What caused the New Left rebellion of the 1960s? In Smoking Typewriters, historian John McMillian argues that the "underground press" contributed to the New Left's growth and cultural organization in crucial, overlooked ways.

What caused the New Left rebellion of the 1960s? In Smoking Typewriters, historian John McMillian argues that the "underground press" contributed to the New Left's growth and cultural organization in crucial, overlooked ways.

Whether criticizing the American government, protesting the war in Vietnam, or denouncing capitalism, Ginsberg gave voice to the moral conscience of the nation. His personal essays on Jean Genet, Andy Warhol, Philip Glass, and others, give us compelling portraits of his fellow artists. And his views on poetry, free speech, Buddhism, and the Beats reflect the concerns of the postwar American culture he helped shape. Provocative, playful, eloquent, and of the moment, these essays offer a social history of modern America that remind us of the events and issues that preoccupied the minds of a nation -- and one of its most influential citizens -- in the postwar years.

Histories of American rock music and the 1960s counterculture typically focus on the same few places: Woodstock, Monterey, Altamont. Yet there was also a very active college circuit that brought edgy acts like the Jefferson Airplane and the Velvet Underground to different metropolitan regions and smaller towns all over the country. These campus concerts were often programmed, promoted, and reviewed by students themselves, and their diverse tastes challenged narrow definitions of rock music. Rockin’ in the Ivory Tower takes a close look at two smaller universities, Drew in New Jersey and Stony Brook on Long Island, to see how the culture of rock music played an integral role in student life in the late 1960s. Analyzing campus archives and college newspapers, historian James Carter traces connections between rock fandom and the civil rights protests, free speech activism, radical ideas, lifestyle transformations, and anti-war movements that revolutionized universities in the 1960s. Furthermore, he finds that these progressive students refused to segregate genres like folk, R&B, hard rock, and pop. Rockin’ in the Ivory Tower gives readers a front-row seat to a dynamic time for the music industry, countercultural politics, and youth culture.

When published in 1973, Gravity’s Rainbow expanded our sense of what the novel could be. Pynchon’s extensive references to modern science, history, and culture challenged any reader, while his prose bent the rules for narrative art and his satirical practices taunted U.S. obscenity and pornography statutes. His writing thus enacts freedom even as the book’s great theme is domination: humanity’s diminished “chances for freedom” in a global military-industrial system birthed and set on its feet in World War II. Its symbol: the V-2 rocket. “Gravity’s Rainbow,” Domination, and Freedom broadly situates Pynchon’s novel in “long sixties” history, revealing a fiction deeply of and about its time. Herman and Weisenburger put the novel’s abiding questions about freedom in context with sixties struggles against war, restricted speech rights, ethno-racial oppression, environmental degradation, and subtle new means of social and psychological control. They show the text’s close indebtedness to critiques of domination by key postwar thinkers such as Erich Fromm, Herbert Marcuse, and Hannah Arendt. They detail equally powerful ways that sixties countercultural practices—free-speech resistance played out in courts, campuses, city streets, and raucously satirical underground presswork—provide a clearer bearing on Pynchon’s own satirical practices and their implicit criticisms. If the System has jacketed humanity in a total domination, may not a solitary individual still assert freedom? Or has the System captured all—even supposedly immune elites—in an irremediable dominion? Reading Pynchon’s main characters and storylines, this study realizes a darker Gravity’s Rainbow than critics have been willing to see.

Student radicals and hippies—in Oklahoma? Though most scholarship about 1960s-era student activism and the counterculture focuses on the East and West Coasts, Oklahoma’s college campuses did see significant activism and “dropping out.” In Prairie Power, Sarah Eppler Janda fills a gap in the historical record by connecting the activism of Oklahoma students and the experience of hippies to a state and a national history from which they have been absent. Janda shows that participants in both student activism and retreat from conformist society sought connections to Oklahoma’s past while forging new paths for themselves. She shows that Oklahoma students linked their activism with the grassroots socialist radicalism and World War I–era anti-draft protest of their grandparents’ generation, citing Woody Guthrie, Oscar Ameringer, and the Wobblies as role models. Many movement organizers in Oklahoma, especially those in the University of Oklahoma’s chapter of Students for a Democratic Society and the anti-war movement, fit into a larger midwestern and southwestern activist mentality of “prairie power”: a blend of free-speech advocacy, countercultural expression, and anarchist tendencies that set them apart from most East Coast student activists. Janda also reveals the vehemence with which state officials sought to repress campus “agitators,” and discusses Oklahomans who chose to retreat from the mainstream rather than fight to change it. Like their student activist counterparts, Oklahoma hippies sought inspiration from older precedents, including the back-to-the-land movement and the search for authenticity, but also Christian evangelicalism and traditional gender roles. Drawing on underground newspapers and declassified FBI documents, as well as interviews the author conducted with former activists and government officials, Prairie Power will appeal to those interested in Oklahoma’s history and the counterculture and political dissent in the 1960s.

Taking a thematic approach, this new companion provides an interdisciplinary, cross-cultural, and international study of American literary journalism. From the work of Frederick Douglass and Walt Whitman to that of Joan Didion and Dorothy Parker, literary journalism is a genre that both reveals and shapes American history and identity. This volume not only calls attention to literary journalism as a distinctive genre but also provides a critical foundation for future scholarship. It brings together cutting-edge research from literary journalism scholars, examining historical perspectives; themes, venues, and genres across time; theoretical approaches and disciplinary intersections; and new directions for scholarly inquiry. Provoking reconsideration and inquiry, while providing new historical interpretations, this companion recognizes, interacts with, and honors the tradition and legacies of American literary journalism scholarship. Engaging the work of disciplines such as sociology, anthropology, African American studies, gender studies, visual studies, media studies, and American studies, in addition to journalism and literary studies, this book is perfect for students and scholars of those disciplines.

Profiles the most notorious mischief makers in Western culture from 1600 to the present day and explores how pranks are part of a long tradition of speaking truth to power and social critique.

A vital history of organizing within and beyond the walls of women’s prisons in the 1970s, illuminating a crucial chapter in today’s abolition feminist struggles. This new edition of an award-winning book features a foreword from acclaimed scholar-activist Sarah Haley and an afterword by Thuma. During the 1970s, grassroots women activists in and outside of prisons forged a radical politics against gender violence and incarceration. Scholar-activist Emily L. Thuma traces the making of this anticarceral feminism at the intersections of struggles for racial and economic justice, imprisoned and institutionalized people’s rights, and gender and sexual liberation. All Our Trials chronicles the organizing, ideas, and influence of those who placed criminalized and marginalized women at the heart of their antiviolence mobilizations. This activism confronted a "tough on crime" political agenda and clashed with the mainstream women’s movement’s strategy of resorting to the criminal legal system as a solution to sexual and domestic violence. Drawing on extensive archival research and first-person narratives, Thuma weaves together the stories of mass defense campaigns, prisoner uprisings, coalition organizing, and radical print cultures that cut through prison walls. In the process, All Our Trials reveals a vibrant culture of opposition to interpersonal and state violence that both transforms our understanding of 1970s social movements and illuminates the history of present struggles for transformative justice.