For a boy coming of age during the 1930s and '40s, Greenville, Alabama, a small cotton-farming town in the Deep South, was a wonderfully rich environment. Greenville may have been small, but for author Clifton K. Meador, MD, life growing up there was anything but dull.In his memoir Sketches of a Small Town...circa 1940, Meador lovingly retells the stories that formed his values and shaped his life. For young Clifton and his friends, there's plenty of trouble to stir up, ranging from a field fire, to buzzard hunting, to fights between the "country boys" and the "city boys," and, of course, girls. There are also poignant moments, such as the loss of his best friend because of the impenetrable wall of segregation. And there are quirky characters-the town's sole, somewhat frightening taxi driver; the intriguing, cross-dressing homosexual; and the eccentric agronomy professor turned failed farmer.Sketches of a Small Town...circa 1940 not only tells one man's story, but also beautifully captures the remarkable people, places, and events that characterized a unique lifestyle in a bygone era."What we have here is a poignant, very funny, yet respectful look back at small-town life and characters in the Deep South in the '30s and '40s, pre-prosperity, before it was a recognized condition. Meador is a Mark Twain without the river and a Garrison Keillor without the snow... and Baptists instead of Lutherans. I loved this book."-Harold Chambliss - freelance writer, humorist, and former magazine publisher

Memoirs of an Unjust Fella, first published in 1980, is the autobiography of James Maude Richards (1907-1992): a personal account from the heart of the twentieth century's high controversies over modern architecture. 'The anonymity of a Times byline - 'Our Architectural Correspondent' - was, in some ways, the crowning achievement of [J.M. Richards'] public career. It made him the connection between architecture and the Establishment, a role for which he was peculiarly well fitted by background (Anglo-Irish, Church, Army and some land), training (Architectural Association School, plus practice in London, Ireland and North America) and professional experience as the editor of the Architectural Review on and off since 1935. And he knew absolutely everybody... Among the illustrations to Unjust Fella, there is a group photograph of the entire Modern Movement in architecture (the lot, bar Frank Lloyd Wright and Mies van der Rohe), and there's Jim, modestly in the back row but practically in the middle.' Reyner Banham, London Review of Books

Tim Burstall, the celebrated director of Stork, Alvin Purple and numerous other definitive 'ocker' comedies, is credited with shaking the moribund Australian film industry out of its torpor. But long before that, in the early 1950s, he began keeping a diary to record the world of the group of 'arties' and 'intellectuals' he was living among in Eltham, then a rural area outside Melbourne, where cheap land was available for mudbrick houses and studios, and where suburban rigidities could be mercilessly flouted. Burstall was in his mid-twenties, with two young sons and an open marriage with his wife, Betty. Eager to become a writer, to go against the grain, he kept a record almost daily-of the parties and the talk in pubs and studios, about art and politics and sex, of Communist Party branch meetings and film societies, of political rallies and the first Herald Outdoor Art Show. Somehow, while holding down a public relations job in the Antarctic Division and juggling his love affairs and obsession with the beautiful, brainy Fay, he wrote 500 words almost every day. Betty, according to the diaries, kept the show on the road, feeding friends after the pub, milking goats and working in her pottery making bowls and mugs, which Tim sometimes decorated at weekends. These Memoirs of a Young Bastard, as Burstall dubbed himself and them, are among the most evocative Australian diaries of modern times. Burstall can write. He has an eye for the telling detail, an unerring ear for cant and pomposity and, most endearingly, an ability to mock himself-always from the perspective of a bloke of his generation.

"The entire field of film historians awaits the AFI volumes with eagerness."--Eileen Bowser, Museum of Modern Art Film Department Comments on previous volumes: "The source of last resort for finding socially valuable . . . films that received such scant attention that they seem 'lost' until discovered in the AFI Catalog."--Thomas Cripps "Endlessly absorbing as an excursion into cultural history and national memory."--Arthur Schlesinger, Jr.

The story of a small town near Auschwitz and of its local Nazi administrator. An ordinary functionary and family man without whose help, and those of thousands like him, the murderous plans of the Nazi elite could never have been fully realized.

In Europe the war was already old, but while feeding nickels into roadhouse jukeboxes, the Presidential conventions, where the biggest question would be whether That Man in the White House would shatter yet another precedent and run for a third term. To many Americans, there seemed little else worth worrying about. As with all time periods, the 1940s had a set of specific fads that were popular around the country. Read this book and find out about the films of this decade and more...

"Tracing Alan Jarvis' personal background and varied careers through archives, published sources, and interviews with family, friends, colleagues, and critics, Bringing Art to Life assesses his impact and exposes the formal and informal mechanisms through which Canadian culture operated in the mid-twentieth century." --Résumé de l'éditeur.

National bestseller 2017 National Book Critics Circle (NBCC) Finalist ABA Indies Introduce Winter / Spring 2017 Selection Barnes & Noble Discover Great New Writers Spring 2017 Selection ALA 2018 Notable Books Selection An intimate and poignant graphic novel portraying one family’s journey from war-torn Vietnam, from debut author Thi Bui. This beautifully illustrated and emotional story is an evocative memoir about the search for a better future and a longing for the past. Exploring the anguish of immigration and the lasting effects that displacement has on a child and her family, Bui documents the story of her family’s daring escape after the fall of South Vietnam in the 1970s, and the difficulties they faced building new lives for themselves. At the heart of Bui’s story is a universal struggle: While adjusting to life as a first-time mother, she ultimately discovers what it means to be a parent—the endless sacrifices, the unnoticed gestures, and the depths of unspoken love. Despite how impossible it seems to take on the simultaneous roles of both parent and child, Bui pushes through. With haunting, poetic writing and breathtaking art, she examines the strength of family, the importance of identity, and the meaning of home. In what Pulitzer Prize–winning novelist Viet Thanh Nguyen calls “a book to break your heart and heal it,” The Best We Could Do brings to life Thi Bui’s journey of understanding, and provides inspiration to all of those who search for a better future while longing for a simpler past.

The American short story has always been characterized by exciting aesthetic innovations and an immense range of topics. This handbook offers students and researchers a comprehensive introduction to the multifaceted genre with a special focus on recent developments due to the rise of new media. Part I provides systematic overviews of significant contexts ranging from historical-political backgrounds, short story theories developed by writers, print and digital culture, to current theoretical approaches and canon formation. Part II consists of 35 paired readings of representative short stories by eminent authors, charting major steps in the evolution of the American short story from its beginnings as an art form in the early nineteenth century up to the digital age. The handbook examines historically, methodologically, and theoretically the coming together of the enduring narrative practice of compression and concision in American literature. It offers fresh and original readings relevant to studying the American short story and shows how the genre performs American culture.

The Pushcart Prize–winning poet’s memoir of his criminal youth and years in prison: a “brave and heartbreaking” tale of triumph over brutal adversity (The Nation). Jimmy Santiago Baca’s “astonishing narrative” of his life before, during, and immediately after the years he spent in the maximum-security prison garnered tremendous critical acclaim. An important chronicle that “affirms the triumph of the human spirit,” it went on to win the prestigious 2001 International Prize (Arizona Daily Star). Long considered one of the best poets in America today, Baca was illiterate at the age of twenty-one when he was sentenced to five years in Florence State Prison for selling drugs in Arizona. This raw, unflinching memoir is the remarkable tale of how he emerged after his years in the penitentiary—much of it spent in isolation—with the ability to read and a passion for writing poetry. “Proof there is always hope in even the most desperate lives.” —Fort Worth Star-Telegram “A hell of a book, quite literally. You won’t soon forget it.” —The San Diego U-T “This book will have a permanent place in American letters.” —Jim Harrison, New York Times–bestselling author of A Good Day to Die