Almost forgotten in the haze of events that followed Nagasaki and Hiroshima, the summer of 1945 witnessed an intense public debate over how best to end the war against Japan. Weary of fighting, the American people were determined to defeat the imperial power that had so viciously attacked them in December 1941, but they were uncertain of the best means to accomplish this goal. Certain of victory -- the "inevitable triumph" promised by Franklin Roosevelt immediately after Pearl Harbor -- Americans became increasingly concerned about the human cost of defeating Japan. Particularly after the brutal Iwo Jima and Okinawa campaigns, syndicated columnists, newspaper editorialists, radio commentators, and others questioned the necessity of invasion. A lengthy naval and aerial siege would have saved lives but might have protracted the war beyond the public's patience. Advertisers filled the media with visions of postwar affluence even as the government was exhorting its citizens to remain dedicated to the war effort. There was heated discussion as well about the morality of firebombing Japanese cities and of using poison gas and other agents of chemical warfare.Chappell provides a balanced assessment of all these debates, grounding his observations in a wealth of primary sources. He also discusses the role of racism, the demand for unconditional surrender, and the government's reaction to public opinion in the decision to drop the atomic bomb. Compelling and controversial, this is the first work to examine the confusing and contradictory climate of the American home front in the months leading up to V-J Day.

" First published in 1978, The Klan is considered the best book on the grandfather of all extremist hate groups. Now, in the wake of the Oklahoma City bombing and other domestic terrorist activities that are the legacy of Klan violence, it is more timely than ever. Realizing the continuing relevance of this book, Patsy Sims has revised it for the first time since its initial publication, adding a new preface and updating the individual chapters. An award-winning journalist, Sims drove more than 1,200 miles over the back roads of the South to begin this book. During two years of research and writing she talked, rallied, and kept in almost constant telephone contact with Klan leaders and members. The result was more than 150n hours of taped interviews revealing the personal experiences of the Klanspeople and their victims. These she wove together with history and contemporary news events for a riveting look inside the organization at the peak of it power.

Frances Brooke (1724-1789), journalist, translator, playwright, novelist, and even co-manager of a theater, was described as "perhaps the first female novel-writer who attained a perfect purity and polish of style." Today, Brooke is known primarily for The History of Emily Montague, one of the earliest novels about Canada, where she lived for a number of years. But it is her third novel, The Excursion, that is an important example of the fashionable and popular English novels of the late 1770s. Written for the very audience it portrays, this novel introduces the heroine, Maria Villiers, to London's "gentle" society and its glittering pastimes. Brooke drew upon the English courtship novel in the tradition of Eliza Haywood, Henry Fielding, and Frances Burney for her novel's overarching plot structure. But instead of concentrating on Maria's romantic adventures, she experiments with unusual treatments of subplots and unconventional characters.The most interesting aspect of her story is the development of Maria's ambition to win fame and fortune as a writer; it is one of the few portraits of a woman with literary ambitions by an early woman writer. Brooke's wry narrative voice foreshadows that of Jane Austen.The editors' introduction places The Excursion firmly in the tradition of the English novel, provides a fresh biography of Brooke, and brings together the most important eighteenth- and twentieth-century criticism of Brooke's work.The second volume in the series Eighteenth-Century Novels by Women, The Excursion contributes to our understanding of the development of the novel and offers a lively view of women's position in eighteenth-century English society.

Emily Dickinson's life and art have fascinated -- and perplexed -- the poet's admirers for more than a century. One of the most hotly debated elements of Dickinson's poetry has been her unconventional use of punctuation. Now, in Inflections of the Pen, Paul Crumbley unravels many of these stylistic mysteries in his careful examination of manuscript versions of her poems -- including selections from the fascicles, Dickinson's own hand-bound gatherings of her poems -- and of Dickinson's letters. Crumbley argues that the dash is the key to deciphering the poet's complex experiments with poetic voice.From the time of Dickinson's first editors, Mabel Loomis Todd and Thomas Wentworth Higginson, standard versions of her poetry have tended to normalize the poems. Designated as either em- or en-dashes in print by all but a few recent editors, Dickinson's dash marks in the holography versions vary tremendously in length, height, and angle. According to Crumbley, these varied dashes suggest subtle gradations of inflection and syntactic disjunction. The printed poems give the impression of a unified voice, whereas the dashes that appear in the manuscripts disrupt conventional thought patterns and suggest multiple voices.The dash, therefore, becomes Dickinson's most expressive visual signal. Crumbley believes that Dickinson's unorthodox practice grants her readers the right to question linguistic authority. No one voice seems to have primacy in Dickinson's poetry. Instead, the poems provoke multiple readings that simultaneously affirm and challenge the dominant social and political values of nineteenth-century America.

This volume of twelve original essays is the first comprehensive study of feminist issues in Restoration drama. The late seventeenth century marks a pivotal era in the history of feminism, when Renaissance assumptions about gender and patriarchy were being directly challenged. For the first time, women appeared onstage as actresses, made their presence felt as spectators and patrons, and wrote a number of the plays produced in theaters. In an unusually direct and probing way, drama of the Restoration period raised radical questions about the place of women in the family and in society, and about the essential nature of men and women. The essays examine feminist issues from a variety of historical and theoretical approaches across a spectrum of plays -- comedies, tragedies, tragicomedies, and heroic drama. By addressing the acute questions of gender raised in the drama, Broken Boundaries presents a vivid portrait of the uncertainties and changing perceptions in all areas of intellectual, political, and social life during the last decades of the seventeenth century.

The Conversational Circle offers a model for exploring a range of novels that experiment with narrative patterns. It makes a compelling case that teleological approaches to novel history that privilege the conflict between the individual and society are, quite simply, ahistorical. Twentieth-century historians of the early novel, most prominently Ian Watt, Mikhail Bakhtin, and Terry Castle, have canonized fictions that portray the individual in sustained tension with the social environment. Such fictions privilege a strongly linear structure. Recent reexaminations of the canon, however, have revealed a number of early novels that do not fit this mold.Betty Schellenberg identifies another kind of plot, one that focuses on the social group -- the "conversational circle" -- as a model that can affirm traditional values but just as often promotes an alternative sense of community. Schellenberg selects a group of mid-eighteenth-century novels that experiment with this alternative plot structure, embodied by the social circle. Both satirical and sentimental, canonical and non-canonical, these novels demonstrate a concern that individualistic desire threatened to destabilize society. Writing that reflects a circular structure emphasizes conversation and consensus over individualism and conquest. As a discourse that highlights negotiation and harmony, conversation privileges the social group over the individual.These fictions of the conversation circle include lesser-known works by canonical authors (Henry Fielding's Amelia and Richards's Sir Charles Grandison as well as his sequel to Pamela), long-neglected novels by women (Sarah Fielding's David Simple and its sequel Volume the Last, and Sarah Scott's Millenium Hall), and Tobias Smollet's last novel, Humphrey Clinker. Because they do not fit the linear model, such works have long been dismissed as ideologically flawed and irrelevant.

The plays are in Spanish. Los papeles están en el español.

A lively tour of the state's music, from the days of string bands through hillbilly, western swing, gospel, bluegrass, and honkey-tonk to through the Nashville Sound and beyond. Through personal interviews with many of the living legends of Kentucky music, Charles K. Wolfe illuminates a fascinating and important area of American culture. The list of country music stars who hail from Kentucky is a long and glittering one. Red Foley, Bill Monroe, Loretta Lynn, Tom T. Hall, the Judds, Dwight Yaokum, Billy Ray Cyrus, Ricky Skaggs, John Michael Montgomery, and Keith Whitely -- all these and many others have called Kentucky home. Kentucky Country is the story of these stars and dozens more. It is also the story of many Kentucky musicians whose contributions have been little known or appreciated, and of those collectors, promoters, and entrepreneurs who have worked behind the scenes to bring Kentucky music to national attention.

American literary history of the nineteenth-century as a conflict between individualistic writers and a conformist society. In The Social Self, Joseph Alkana argues that such a dichotomy misrepresents the views of many authors.Sudden changes caused by the industrial revolution, urban development, increased immigration, and regional conflicts were threatening to fragment the community, and such writers as Nathaniel Hawthorne, William James, and William Dean Howells were deeply concerned about social cohesion. Alkana persuasively reintroduces Common Sense philosophy and Jamesian psychology as ways to understand how the nineteenth-century self/society dilemma developed.All three writers believed that introspection was the proper path to the discovery of truth. They also felt, Alkana argues, that such discoveries had to be validated by society. In these sophisticated readings of Hawthorne's short stories and The Scarlet Letter, Howells's utopian Altrurian romances, and James's The Principles of Psychology, it becomes obvious that characters who isolate themselves from the community do so at considerable psychological risk.The Social Self links these writers' interest in contemporary psychology to their concern for history and society. Alkana's argument that nineteenth-century expressions of individualism were defensive responses to the fear of social chaos radically revises the traditional narrative of American literary culture.

First published in 1913, The Heart of the Hills is the last novel completed by John Fox Jr. and the final piece in his mountain trilogy. This companion to The Little Shepherd of Kingdom Come and The Trail of the Lonesome Pine is crucial to an understanding of Fox's views. In The Heart of the Hills Fox revises his earlier thoughts about mountain people. He depicts more clearly than in his previous work just how they were exploited by outside industrialists-those men who, in the words of Fox's hero Jason Hawn, "got rich diggin' our coal an' cuttin' our timber." He also reveals the long-term impact of this exploitation on the environment. Having witnessed the ravages of clearcutting on his travels through the mountain country of Kentucky and Virginia in 1911-1912, Fox was all the more receptive to the warnings voiced by his environmentally conscious father. From their letters and diaries it is clear that John Fox Sr.'s influence permeates The Heart of the Hills; in this work, dedicated to his dying father, Fox determined to make amends to the mountain people.

Edward J. Jeffries Jr., was elected mayor of Detroit in 1937 and for a decade led the city through a period of race riots, union turmoil, and unprecedented growth. Jeffries's circle of friends was made up primarily of newspaper reporters who shared his interests and lifestyle. Devoted to family, they nevertheless worked long hours, smoked heavily, drank moderately, and gambled often in their running card games of gin and poker.After Pearl Harbor, Jeffries watched his closest friends, most twelve to fourteen years his junior, enlist in the armed forces. Voracious letter writers, over the next four years they shared with one another their innermost hopes and fears. They told stories about Gen. George S. Patton, the surrender of Japan, of commanding African American soldiers during the Normandy invasion, and the battles on the home front in the heart of Detroit, the "Arsenal of Democracy."These letters present a candid portrait of the intellectual and political leadership of Detroit -- and America. These men were confident in their values, aware of their responsibilities, and logical in their actions as they helped forge the weapons that turned back the fascist threat to democracy. Their letters also reveal a level and kind of male camaraderie seemingly lost in the depersonalized, technocratic society of the postwar era. As such, this work provides a more complete understanding of how Americans reacted to -- and were changed by -- the "Good War."

In this volume, leading scholars on the history of the Kurds lay out the case that the Kurdish Question looms as one of the largest threats to peace and stability in the Middle East. With the majority of Kurds living within its borders, no country faces this threat more squarely than Turkey, whose concept of a unified, cohesive nation -- in which the existence of ethnic minorities is not acknowledged -- makes the powder keg more difficult to manage than elsewhere. Separate sections examine the development of the movement and explore its influence on Turkey's foreign, domestic, and human rights policies, in the end questioning the viability of the Turkish state as presently constituted.

Keith Payne begins by asking, "Did we really learn how to deter predictably and reliably during the Cold War?" He answers cautiously in the negative, pointing out that we know only that our policies toward the Soviet Union did not fail. What we can be more certain of, in Payne's view, is that such policies will almost assuredly fail in the Second Nuclear Age -- a period in which direct nuclear threat between superpowers has been replaced by threats posed by regional "rogue" powers newly armed with chemical, biological, or nuclear weapons. The fundamental problem with deterrence theory is that is posits a rational -- hence predictable -- opponent. History frequently demonstrates the opposite. Payne argues that as the one remaining superpower, the United States needs to be more flexible in its approach to regional powers.

Jamboree! To many country music fans the word conjures up memories of Saturday nights around the family radio listening to live broadcasts from that haven of hillbilly music, West Virginia. From 1926 through the 1950s, as Ivan Tribe shows in his lively history, country music radio programming made the Mountain State a mecca for country singers and instrumentalists from all over America. Wilma Lee and Stoney Cooper, Little Jimmy Dickens, Hawkshaw Hawkins, Red Sovine, Blaine Smith, Curly Ray Cline, Grandpa Jones, Cowboy Loye, Rex and Eleanor Parker, Lee Moore, Buddy Starcher, Doc and Chickie Williams, and Molly O'Day were among the many who came to prominence via West Virginia radio.Wheeling's "WWVA jamboree," first broadcast in 1933, attracted a wide audience, especially after 1942, when the station increased its power. The show's success spawned numerous competitors, as new stations all over West Virginia followed WWVA's lead in headlining country music.The state also played an important role in the early recording industry. The Tweedy Brothers, Frank Hutchison, Roy Harvey, Blind Alfred Reed, Frank Welling and John McGhee, Cap and Andy, and the Kessinger Brothers were among West Virginians whose waxings contributed to the state's reputation for fine native musicianship. So too did those who sought out and recorded the Mountaineer folksong heritage.As Nashville's dominance has grown since the 1960s, West Virginia's leadership in country music has lessened. Young performers must now seek fame outside their native state. But, as Ivan Tribe demonstrates, the state's numerous outdoor festivals continue to keep alive the heritage of country music's "mountain mama."

Spencer Polk was born of an African-Indian slave woman known as Sally, and her master, Taylor Polk, a descendant of one of America's first families and one of the earliest white settlers in the Arkansas Territory. A favored slave, Spencer Polk became a prosperous farmer and landowner in southwestern Arkansas and the founder of a numerous and energetic family. Since emancipation the family homestead he built on Muddy Fork Creek has housed succeeding generations and has drawn back those who sought their fortunes elsewhere. Ruth Polk Patterson, a granddaughter of Spencer Polk who was born and raised in the log house he built, traces the life of Polk and his family from his birth in 1833 to the present generation. The skillful blending of folklore, history, and personal insight makes The Seed of Sally Good'n an excellent contribution to the long neglected history of middle-class African Americans.

As a young Jewish boy growing up in Vienna, Georgia, Abe Orovitz could never have predicted the twists and turns his life would take. Many years later, as retired film director with more than thirty movies to his credit, Vincent Sherman is no less surprised when he looks back on that life.In Studio Affairs he retraces his life with candor and enthusiasm. Sherman discusses the details of his three-year relationship with Joan Crawford, his inadvertent connection with the death of Bette Davis's second husband, and his poignant romantic involvement with Rita Hayworth. Providing counterpoint to these liaisons is the love and devotion of Sherman's wife, Hedda, who accepted her husband's occasional infidelities as part and parcel of his career.Studio Affairs provides an inside look at the motion picture industry during the heyday of the studio system by one who worked his way from nearly starving actor and playwright to respected director. In effect, the book serves as a primer on the art of film directing. Sherman quickly developed a reputation of being a consummate rewrite artist, able to take whatever assignment given him and turn it into a first rate motion picture. His skill at reworked scripts led him to bigger and bigger projects, even as the salary set by his long-term contract with Warner Brothers remained below that of most of his colleagues. Though not originally signed to direct, when asked to do so he drew on his experience putting together productions at summer camps across the "borscht circuit" in upstate New York.Like so many talented individuals in Hollywood during the 1950s, Sherman was targeted by the House Un-American Activities Committee, owing in part to his active support of the WPA Theatre project in New York two decades previous. Time spent on the lesser known gray list kept him out of work for several years. Eventually, he again enjoyed some critical success, but after the demise of the studio system life was never quite the same. The quintessential "studio director" ended his career directing for television. Vincent Sherman's path from Georgia to southern California is compelling, and his legendary talent for good storytelling makes the book impossible to put down.