Böcker utgivna av University Press of Mississippi

Mass media images of the male are central to popular culture. This book analyses a genre known as "performance art monologues" as presented by white heterosexual men. Its focus is stand-up comedians and stage and screen artists, including Spalding Gray, Eric Bogosian, Josh Kornbluth, Wallace Shawn, and Danny Hoch, whose acts portray and investigate power, politics, privilege, and community.

Provides a sweeping overview of the history of gospel music. Powerful and incisive, the book traces contemporary Christianity and Christian music to the sixteenth century and the Protestant Reformation after examining music in the Bible and early church.

Best known for her long-running comic strip Ernie Pook's Comeek, illustrated fiction, and graphic novels, the art of Lynda Barry has branched out to incorporate plays, paintings, radio commentary, and lectures. In Lynda Barry, author Susan E. Kirtley examines the artist's career and contributions to the field of comic art and beyond.

If Russell Banks (b. 1940) says he doesn't "think about [his] reader at all when [he's] writing," he clearly enjoys talking with his actual readers. These conversations span a period of over thirty years, from 1976 with the publication of his first novel, Family Life, and his first collection of short stories, to 2008 with The Reserve.

Alice Faye's sweet demeanor, sultry glances, and velvety voice were her signatures. Her haunting rendition of "e;You'll Never Know"e; has never been surpassed by any other singer. Fans adored her in such films as Alexander's Ragtime Band, Rose of Washington Square, Tin Pan Alley, Week End in Havana, and Hello, Frisco, Hello. In the 1930s and 1940s she reigned as queen of 20th Century Fox musicals. She co-starred with such legends as Shirley Temple, Tyrone Power, Carmen Miranda, and Don Ameche and was voted the number-one box-office attraction of 1940, placing ahead of Bette Davis and Myrna Loy. To a select cult, she remains a beloved star. In 1945 at the pinnacle of her career she chose to walk out on her Fox contract. This remarkable episode is unlike any other in the heyday of the big-studio system. Her daring departure from films left Fox mogul Darryl F. Zanuck and the rest of the movie industry flabbergasted. For years she had skirmished with him over her roles, her health, and her private life. His heavy-handed film editing of her fine work in Otto Preminger's drama Fallen Angel, a role she had fought for, relegated Faye to the shadows so that Zanuck could showcase the younger Linda Darnell. After leaving Fox, Faye (19151998) devoted herself to her marriage to radio star Phil Harris, to motherhood, and to a second career on radio in the Phil Harris Alice Faye Show, broadcast for eight years. She happily gave up films in favor of the independence and self-esteem that she discovered in private life. She willingly freed herself of the "e;star-treatment"e; that debilitated so many of her contemporaries. In the 1980s she emerged as a spokeswoman for Pfizer Pharmaceuticals, touring America to encourage senior citizens to make their lives more meaningful and vital. Before Betty Grable, before Marilyn Monroe--Alice Faye was first in the lineup of 20th Century Fox blondes. This book captures her special essence, her work in film, radio, and popular music, and indeed her graceful survival beyond the silver screen.

This study of nonfiction written by four of nineteenth-century America's first professional women writers investigates the paradoxes posed by the conflict of their texts with their lives. No previous study has grouped Hale, Beecher, Fern, and Fuller together because each promoted differing political goals. While respecting these differences, this title reveals their strong professional links.

Jimmie Rodgers (1897-1933), the first performer elected to the Country Music Hall of Fame, was a folk hero in his own lifetime and has been idolized by fans and emulated by performers ever since. Jimmie Rodgers significantly expands and alters our knowledge of the entertainer's life and career.

For over forty years, Clarence Major has engaged several artistic and literary pursuits, garnering acclaim for his paintings, edited anthologies, poetry collections, essays, and novels. In this collection he comments thoughtfully on the diverse nature of his work, exploring his influences, his writing methods, and his childhood.

Recovers the work of early African American authors and editors such as Elisha Weaver who have been left off maps drawn by historians and literary critics. Individual chapters restore to consideration black literary locations in antebellum St. Louis, antebellum Indiana, Reconstruction-era San Francisco, and several sites tied to the Philadelphia-based Recorder during and after the Civil War.

The interviews in this volume span the period from 1970 to 1993. In them N. Scott Momaday responds candidly to questions relating to his multicultural background, his views on the place of the Indian in American literature and society, his concern for conservation, his theory of language, and comments on specific works he has written.

Interviews with the author of Pale Horse, Pale Rider, Flowering Judas, and The Leaning Tower.

For the lay reader wishing to know more about this disease that has become more prominent in public attention, Understanding Colon Cancer gives concise information and explanation. It covers fundamental knowledge about occurrence, carcinogenesis, genetics, diagnosis, staging, prognosis, and treatment.

For a biographer Shelby Foote is a famously reluctant subject. In writing this biography, however, C. Stuart Chapman gained valuable access through interviews and shared correspondence, an advantage Foote rarely has granted to others.

Brings together a dozen essays devoted to aspects of Moliere's stagecraft, each of which illustrates in its way Hall's thesis of comedy in context. This volume of essays complements other studies of the comedies by focusing attention on an even larger audience upon the plays as Hall believes the playwright conceived them.

This is a marvelously interesting collection of letters written over a period of thirty years by members of the Thomas A. Watkins family of Carroll County, Mississippi. The correspondence provides an intimate look into activities in the household of Forest Place during a period of great propserity and a period of decline.

Sherman Alexie (b. 1966) gained national attention upon release of The Business of Fancydancing, his first collection of poems, in 1992. In Conversations with Sherman Alexie, the writer displays the same passion, dynamic sense of humour, and sharp observational skills that characterize his work.

This book begins with a simple question: Why haven't historians and musicologists been talking to one another? This collection of original essays, the first of its kind, argues that the conversation between scholars in the two fields can become richer and more mutually informing.

The literature of the contemporary South might best be understood for its discontinuity with the literary past. At odds with traditions of the Southern Renascence, southern literature of today sharply refutes the Nashville Agrarians and shares few of Faulkner's and Welty's concerns about place, community, and history. This sweeping study of the literary South's new direction focuses on nine well established writers who, by breaking away from the firmly ensconced myths, have emerged as an iconoclastic generation- -- Harry Crews, Dorothy Allison, Bobbie Ann Mason, Larry Brown, Kaye Gibbons, Randall Kenan, Richard Ford, Cormac McCarthy, and Barry Hannah. Resisting the modernist methods of the past, they have established their own postmodern ground beyond the shadow of their predecessors. This shift in authorial perspective is a significant indicator of the future of southern writing. Crews's seminal role as a ground-breaking "e;poor white"e; author, Mason's and Crews's portrayals of rural life, and Allison's and Brown's frank portrayals of the lower class pose a challenge to traditional depictions of the South. The dissenting voices of Gibbons and Kenan, who focus on gender, race, and sexuality, create fiction that is at once identifiably "e;southern"e; and also distinctly subversive. Gibbons's iconoclastic stance toward patriarchy, like the outsider's critique of community found in Kenan's work, proffers a portrait of the South unprecedented in the region's literature. Ford, McCarthy, and Hannah each approach the South's traditional notions of history and community with new irreverence and treat familiar southern topics in a distinctly postmodern manner. Whether through Ford's generic consumer landscape, the haunted netherworld of McCarthy's southern novels, or Hannah's riotous burlesque of the Civil War, these authors assail the philosophical and cultural foundations from which the Southern Renascence arose. Challenging the conventional conceptions of the southern canon, this is a provocative and innovative contribution to the region's literary study.

History is made and remade by the availability of new documents, sources, and interpretations. Can Anything Beat White? contributes a great deal to this process. The experiences of the James family as documented in their letters challenge both representations of black people at the turn of the century as well as our contemporary sense of black Americans.

This is a remarkable collection of letters covering nearly four decades of correspondence between two of the South's foremost literary figures. The correspondence between Tate and Lytle documents the evolution of a long personal and literary relationship between two men who helped shape a large part of modern southern literature.

Brings attention to a little known period in the career of America's most notable humorist. It follows the writer-performer Down Under on a journey through thirty lectures in colonial Australia and New Zealand. This appealing book is a daily account of Twain's activities and is based upon his notebooks his letters, and newspaper reports that appeared both in cities and in the provinces.