Punk Rock Warlord explores the relevance of Joe Strummer within the continuing legacies of both punk rock and progressive politics. It is aimed at scholars and general readers interested in The Clash, punk culture, and the intersections between pop music and politics, on both sides of the Atlantic. Contributors to the collection represent a wide range of disciplines, including history, sociology, musicology, and literature; their work examines all phases of Strummer's career, from his early days as 'Woody' the busker to the whirlwind years as front man for The Clash, to the 'wilderness years' and Strummer's final days with the Mescaleros. Punk Rock Warlord offers an engaging survey of its subject, while at the same time challenging some of the historical narratives that have been constructed around Strummer the Punk Icon. The essays in Punk Rock Warlord address issues including John Graham Mellor's self-fashioning as 'Joe Strummer, rock revolutionary'; critical and media constructions of punk; and the singer's complicated and changing relationship to feminism and anti-racist politics. These diverse essays nevertheless cohere around the claim that Strummer's look, style, and musical repertoire are so rooted in both English and American cultures that he cannot finally be extricated from either.

Punk Rock Warlord explores the relevance of Joe Strummer within the continuing legacies of both punk rock and progressive politics. It is aimed at scholars and general readers interested in The Clash, punk culture, and the intersections between pop music and politics, on both sides of the Atlantic. Contributors to the collection represent a wide range of disciplines, including history, sociology, musicology, and literature; their work examines all phases of Strummer's career, from his early days as 'Woody' the busker to the whirlwind years as front man for The Clash, to the 'wilderness years' and Strummer's final days with the Mescaleros. Punk Rock Warlord offers an engaging survey of its subject, while at the same time challenging some of the historical narratives that have been constructed around Strummer the Punk Icon. The essays in Punk Rock Warlord address issues including John Graham Mellor's self-fashioning as 'Joe Strummer, rock revolutionary'; critical and media constructions of punk; and the singer's complicated and changing relationship to feminism and anti-racist politics. These diverse essays nevertheless cohere around the claim that Strummer's look, style, and musical repertoire are so rooted in both English and American cultures that he cannot finally be extricated from either.

In this volume experienced and new college- and university-level teachers will find practical, adaptable strategies for designing or updating courses in western American literature and western studies. Teaching Western American Literature features the latest developments in western literary research and cultural studies as well as pedagogical best practices in course development. Contributors provide practical models and suggestions for courses and assignments while presenting concrete strategies for teaching works both inside and outside the canon. In addition, Brady Harrison and Randi Lynn Tanglen have assembled insights from pioneering western studies instructors with workable strategies and practical advice for translating this often complex material for classrooms from freshman writing courses to graduate seminars. Teaching Western American Literature reflects the cutting edge of western American literary study, featuring diverse approaches allied with women's, gender, queer, environmental, disability, and Indigenous studies and providing instructors with entree into classrooms of leading scholars in the field.

This wide-ranging collection of essays addresses a diverse and expanded vision of Montana literature, offering new readings of both canonical and overlooked texts. Although a handful of Montana writers such as Richard Hugo, A. B. Guthrie Jr., D'Arcy McNickle, and James Welch have received considerable critical attention, sizable gaps remain in the analysis of the state's ever-growing and ever-evolving canon. The twelve essays in "All Our Stories Are Here" not only build on the exemplary, foundational work of other writers but also open further interpretative and critical conversations. Expanding on the critical paradigms of the past and bringing to bear some of the latest developments in literary and cultural studies, the contributors engage issues such as queer ambivalence in Montana writing, representations of the state in popular romances, and the importance of the University of Montana's creative writing program in fostering the state's literary corpus. The contributors also explore the work of writers who have not yet received their critical due, take new looks at old friends, and offer some of the first explorations of recent works by well-established artists. "All Our Stories Are Here" conveys a sense of continuity in the field of Western literary criticism, while at the same time challenging conventional approaches to regional literature.

"Agent of Empire is a detailed study of creative works inspired by the escapades of the American soldier of fortune William Walker. The leader of several fractious, bloody forays into Mexico and Central America in the 1850s, Walker was executed in 1860 by a Honduran firing squad. Brady Harrison looks at a dozen works, such as Bret Harte's novel "The Crusade of Excelsior (1887) and Alex Cox's film "Walker (1987), to show how Walker's life and legacy have been explored in journalism, poetry, fiction, drama, and cinema for over a century. At the heart of our ongoing interest in Walker, says Harrison, is the need to understand the ever-shifting ambitions and arguments that have driven American economic, military, and paramilitary ventures around the globe over the past 150 years. Harrison discusses how the mercenary romance, an understudied subgenre of the historical romance first popularized by Bret Harte and Richard Harding Davis, owes its conception to William Walker. Engaging the work of other scholars such as Quentin Anderson and Judith Butler, Harrison places Walker in the company of Aaron Burr, Theodore Roosevelt, Oliver North, and other American conquistadors. Walker and such fellow agents of empire, Harrison argues, exemplify a peculiar merging of Emersonian inner mastery and the American habit of equating self with nation. Inward looking at first, they soon set their sights, as special agents of providence or the state, on such places as Mexico, Nicaragua, Cuba, the Philippines, and more recently, Vietnam and Iraq. "Agent of Empire is a timely exploration of American imperialism and its troubling components of hypermasculinity, racism, and ambition. Harrison shows how literaturehelps us gauge the ever-shifting desires, fantasies, arguments, and ideologies that continue to underwrite our imperial ventures, private and public.

A romance of America's nascent imperial power, Richard Harding Davis's Soldiers of Fortune recounts the adventures of Robert Clay, a mining engineer and sometime mercenary, and Hope Langham, the daughter of a wealthy American industrialist, as they become caught up in a coup in Olancho, a fictional Latin American republic. When the coup, organized by corrupt politicians and generals, threatens the American-owned Valencia Mining Company, Clay organizes his workers and the handful of Americans visiting the mine into a counter-coup force. Written on the eve of the Spanish-American War, Soldiers of Fortune casts the young American as the dashing, hypermasculine hero of the new military and economic. A huge best-seller, the novel did its part to push the nation into war against Spain, and stands as one of the most important texts in the literature of American imperialism. The appendices, which bring together primary materials by writers and politicians such as Rebecca Harding Davis, Theodore Roosevelt, Jose Marti, Mark Twain, Herbert Spencer, and others, address such issues as social Darwinism, masculinity, and ideas of Anglo-American superiority.

A compelling critical investigation into Gilman's conception of setting and place. Charlotte Perkins Gilman and a Woman's Place in America is a pioneering collection that probes how depictions of space, confinement, and liberation establish both the difficulty and necessity of female empowerment. Turning Victorian notions of propriety and a woman's place on its ear, this finely crafted essay collection studies Gilman's writings and the manner in which they push back against societal norms and reject male-dominated confines of space. The contributors present fascinating and innovative readings of some of Gilman's most significant works. By examining the settings in ""The Yellow Wallpaper"" and Herland, for example, the volume analyzes Gilman's construction of place, her representations of male dominance and female subjugation, and her analysis of the rules and obligations that women feel in conforming to their assigned place: the home. Additionally, this volume delineates female resistance to this conformity. Contributors highlight how Gilman's narrators often choose resistance over obedient captivity, breaking free of the spaces imposed upon them in order to seek or create their own habitats. Through biographical interpretations of Gilman's work that focus on the author's own renouncement of her ""natural"" role of wife and mother, contributors trace her relocation to the American West in an attempt to appropriate the masculinized spaces of work and social organization. Engaging, well-researched, and deftly written, the essays in this collection will appeal to scholars of Gilman, literature, and gender issues alike.