Reprint of the original, first published in 1883.

An evocative, gorgeous four-season look at cooking in Maine, with 100 recipes No one can bring small-town America to life better than a native. Erin French grew up in Freedom, Maine (population 719), helping her father at the griddle in his diner. An entirely self-taught cook who used cookbooks to form her culinary education, she now helms her restaurant, The Lost Kitchen, in a historic mill in the same town, creating meals that draw locals and visitors from around the world to a dining room that feels like an extension of her home kitchen. The food has been called “brilliant in its simplicity and honesty” by Food & Wine, and it is exactly this pure approach that makes Erin’s cooking so appealing—and so easy to embrace at home. This stunning giftable package features a vellum jacket over a printed cover.

In this book Denis M. Provencher examines the tensions between Anglo-American and French articulations of homosexuality and sexual citizenship in the context of contemporary French popular culture and first-person narratives. In the light of recent political events and the perceived hegemonic role of US forces throughout the world, an examination of the French resistance to globalization and 'Americanization', is timely in this context. He argues that contemporary French gay and lesbian cultures rely on long-standing French narratives that resist US models of gay experience. He maintains that French gay experiences are mitigated through (gay) French language that draws on several canonical voices - including Jean Genet and Jean-Paul Sartre - and various universalistic discourses. Drawing on material from a diverse array of media, Queer French draws out the importance of a French gay linguistic and semiotic tradition that emerges in contemporary textual practices and discourses as they relate to sexual citizenship in 20th- and 21st-century France. It will appeal to an interdisciplinary readership in gender and sexuality studies, cultural studies, linguistics, media and communication studies and French studies.

Beyond the affluent centre of Paris and other French cities, in the deprived banlieues, a war is going on. This is the French Intifada, a guerrilla war between the French state and the former subjects of its Empire, for whom the mantra of 'liberty, equality, fraternity' conceals a bitter history of domination, oppression, and brutality. This war began in the early 1800s, with Napoleon's lust for martial adventure, strategic power and imperial preeminence, and led to the armed colonization of Algeria, Morocco and Tunisia, and decades of bloody conflict, all in the name of 'civilization'. Here, against the backdrop of the Arab Spring, Andrew Hussey walks the front lines of this war - from the Gare du Nord in Paris to the souks of Marrakesh and the mosques of Tangier - to tell the strange and complex story of the relationship between secular, republican France and the Muslim world of North Africa. The result is a completely new portrait of an old nation. Combining a fascinating and compulsively readable mix of history, politics and literature with Hussey's years of personal experience travelling across the Arab World, The French Intifada reveals the role played by the countries of the Maghreb in shaping French history, and explores the challenge being mounted by today's dispossessed heirs to the colonial project: a challenge that is angrily and violently staking a claim on France's future.

This book, originally published in 1991, assesses how attitudes, political orientations and social values changed during the five decades after the Second World War. The case studies in the book focus on key ‘sites’ in political culture: in France, on the extreme right, the cinema, the impact of media personalities and changes of political discourse; in Germany, on the decline of regional identities, the emergence of specific issues and the concern of political parties with the effectiveness of language. This interdisciplinary study provides new insights into the way French and German people see themselves.

In the context of a shifting domestic and international status quo that was evolving in the decades following World War II, French audiences used jazz as a means of negotiating a wide range of issues that were pressing to them and to their fellow citizens. Despite the fact that jazz was fundamentally linked to the multicultural through its origins in the hands of African-American musicians, happenings within the French jazz public reflected much about France’s postwar society. In the minds of many, jazz was connected to youth culture, but instead of challenging traditional gender expectations, the music tended to reinforce long-held stereotypes. French critics, musicians, and fans contended with the reality of American superpower strength and often strove to elevate their own country’s stature in relation to the United States by finding fault with American consumer society and foreign policy aims. Jazz audiences used this music to condemn American racism and to support the American civil rights movement, expressing strong reservations about the American way of life. French musicians lobbied to create professional opportunities for themselves, and some went so far as to create a union that endorsed preferential treatment for French nationals. As France became more ethnically and religiously diverse due immigration from Africa, Asia, and the Caribbean, French jazz critics and fans noted the insidious appearance of racism in their own country and had to contend with how their own citizens would address the changing demographics of the nation, even if they continued to insist that racism was more prevalent in the United States. As independence movements brought an end to the French empire, jazz enthusiasts from both former colonies and France had to reenvision their relationship to jazz and to the music’s international audiences. In these postwar decades, the French were working to preserve a distinct national identity in the face of weakened global authority, most forcefully represented by decolonization and American hegemony. Through this originally African American music, French listeners, commentators, and musicians participated in a process that both challenged and reinforced ideas about their own culture and nation.

In the impoverished outskirts of French cities, known as the banlieues, minority communities are turning to American culture, history, and theory to make their own voices, cultures, and histories visible. Filmmakers have followed suit, turning to Hollywood genre conventions to challenge notions of identity, belonging, and marginalization in mainstream French film. French B Movies proposes that French banlieue films, far from being a fringe genre, offer a privileged site from which to understand the current state of the French film industry in an age of globalization. This gritty style appears in popular arthouse films such as Mathieu Kassovitz's La Haine and Bande de filles (Girlhood) along with the major Netflix hit series Lupin. David Pettersen traces how, in these works and others, directors fuse features of banlieue cinema with genre formulas associated with both Hollywood and Black cultural models, as well as how transnational genre hybridizations, such as B movies, have become part of the ecosystem of the French film industry. By combining film analysis, cultural history, critical theory, and industry studies, French B Movies reveals how featuring banlieues is as much about trying to imagine new identities and production models for French cinema as it is about representation.