How does cinema culture imagine one of its favorite figures, the rebel? The reputation of the American director Nicholas Ray provides a particularly notable example. Most famous for Rebel Without a Cause, Ray has since been canonized as a "rebel auteur" and celebrated for seeking a personal vision and signature style under the industrial pressures of Classical Hollywood during its late studio period. In American Stranger, Will Scheibel reconstructs how Ray's reputation developed over time, analyzing the different historical practices of modernism that set new horizons for artistic rebellion in postwar cinema. Drawing on biographical legends, interviews, film reviews, articles in both national newspapers and international film magazines, and star promotion and publicity, Scheibel examines the contexts in which Ray's reputation was constructed. These include the consolidation of director-based film criticism and the rise of film studies as an academic discipline; star performances and personifications of the rebel male in Ray's films; the counterculture in which Ray promoted himself as a teacher and worked as a political avant-gardist; and the art cinemas of Jean-Luc Godard, Wim Wenders, and Jim Jarmusch, each of whom were influenced by Ray. In addition to Rebel Without a Cause, Scheibel also analyzes such classic films as The Lusty Men and In a Lonely Place, as well as collaborative, less-examined films from his later career outside of Hollywood, We Can't Go Home Again and Lightning Over Water. Reconstructing the evolution of Ray's place in cinema culture, this intellectual history measures the standards for both rebellion and convention, for the vanguard and the establishment, that determine an artistic reputation.

A stirring, witty, and poignant glimpse into the bewildering American immigrant experience from someone who has lived it. Hakakian's "love letter to the nation that took her in [is also] a timely reminder of what millions of human beings endure when they uproot their lives to become Americans by choice" (The Boston Globe). Into the maelstrom of unprecedented contemporary debates about immigrants in the United States, this perfectly timed book gives us a portrait of what the new immigrant experience in America is really like. Written as a "guide" for the newly arrived, and providing "practical information and advice," Roya Hakakian, an immigrant herself, reveals what those who settle here love about the country, what they miss about their homes, the cruelty of some Americans, and the unceasing generosity of others. She captures the texture of life in a new place in all its complexity, laying bare both its beauty and its darkness as she discusses race, sex, love, death, consumerism, and what it is like to be from a country that is in America's crosshairs. Her tenderly perceptive and surprisingly humorous account invites us to see ourselves as we appear to others, making it possible for us to rediscover our many American gifts through the perspective of the outsider. In shattering myths and embracing painful contradictions that are unique to this place, A Beginner's Guide to America is Hakakian's candid love letter to America.

Long recognized as a master teacher at writing programs like VONA, the Loft, and the Stonecoast MFA, with A Stranger's Journey, David Mura has written a book on creative writing that addresses our increasingly diverse American literature. Mura argues for a more inclusive and expansive definition of craft, particularly in relationship to race, even as he elucidates timeless rules of narrative construction in fiction and memoir. His essays offer technique-focused readings of writers such as James Baldwin, ZZ Packer, Maxine Hong Kingston, Mary Karr, and Garrett Hongo, while making compelling connections to Mura's own life and work as a Japanese American writer. In A Stranger's Journey, Mura poses two central questions. The first involves identity: How is writing an exploration of who one is and one's place in the world? Mura examines how the myriad identities in our changing contemporary canon have led to new challenges regarding both craft and pedagogy. Here, like Toni Morrison's Playing in the Dark or Jeff Chang's Who We Be, A Stranger's Journey breaks new ground in our understanding of the relationship between the issues of race, literature, and culture. The book's second central question involves structure: How does one tell a story? Mura provides clear, insightful narrative tools that any writer may use, taking in techniques from fiction, screenplays, playwriting, and myth. Through this process, Mura candidly explores the newly evolved aesthetic principles of memoir and how questions of identity occupy a central place in contemporary memoir.

Law calls communities into being and constitutes the "we" it governs. This act of defining produces an outside as well as an inside, a border whose crossing is guarded, maintaining the identity, coherence, and integrity of the space and people within. Those wishing to enter must negotiate a complex terrain of defensive mechanisms, expectations, assumptions, and legal proscriptions. Essentially, law enforces the boundary between inside and outside in both physical and epistemological ways. Law and the Stranger explores the ways law identifies and responds to strangers within and across borders. It analyzes the ambiguous place strangers occupy in communities not their own and reflects on how dealing with strangers challenges the laws and communities that invite or parry them. As the book reveals, strangers are made through law, rather than born through accidents of geography.

Based on the How to Be a Perfect Stranger: A Guide to Etiquette in Other People's Religious Ceremonies. The handbook for how to respond in an appropriate way when someone dies—no matter what their faith or denomination. Few of us are ever prepared for the loss of a relative, friend or colleague. This stressful situation can be made worse if we are unfamiliar with the practices and rituals of the deceased person’s religious tradition. This complete guide provides all the answers you need to express your condolences and show your respect in the appropriate way regardless of the religious tradition involved, addressing many common concerns, including: Will there be a ceremony—what will it be like, and how long will it last? What should I wear? What should I avoid doing, wearing, saying? Are flowers appropriate? What is the appropriate behavior if viewing the body? These are just a few of the basic, very practical questions answered in this unique etiquette guide covering all the major (and many minor) denominations and religions found in North America—from Hindu to Presbyterian, from Mennonite to Sikh—helping you to do the right thing in a difficult situation. Covers all the major (and many minor) denominations and religions found in North America: African American Methodist Churches Assemblies of God Baha’i Baptist Buddhist Christian and Missionary Alliance Christian Church (Disciples of Christ) Christian Congregation Christian Science (Church of Christ, Scientist) Church of the Brethren Church of the Nazarene Churches of Christ Episcopalian and Anglican Evangelical Free Church Greek Orthodox Hindu International Church of theFoursquare Gospel International Pentecostal Holiness Church Islam Jehovah’s Witnesses Jewish Lutheran Mennonite/Amish Methodist Mormon (Church of Jesus Christ of Latter-day Saints) Native American/First Nations Orthodox Churches Pentecostal Church of God Presbyterian Quaker (Religious Society ofFriends) Reformed Church in America/Canada Roman Catholic Seventh-day Adventist Sikh Unitarian Universalist United Church of Canada United Church of Christ Wesleyan

World Relief staffers Matthew Soerens and Jenny Yang move beyond the rhetoric to offer a Christian response to immigration. With careful historical understanding and thoughtful policy analysis, they debunk myths about immigration, show the limits of the current immigration system, and offer concrete ways for you to welcome and minister to your immigrant neighbors.