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Winner of the Best Book Award in Comics History from the Grand Comics Database  Honorable Mention, 2019-2020 Research Society for American Periodicals Book Prize The term \"graphic novel\" was first coined in 1964, but it wouldn't be broadly used until the 1980s, when graphic novels such as Watchmen and Maus achieved commercial success and critical.

Haiti Fights Back: The Life and Legacy of Charlemagne Péralte is the first US scholarly examination of the politician and caco leader (guerrilla fighter) who fought against the US military occupation of Haiti. The occupation lasted close to two decades, from 1915-1934. Alexis argues for the importance of documenting resistance while exploring the occupation’s mechanics and its imperialism. She takes us to Haiti, exploring the sites of what she labels as resistance zones, including Péralte’s hometown of Hinche and the nation’s large port areas--Port-au-Prince and Cap-Haïtien. Alexis offers a new reading of US military archival sources that record Haitian protests as banditry. Haiti Fights Back illuminates how Péralte launched a political movement, and meticulously captures how Haitian women and men resisted occupation through silence, military battles, and writings. She locates and assembles rare, multilingual primary sources from traditional repositories, living archives (oral stories), and artistic representations in Haiti and the United States. The interdisciplinary work draws on legislation, cacos’ letters, newspapers, and murals, offering a unique examination of Péralte’s life (1885-1919) and the significance of his legacy through the 21st century. Haiti Fights Back offers a new approach to the study of the US invasion of the Americas by chronicling how Caribbean people fought back.

Winner of the 2000 American Studies Network Prize and the Literature and Language Award from the Association of American Publishers, Inc.Early American naturalists assembled dazzling collections of native flora and fauna, from John Bartram's botanical garden in Philadelphia and the artful display of animals in Charles Willson Peale's museum to P.

What does it mean to turn the public library or museum into a civic forum?Made in Newarkdescribes a turbulent industrial city at the dawn of the twentieth century and the ways it inspired the library's outspoken director, John Cotton Dana, to collaborate with industrialists, social workers, educators, and New Women.This is the story of experimental exhibitions in the library and the founding of the Newark Museum Associationùa project in which cultural literacy was intertwined with civics and consumption. Local artisans demonstrated crafts, connecting the cultural institution to the department store, school, and factory, all of which invoked the ideal of municipal patriotism. Today, as cultural institutions reappraise their relevance,Made in Newarkexplores precedents for contemporary debates over the ways the library and museum engage communities, define heritage in a multicultural era, and add value to the economy.

This interdisciplinary study explores how US Mexicana and Chicana authors and artists across different historical periods and regions use domestic space to actively claim their own histories. Through \"negotiation\"-a concept that accounts for artistic practices outside the duality of resistance/accommodation-and \"self-fashioning,\" Marci R. McMahon demonstrates how the very sites of domesticity are used to engage the many political and recurring debates about race, gender, and immigration affecting Mexicanas and Chicanas from the early twentieth century to today.Domestic Negotiationscovers a range of archival sources and cultural productions, including the self-fashioning of the \"chili queens\" of San Antonio, Texas, Jovita González's romance novelCaballero, the home economics career and cookbooks of Fabiola Cabeza de Baca, Sandra Cisneros's \"purple house controversy\" and her acclaimed textThe House on Mango Street, Patssi Valdez's self-fashioning and performance of domestic space in Asco and as a solo artist, Diane Rodríguez's performance of domesticity in Hollywood television and direction of domestic roles in theater, and Alma López's digital prints of domestic labor in Los Angeles. With intimate close readings, McMahon shows how Mexicanas and Chicanas shape domestic space to construct identities outside of gendered, racialized, and xenophobic rhetoric.

The \"hush\" of the title comes suddenly, when first Elizabeth Cady Stanton dies on October 26, 1902, and three years later Susan B. Anthony dies on March 13, 1906. It is sudden because Stanton, despite near blindness and immobility, wrote so intently right to the end that editors had supplies of her articles on hand to publish several months after her death. It is sudden because Anthony, at the age of eighty-five, set off for one more transcontinental trip, telling a friend on the Pacific Coast, \"it will be just as well if I come to the end on the cars, or anywhere, as to be at home.\" Volume VI of this extraordinary series of selected papers is inescapably about endings, death, and silence. But death happens here to women still in the fight.An Awful Hushis about reformers trained \"in the school of anti-slavery\" trying to practice their craft in the age of Jim Crow and a new American Empire. It recounts new challenges to \"an aristocracy of sex,\" whether among the bishops of the Episcopal church, the voters of California, or the trustees of the University of Rochester. And it sends last messages about woman suffrage. As Stanton wrote to Theodore Roosevelt on the day before she died, \"Surely there is no greater monopoly than that of all men, in denying to all women a voice in the laws they are compelled to obey.\" With the publication of Volume VI, this series is now complete.

The early Cold War (1947-1964) was a time of optimism in America. Flushed with confidence by the Second World War, many heralded the American Century and saw postwar affluence as proof that capitalism would solve want and poverty. Yet this period also filled people with anxiety. Beyond the specter of nuclear annihilation, the consumerism and affluence of capitalism's success were seen as turning the sons of pioneers into couch potatoes.InDiscipline and Indulgence, Jeffrey Montez de Oca demonstrates how popular culture, especially college football, addressed capitalism's contradictions by integrating men into the economy of the Cold War as workers, warriors, and consumers. In the dawning television age, college football provided a ritual and spectacle of the American way of life that anyone could participate in from the comfort of his own home. College football formed an ethical space of patriotic pageantry where men could produce themselves as citizens of the Cold War state. Based on a theoretically sophisticated analysis of Cold War media,Discipline and Indulgenceassesses the period's institutional linkage of sport, higher education, media, and militarism and finds the connections of contemporary sport media to today's War on Terror.

In Borderlands Saints, Desiree A. Martin examines the rise and fall of popular saints and saint-like figures in the borderlands of the United States and Mexico. Focusing specifically on Teresa Urrea (La Santa de Cabora), Pancho Villa, Cesar Chavez, Subcomandante Marcos, and Santa Muerte, she traces the intersections of these figures, their devotees, artistic representations, and dominant institutions with an eye for the ways in which such unofficial saints mirror traditional spiritual practices and serve specific cultural needs. Popular spirituality of this kind engages the use and exchange of relics, faith healing, pilgrimages, and spirit possession, exemplifying the contradictions between high and popular culture, human and divine, and secular and sacred. Martin focuses upon a wide range of Mexican and Chicano/a cultural works drawn from the nineteenth century to the present, covering such diverse genres as the novel, the communique, drama, the essay or cronica, film, and contemporary digital media. She argues that spiritual practice is often represented as narrative, while narrative - whether literary, historical, visual, or oral -- may modify or even function as devotional practice.