The beginning of the twentieth century evolved out of an era of Freethinking atheists and agnostics who challenged the Protestant hegemony of the day. Key among these mavericks was author and filmmaker Rupert Hughes, uncle to Howard Hughes. In 1922, Hughes published Souls for Sale, his wickedly playful satire of the Bible belt and Hollywood, offering a mischievous snapshot of the film industry as it struggled against a conservative Zeitgeist. The novel follows the prodigal adventures of a clergyman's daughter as she stumbles into the movie industry and finds it to be a new and liberating moral universe. Hughes's adaptation of his sly work challenged the religious hierarchy of his day, but ultimately fell by the wayside, even with the support of Hollywood icons like Eric von Stroheim and Charlie Chaplin. Souls for Sale offers a glimpse into the emerging Jazz age of moviemaking against the backdrop of a country moving from its traditional roots into the kinetic ways of Hollywood.

In 1773, John Frederick Whitehead and Johann Carl B]ttner, two young German men, arrived in America on the same ship. Each man sold himself into servitude to a different master, and, years later, each wrote a memoir of his experiences, leaving invaluable historical records of their attitudes, perceptions, and goals. Despite their common voyage to America and similar working conditions as servants, their backgrounds and personalities differed. Their divergent interpretations of their experiences are the substance of rich and varied firsthand accounts of the transatlantic migration process, the servant labor experience of Germans in colonial America, and post-servitude life. Souls for Sale presents these parallel memoirs -- Whitehead's published here for the first time -- to illustrate the condition of German redemptioners as well as their religious, familial, and literary contexts during a crucial period of migration in Europe and America. The editors provide helpful introductions to the works as well as notes to guide the reader.

Cultural Writing. African American Studies. SOULS FOR SALE: THE DIARY OF AN EX-COLORED MAN is a riveting portrayal of a second generation advocate's experience in the post civil rights era of the 1980s. Anthony Asadullah Samad offers this retrospect through the eyes of a young advocate's effort to give back to his community, when he takes up membership in the local branch of the NAACP. As a lead official of the Los Angeles NAACP (Vice President 1985-88, President 1988-89), Samad (whose name was Anthony Essex at the time) discovered that the progressive civil rights agenda has been supplanted by inner race conflict and leadership succession battles within the organization, and a cultural compromise that came with the Reagan era social and economic reconstruction (1981-1988). Samad is currently the host of the Urban Issues Forum of Greater Los Angeles, a monthly public affairs forum that discusses critical issues impacting American's urban cities.

Real power is not in the physical world but in the spiritual world. The children of darkness understand this fact very well. A life can be offered for sale in the spirit realm. Find out how and why! Read on!

Having moved from one academic outpost to another throughout her childhood at the side of her aphorism-prone father, Blue van Meer attends the elite St. Gallway School in her senior year, where she falls in with a charismatic group of friends before the deaths of a teacher and student awaken her analytical instincts. A first novel. 50,000 first printing.

The Last Word argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn't already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry's dynamic creation and re-creation of itself in the public imagination.