Bøger udgivet af University of Michigan Press

Mediating Gender in Post-Authoritarian South Korea focuses on the relationship between media representation and gender politics in South Korea. Its chapters feature notable voices of South Korea's burgeoning sphere of gender critique enabled by social media, doing what no other academic volume has yet accomplished in the sphere of Anglophone studies on this topic. Seeking to interrogate the role of popular media in establishing and shaping gendered common sense, this volume fosters cross-disciplinary conversations linked by the central thesis that gender discourse and representation are central to the politics, aesthetics, and economics of contemporary South Korea. In the post-authoritarian period (the late 1980s to the #MeToo present), media representation and popular discourse changed the gender conventions that are found at the core of civic, political, and cultural debates. ​Mediating Gender in Post-Authoritarian South Korea maps the ways in which popular media and public discourse make the social dynamics of gender visible and open them up for debate and dismantling. In presenting innovative new research on the ways in which popular ideas about gender gain concrete form and political substance through mass mediation, our contributors investigate the discursive production of gender in contemporary South Korea through trends, tropes, and thematics, as popular media become the domain in which new gendered subjectivities and relations transpire. The essays in this volume present cases and media objects that span multiple media and platforms, introducing new ways of thinking about gender as a platform and a conceptual infrastructure in the post-authoritarian era.

In this thoughtful and provocative collection of essays, Suzanne Gardinier painstakingly and passionately examines the intersection of poetry and politics. Not a miscellany but a cohesive and beautifully crafted book, the six essays (on Pablo Neruda, Muriel Rukeyser, Rainer Maria Rilke, Adrienne Rich, the Iliad, "Poetry and the New Commonwealth," and "In Search of Democracy") are united in their love of language, their unsparing but hopeful social criticism, and their genuine affection for their subjects. Astute, engaged and engaging, A World That Will Hold All the People (the title comes from the Margaret Walker poem, "For My People") provides one side of what Rukeyser termed "The endless quarrel between the establishment and the prophets." Accompanying her provocative essays is a prose poem, This Land. Suzanne Gardinier's book of poetry The New World was published in 1993. Her work has appeared in The Best American Poetry annual, The New Yorker, Grand Street, The Kenyon Review, The Paris Review, TriQuarterly, and The Yale Review. She teaches creative writing at Sarah Lawrence College.

Kinethic California: Dancing Funk and Disco Era Kinships documents the emergence of new forms of black social and vernacular dance in 1970s California, forms embedded in local cultural histories but connected to the contemporary global culture of hip hop/streetdance. The book weaves interviews and ethnographies of first generation (1960s-70s) dancers of strutting, boogaloo, robotting, popping, locking, waacking, and punking styles, as it advances a theory of dance as kinetic kinship formation, through a focus on techniques and practices of the dancers themselves. The term given to these collective movement practices is kinethic, to bring attention to motion at the core of black aesthetics that generate dances as forms of kinship beyond blood relation. Kinethics reorient dancers toward kinetic kinship in ways that give continuity to black dance lineages under persistent conditions of disappearance and loss. As dancers engage kinethics, they reinvent gestural vocabularies that describe worlds they imagine into knowing-being. The stories in Kinethic California attend to the aesthetics of everyday movement, seen through the lens of young artists who from childhood listened to their family's soul and funk records, observed the bent-leg strolls and rhythmic handshakes of people moving through their neighborhoods, and watched each other move at house parties, school gyms, and around-the-way social clubs. Their aesthetic sociality and geographic movement provided materials for collective study and creative play. Bragin attends to such multidirectional conversations between dancer, community, and tradition, by way of which California dance lineages emerge and take flight.

The eighteenth century's critique of privilege and its commitment to the idea of advancement by merit are widely regarded as sources of modernity. But if meritocratic values were indeed the product of the Enlightenment and the French Revolution, how do we explain earlier attention to merit--especially the nobility whose values the Revolution rejected? The Culture of Merit probes this paradox by analyzing changing perceptions of merit among the old nobility from the age of Louis XIII to the eve of the French Revolution.Jay M. Smith argues that the early modern nobility instinctively drew a correlation between the meaning of merit and an image of the "sovereign's gaze." In the early seventeenth century, merit meant the qualities traditionally associated with aristocratic values: generosity, fidelity, and honor. Nobles sought to display those qualities before the appreciative gaze of the king himself. But the expansion of the monarchy forced the routinization of the sovereign's gaze, and Louis XIV began to affirm and reward new qualities--talent and application--besides those thought innately noble.The contradictions implicit within the absolute monarchy's culture of merit are demonstrated by the eighteenth-century French army, which was dominated by the nobility, but also committed to efficiency and expertise. Smith shows that the army's continuous efforts to encourage and reward "merit" led to a clash of principles. The ever-growing emphasis on talent and discipline led reformers--the great majority of them noble--to attack the most egregious examples of privilege and favoritism in the army. Smith's analysis of the long-term evolution in conceptions of royal service suggests a new explanation for the shift in values signified by the French Revolution. The transition away from the "personal" gaze of the king toward the "public" gaze of the monarchy and nation foretold the triumph of a new culture of merit in which noble birth would have no meaning.The Culture of Merit will interest historians and other social scientists concerned with issues of aristocratic identity, state formation, professionalization, and the changing political culture of pre-Revolutionary France.Jay M. Smith is Assistant Professor of History, University of North Carolina, Chapel Hill.

Conventional notions of avant-garde art suggest innovative artists rebelling against artistic convention and social propriety, shocking unwilling audiences into new ways of seeing and living. Viewers in Distress tells a different story. Beginning in the tumultuous 1990s, after the fall of the Berlin Wall and in the wake of the Los Angeles riots, rebellious spectators in American and British theaters broke with theater decorum and voiced their radical interpretations of shows that were not meant to be radical. In doing so, audiences tried to understand the complex racial, gender, and religious politics of their times, while insisting that liberal societies fulfill their promise of dignity for all. Stefka Mihaylova argues that such non-conforming viewing amounts to an avant-garde of its own: a bold reimagining of how we live together and tell stories of our lives together, aimed to achieve liberalism's promise. In telling this story, she analyzes the production and reception politics of works by Susan-Lori Parks, Sarah Kane, Forced Entertainment, Gurpreet Kaur Bhatti, and Young Jean Lee, as well as non-theatrical controversies such as the conflict over Halloween costumes at Yale in 2015. At the core of spectators' discontent, this book suggests, is an effort to figure out how to get along with people different from ourselves in the diverse U.S. and British societies in which we live.

Any and all songs are capable of being remixed. But not all remixes are treated equally. Rock This Way examines transformative musical works--cover songs, remixes, mash-ups, parodies, and soundalike songs--to discover what contemporary American culture sees as legitimate when it comes to making music that builds upon other songs. Through examples of how popular discussion talked about such songs between 2009 and 2018, Mel Stanfill uses a combination of discourse analysis and digital humanities methods to interrogate our broader understanding of transformative works and where they converge at the legal, economic, and cultural ownership levels. Rock This Way provides a new way of thinking about what it means to re-create and borrow music, how the racial identity of both the reusing artist and the reused artist matters, and the ways in which the law polices artists and their works. Ultimately, Stanfill demonstrates that the extent to which a work is seen as having new expression or meaning is contingent upon notions of creativity, legitimacy, and law, all of which are shaped by white supremacy.

"Creativity" is a word that excites and dazzles us. It promises brilliance and achievement, a shield against conformity, a channel for innovation across the arts, sciences, technology, and education, and a mechanism for economic revival and personal success. But it has not always evoked these ideas. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of cognition, Victorian-era intelligence research, the Cold War technology race, contemporary K-12 education, and even modern electoral politics. Ultimately, The Creativity Complex asks how our ideas about creativity are bound up with those of self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling.

Life, Earth, Colony explores the ideas, life, and historical significance of German zoologist turned geographer Friedrich Ratzel (1844-1904), famous for developing the foundations of geopolitical thought. Ratzel produced a remarkable body of work that revolutionized the study of space, movement, colonization, and war. He also served as a source of intellectual inspiration for national socialism, particularly through his Lebensraum (living space) concept, which understood all life as being caught in an eternal struggle for space. This book closely analyzes this radical conservative intellectual, focusing on his often-overlooked ethnography, biogeography, travel, and creative writing, and colonial activism as well as his more widely-known political geography. Life, Earth, Colony finds that there is an as yet unexplored necropolitical impulse at the heart of Ratzel's entire oeuvre, a preoccupation with death and dying, which had a profound impact on twentieth-century history.

From Bill Clinton playing his saxophone on The Arsenio Hall Show to Barack Obama referencing Jay Z's song "Dirt Off Your Shoulder," politicians have used music not only to construct their personal presidential identities but to create the broader identity of the American presidency. Through music, candidates can appear relatable, show cultural competency, communicate values and ideas, or connect with a specific constituency. On a less explicit level, episodes such as Clinton's sax-playing and Obama's shoulder brush operate as aural and visual articulations of race and racial identity. But why do candidates choose to engage with race in this manner? And why do supporters and detractors on YouTube and the Twittersphere similarly engage with race when they create music videos or remixes in homage to their favorite candidates? With Barack Obama, Ben Carson, Kamala Harris, and Donald Trump as case studies, Tracks on the Trail: Popular Music, Race, and the US Presidency sheds light on the factors that motivate candidates and constituents alike to articulate race through music on the campaign trail and shows how the racialization of sound intersects with other markers of difference and ultimately shapes the public discourse surrounding candidates, popular music, and the meanings attached to race in the 21st century. Gorzelany-Mostak explores musical engagement broadly, including official music in the form of candidate playlists and launch event setlists, as well as unofficial music in the form of newly composed campaign songs, mashups, parodies, and remixes.

The reappearance of Philip Larkin's Required Writing will be welcomed by the late poet's many readers and admirers. The book's first two parts, "Recollections" and "Interviews," provide autobiographical glimpses of the very private Larkin's childhood, his youth at Oxford, the genesis of his forty-year career as a librarian, and the influences that initially steered his poetry. The second half of the book reflects Larkin's literary standards and opinions in often witty and surprising, always beautifully wrought, essays and reviews. His subjects range from Emily Dickinson (were her first lines her best?) to the contemporary mystery novel. Required Writing concludes with a selection of pieces on jazz music."Larkin is a punctilious, honest critic. He prefers good clear writing to pretentious eyewash; he prefers tunes to discordant wailing; and he prefers home to abroad. Unlike the majority of critics, he is clear-sighted enough to say so." --A. N. Wilson, Sunday Telegraph"I read the collection with growing excitement, agreement and admiration. It is the best contemporary account of the writer's true aims I have encountered." --John Mortimer, Sunday Times (London)"Subtle, supple, craftily at ease, Required Writing is on a par with Larkin's poetry--which is just about as high as praise can go." --Clive James, Observer Philip Larkin was the author of poetry collections, including High Windows, The Whitsun Weddings, and The Less Deceived; a book of essays entitled All What Jazz: A Record Diary; and two novels, Jill, and A Girl in Winter, published early in his career. Required Reading was originally published by Farrar, Straus & Giroux.

When the young Princess Sonshi became a Buddhist nun in the year 984, a scholar-official of the royal court was commissioned to create a guide to the Buddhist religion that would be accessible for her. He did so in the form of the illustrated works of fiction (monogatari) that appealed to women readers of her time and class. The text has survived in later manuscripts; the illustrations, if they ever existed, have not. This revised translation recreates Sonshi's experience of receiving this multimedia presentation, with illustrations selected to help contemporary readers visualize its content and essays that provide context on the religious and cultural experience of the author. The Three Treasures is a unique document that opens a window onto the world of Buddhist religious experience--especially for women--in high classical Japan, the time of Sei Shōnagon's Pillow Book and Murasaki Shikibu's Tale of Genji.

Told in Letters is a study of the English novel before it came of age with Richardson's Pamela. The first book to trace the history and methods of using letters to tell a story, it draws on more than 200 little-known works written before Pamela. Many of these were designed for a public that had little concern with art. Here we see the origins of the psychological novel in its most primitive form. We also discover the achievements of early letter fiction such as the "familiar letter" and the widely imitated innovations of French fiction. In addition, Told in Letters portrays the Grub Street world that gave birth to popular literature, and describes the power that booksellers and popular taste had over these early novels. Finally, Richardson is reassessed in the light of his predecessors' writing, and we understand better the origins of a literary technique that did so much to revolutionize English fiction in the middle of the eighteenth century.

The Fate of the Object traces the historical shift in focus from the "difficult" essential object of modernist theater, art, and poetry to its transformation as a sign in a postmodern field of signs. In modern art, the central object had been the abstract painting; in theater, the body of the actor; in poetry, the sonic, visual and grammatical elements of the poem. Spanning several disciplinary boundaries, this ambitious and pioneering book examines how the very process of refinement to locate the essential modernist object dissolves the figure of that object into its signifying ground. Jon Erickson argues that this historical shift from modern object to postmodern sign reflects significant transformations in capitalist society--among them the shift from a production economy to a service economy, the change from a sensually rich to a conceptually alienated cultural consciousness, and the rise of poststructuralist theory as the predominant determiner of value within contemporary art culture.Erickson examines the body as the central object of theater and performance through the theories of Craig, Sartre, Brecht, Artaud, and Grotowski. The art chapter discusses such artists as Malevich, Ad Reinhardt, Duchamp, Warhol and Kosuth, tracing the progression of the abstract painting to its reduction or disappearance in conceptualism and minimalism. The poetry chapter examines Pound's Imagism, Concrete and Sound Poetry, and the contributions of Gertrude Stein and the recent Language Poets. Finally, the author questions the role poststructuralist theory has played in the shift from modern object to postmodern sign and how it may affect our attitudes toward the materiality of the world. Jon Erickson is Assistant Professor of Drama, Ohio State University.

Literary studies of James Joyce, perhaps more so than those of any other author, have been enriched by important developments in literary theory in the last twenty-five years. Noting a curious gap in this scholarship, M. Keith Booker brings the work of Mikhail Bakhtin, unquestionably one of the most important literary theorists of this century, to bear on Joyce's relationship to six of his literary predecessors. In clear and readable prose, Booker explores Joyce's dialogues not only with Homer, Dante, and Shakespeare, his three most obvious predecessors, but with Rabelais, Goethe, and Dostoevsky, three literary figures important in Bakhtin's theoretical work.These six writers provide the opportunity to examine Joyce's work with regard to several of Bakhtin's most important concepts. If Homer represents the authority of epic, Rabelais represents for Bakhtin the subversive multivocal energies of carnivalesque genres. As opposed to his description of Dante's attempts to escape from historicity, Bakhtin figures Goethe as the epitome of engagement with the temporality of everyday history. And Bakhtin's generic denial of polyphony in the works of Shakespeare contrasts with Bakhtin's identification of Dostoevsky as the most polyphonic writer in all the world of literature.Together, Booker's comparative readings suggest a Joyce whose works are politically committed, historically engaged, and socially relevant. In short, they suggest a Joyce whose work differs radically from conventional notions of modernist literature as culturally elitist, historically detached, and more interested in individual psychology than in social reality.M. Keith Booker is Professor of English, University of Arkansas.

Born and raised in Britain, Thom Gunn has lived in the United States since 1954. He is well known as a poet and is increasingly gaining recognition as a literary critic. Gunn's main concern in Shelf Life is with twentieth-century American poets, both the famous and the obscure; he also discusses other matters, including the Elizabethans, Christopher Isherwood as man and stylist, and Gunn's own poetry, which he touches on indirectly in the first two sections of the book and directly in the last. Gunn's criticism communicates his own enthusiasm for poetry. He tries to show his readers how to get a first foothold into the work of some of his favorite poets, whether Wyatt or Whitman, Mina Loy or Robert Creeley.

Double Passage presents, in their own words, the lives and experiences of thirteen men and women from the island of Barbados who emigrated to North America and Britain and then years later returned home. They tell of their decisions to leave the familiarity and security of home for an uncertain future in cities of the industrial world; they explain what it is like to be black and immigrant in the predominantly white societies they settled in; and they reveal their struggles to find work and decent housing, to develop new relationships, and to save enough money to be able to return home and assume the affluent lifestyle expected of returnees. Double Passage is an extraordinary book that is able both to inform and to entertain.

The compelling oral history of a remarkable woman's life and political struggle

This book departs from stereotypes that often dominate Western discourse about Muslim societies. The Muslim world encompasses a wide range of countries--among them Turkey, Iraq, Egypt, Senegal, Saudi Arabia, and Morocco--each with a varying degree of religious stricture. Generalizations, therefore, can be erroneous and misleading. The contributors to this book--prominent scholars in anthropology, history, sociology, and political science--examine such issues as the ideology and political practices of Iran's ruling Shi'ite clerics, the impact of state policies on the status of women, the controversy over parliamentary government in the Arab world, the role of modern intellectuals, and charisma and leadership in tribal societies. The arguments the authors put forward often overturn conventional opinion about the Muslim world. This original and important book reminds us that Muslim society is not a monolith, but that it encompasses a rich variety of cultures.

Anne Sexton: Telling the Tale contains some of the best and most representative writing on the life and work of this poet. The volume spans the course of her career from the 1960 publication of To Bedlam and Park Way Back to the works that were published after her death in 1974. Of special interest to the scholar and critic are the studies focusing on the materials, themes, and techniques of Sexton's poetry, especially in relation to those of her predecessors and contemporaries.

Ezra Pound and E. E. Cummings carried on a long and varied correspondence from the 1920s until Cummings's death in 1962. This volume collects all of the important letters from this important friendship in the history of modern poetry.Throughout the correspondence both poets reveal themselves and their beliefs to a remarkable degree. Pound entrusted to Cummings details of his political outlook in the 1930s and 1940s, including his opinions about Mussolini's Italy. The letters to Cummings also shed new light on the question of Pound's sanity after World War II. Although he was diagnosed as mentally unfit, the letters generally show no evidence of paranoia, only of his characteristic eccentricity. Similarly, these letters should provoke a reevaluation of Cummings. Critics have treated Cummings's political views as either strictly private matters or merely incidental to his art. The letters, however, show that Cummings's radically conservative political opinions are wholly consistent with his poetics, and raise the question of the relation between Cummings's political principles and his enthusiasm for particular forms (and particular stars) of mass entertainment.In addition to their political revelations, the letters are steeped in the literary climate--and literary gossip--of the times. Pound comments often and candidly on Cummings's poetry and prose; both Pound and Cummings send light verse to each other. And the poets exchange anecdotes about such figures as Henry James, Wyndham Lewis, T. S. Eliot, Edmund Grosse, Max Eastman, and Aldous Huxley, among other writers.There is much here to interest and delight both fans and foes of Pound and Cummings. The book will be of primary importance to students and scholars of modern poetry, especially those who emphasize the intersection of literary works and political history.Barry Ahearn is Associate Professor of English, Tulane University.

David Hotchkiss Price, a specialist in Renaissance cultural and ecclesiastical history, has broken new ground with this comprehensive analysis of Renaissance humanism as the foundation for Dürer's religious art and, in particular, for Dürer's reception of the Reformation movements. Price also offers an innovative study of the relationships between text and image, and a pioneering assessment of the representation of Jews in Dürer's religious art. David Price is Associate Professor of History and of Church History, Southern Methodist University.

A long-overdue assessment of W. D. Snodgrass's influence on contemporary poetry and his evolution as an artist

Examines Trollope in terms of Romantic literary art

Listening with a Feminist Ear is a study of the cultural politics and possibilities of sound in cinema. Eschewing ocularcentric and siloed disciplinary formations, the book takes seriously the radical theoretical and methodological potential of listening. It models a feminist interpretive practice that is not just attuned to how power and privilege are materialized in sound, but that engenders new, counter-hegemonic imaginaries. Focusing on mainstream Bombay cinema, Sundar identifies singing, listening, and speaking as key sites in which gendered notions of identity and difference take form. Charting new paths through seven decades of film, media, and cultural history, Sundar identifies key shifts in women's playback voices and the Islamicate genre of the qawwali. She also conceptualizes spoken language as sound, and turns up the volume on a capacious, multilingual politics of belonging that scholarly and popular accounts of nation typically render silent. All in all, Listening with a Feminist Ear offers a critical sonic sensibility that reinvigorates debates about the gendering of voice and body in cinema, and the role of sound and media in conjuring community.

The Daughter's Dilemma breaks new ground in literary studies through its application of family systems theory to the analysis of nineteenth-century domestic novels. Cohen argues for structural correspondences between families and novels: as systems seeking closure, they are governed by certain analogous laws. She argues further that the father-daughter dyad is the pivotal structure by which the nuclear family and the domestic novel were able to define themselves as closed systems. The study treats novels by Samuel Richardson, Jane Austen, Emily Brontë, George Eliot, and Henry James and places them in the context of the writers' individual family experiences. Drawing on recent work in literary and feminist criticism, anthropology, history, and psychoanalysis, as well as family systems theory, Cohen seeks to critique the limitations of these theoretical models even as she employs them to illuminate the texts under discussion. The study's approach leads to insights about the contemporary family and about the present state of literature and literary criticism. Cohen concludes by suggesting that the modern period marked the demise of an ideology favoring closed systems. The result has been both a nostalgia for those systems and a redefinition of experience and relationship as open and subject to endless interpretation. Such an ideological reformulation helps explain the present insistence by literary theorists on the inescapability of the text and the "reality" of representation.

Written by a longtime resident of Japan, Politics and the News Media in Japan describes and analyzes political communication in Japan with a particular focus on the relationship between the news media and politicians. In this pioneering work, Ofer Feldman shows how the close connection between reporters and members of the Japanese National Diet influences the coverage of politics in the media and how the news media and reporters function as information sources for Diet members. The author discusses the importance of the national dailies in Japanese political life; reporters' work patterns and their formal and informal interaction with political news sources; the objectives reporters and politicians have vis-à-vis one another; and how Japanese cultural factors affect the role reporters play in politics. This volume fills a serious gap in the literature on the Japanese media and its role in the political system by focusing on the structure and process of news-gathering by Japanese reporters. It is the first work based on a survey of rank-and-file members of the Japanese National Diet; newsmen and editors of national and local newspapers, news agencies, and broadcast media; political party officials; and secretaries to Diet members. It will appeal especially to those interested in comparative politics, comparative mass communication, and Japanese studies.

To be born into the middle or upper classes of Matthew Arnold's England was in a sense to be born into the classical tradition. The precise contour and uses of the tradition, in Arnold's thought and writing, are the subject of this unique study by Warren D. Anderson. In Matthew Arnold and the Classical Tradition, Anderson shows how the young poet first experimented with his classical heritage, how he moved toward deep involvement and then withdrew to a more objective position. The author examines Arnold's school and university background, his poetry and later prose, his relationship to Stoicism and Epicureanism. The resulting study is absolutely central to an appreciation of Arnold and to an understanding of the classical foundations of Western literature. It shows clearly and accurately the ways in which the nineteenth century interpreted the fifth century B.C.

". . . extraordinarily far-reaching. . . . highly accessible." --Notes "No one has written this way about music in a long, long time. Lucid, insightful, with real spiritual, political, intellectual, and emotional grasp of the whole picture. A book about why music matters, and how, and to whom." --Dave Marsh, author of Louie, Louie and Born to Run: The Bruce Springsteen Story "This book is urgently needed: a comprehensive look at the various forms of black popular music, both as music and as seen in a larger social context. No one can do this better than Craig Werner." --Henry Louis Gates, Jr., W.E.B. Du Bois Professor of the Humanities, Harvard University "[Werner has] mastered the extremely difficult art of writing about music as both an aesthetic and social force that conveys, implies, symbolizes, and represents ideas as well as emotion, but without reducing its complexities and ambiguities to merely didactic categories." --African American Review A Change Is Gonna Come is the story of more than four decades of enormously influential black music, from the hopeful, angry refrains of the Freedom movement, to the slick pop of Motown; from the disco inferno to the Million Man March; from Woodstock's "Summer of Love" to the war in Vietnam and the race riots that inspired Marvin Gaye to write "What's Going On." Originally published in 1998, A Change Is Gonna Come drew the attention of scholars and general readers alike. This new edition, featuring four new and updated chapters, will reintroduce Werner's seminal study of black music to a new generation of readers. Craig Werner is Professor of Afro-American Studies at the University of Wisconsin, and author of many books, including Playing the Changes: From Afro-Modernism to the Jazz Impulse and Up Around the Bend: An Oral History of Creedence Clearwater Revival. His most recent book is Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul.

Few musicians can boast careers as long and productive as that of jazz instrumentalist Garvin Bushell. In Jazz from the Beginning, Bushell vividly recounts his musical experiences and reflects on some of the major personalities who shaped the history of jazz. Bushell's memoir vibrates with the excitement of being a part of the evolution of jazz. He began his career as a teenager, playing clarinet in a circus band. In the 1920s, he played gigs in rowdy Harlem cabarets and was a member of the Sam Wooding ensemble, one of the first black musical groups to tour Europe, Russia, and South America. In the 1930s, he performed with the big bands of Fletcher Henderson, Cab Calloway, and Chick Webb. In the 1950s and 1960s he participated in the Dixieland revival and in the modern experiments of Eric Dolphy and John Coltrane. Bushell also recalls with candor the scarring experiences of racial prejudice he encountered while touring America and Europe. Mark Tucker has carefully compiled Bushell's memoirs from a series of thirty-one taped interviews made in the summer of 1986. His text preserves Bushell's warmth and personality and provides scholars and music lovers alike with a critical analysis of African-American music and an important record of seventy years of American musical history.

In the analysis of Hill's poetry and critical ideas, Vincent Sherry illuminates Hill's often obscure and oblique language, drawing connections between the rich verbal textures of the verse and the poet's recurring concerns as a critic. The author focuses on Hill's work in the context of postwar British literature and relates it to American as well as British extensions of literary modernism. The result is an engaging and far-ranging study of one of England's most contemporary poets.