own. It was a time when kids played baseball on sandlots and in pastures, fans followed the game on the radio, and tickets were affordable. The outstanding play of Joe DiMaggio, Stan Musial, Ted Williams, Bob Feller, Don Newcombe, Warren Spahn, and many others dominated the field. But perhaps no performance was more important than that of Jackie Robinson, whose entrance into the game broke the color barrier, won him the respect of millions of Americans, and helped set the stage for the civil rights movement.Baseball's Pivotal Era, 1945-1951 also records the attempt to organize the Pittsburgh Pirates and the Mexican League's success in luring players south of the border that led to a series of lawsuits that almost undermined baseball's reserve clause and antitrust exemption. The result was spring training pay, uniform contracts, minimum salary levels, player representation, and a pension plan--the very issues that would divide players and owners almost fifty years later.During these years, the game was led by A.B. "Happy" Chandler, a hand-shaking, speech-making, singing Kentucky politician. Most owners thought he would be easily manipulated, unlike baseball's first commissioner, the autocratic Judge Kennesaw Mountain Landis. Instead, Chandler's style led one owner to complain that he was the "player's commissioner, the fan's commissioner, the press and radio commissioner, everybody's commissioner but the men who pay him."

Godey's Lady's Book, perhaps the most popular magazine for women in nineteenth-century America, had a national circulation of 150,000 during the 1860s. The recipes (spelled ""receipts"") it published were often submitted by women from both the North and the South, and they reveal the wide variety of regional cooking that characterized American culture. There is a remarkable diversity in the recipes, thanks to the largely rural readership of Godey's Lady's Book and to the immigrant influence on the country in the 1860s. Fish and game were readily available in rural America, and the number of seafood recipes testifies to the abundance of the coastal waters and rivers. The country cook was a frugal cook, particularly during wartime, so there are a great many recipes for leftovers and seasonal produce. In addition to a wide sampling of recipes that can be used today, Civil War Recipes includes information on Union and Confederate army rations, cooking on both homefronts, and substitutions used during the war by southern cooks.

In 1941, the fortress city of Terezin, outside Prague, was ostensibly converted into model ghetto, where Jews could temporarily reside before being sent to a more permanent settlement. In reality it was a way station to Auschwitz. When young Gonda Redlich was deported to Terezin in December of 1941, the elders selected him to be in charge of the youth welfare department. He kept a diary during his imprisonment, chronicling the fear and desperation of life in the ghetto, the attempts people made to create a cultural and social life, and the disease, death, rumors, and hopes that were part of daily existence. Before his own deportation to Auschwitz, with his wife and son, in 1944, he concealed his diary in an attic, where it remained until discovered by Czech workers in 1967.