Any future biographical work on Richard Wright will find this bibliography a necessity; academic or public libraries supporting a program of black culture will find it invaluable; and it belongs in any library supporting American literature studies. Richard Wright has truly been well served. Choice The most comprehensive bibliography ever compiled for an American writer, this book contains 13,117 annotated items pertaining to Richard Wright. It includes almost all published mentions of the author or his work in every language in which those mentions appear. Sources listed include books, articles, reviews, notes, news items, publishers' catalogs, promotional materials, book jackets, dissertations and theses, encyclopedias, biographical dictionaries, handbooks and study guides, library reports, best seller charts, the Index Translationum, playbills and advertisements, editorials, radio transcripts, and published letters and interviews. The bibliography is arranged chronologically by year. Each entry includes bibliographical information, an annotation by the authors, and information about all reprintings, partial or full. The index is unusually complete and contains the titles of Wright's works, real and fictional characters in the works, entries relating to significant places and events in the author's life, important literary terminology, and much additional information.

For a Kentucky rifleman who spent his tour trudging through Vietnam's Central Highlands, it was Nancy Sinatra's ""These Boots Are Made for Walkin'."" For a ""tunnel rat"" who blew smoke into the Viet Cong's underground tunnels, it was Jimi Hendrix's ""Purple Haze."" For a black marine distraught over the assassination of Martin Luther King Jr., it was Aretha Franklin's ""Chain of Fools."" And for countless other Vietnam vets, it was ""I Feel Like I'm Fixin' to Die,"" ""Who'll Stop the Rain,"" or the song that gives this book its title. In We Gotta Get Out of This Place, Doug Bradley and Craig Werner place popular music at the heart of the American experience in Vietnam. They explore how and why U.S. troops turned to music as a way of connecting to each other and the World back home and of coping with the complexities of the war they had been sent to fight. They also demonstrate that music was important for every group of Vietnam veterans -- black and white, Latino and Native American, men and women, officers and ""grunts"" -- whose personal reflections drive the book's narrative. Many of the voices are those of ordinary soldiers, airmen, seamen, and marines. But there are also ""solo"" pieces by veterans whose writings have shaped our understanding of the war -- Karl Marlantes, Alfredo Vea, Yusef Komunyakaa, Bill Ehrhart, Arthur Flowers -- as well as songwriters and performers whose music influenced soldiers' lives, including Eric Burdon, James Brown, Bruce Springsteen, Country Joe McDonald, and John Fogerty. Together their testimony taps into memories -- individual and cultural -- that capture a central if often overlooked component of the American war in Vietnam.

A Change is Gonna Come chronicles more than forty years of black music: from the hopeful, angry refrains of the Freedom movement to the slick pop of Motown; from Woodstock and the 'Summer of Love' to Vietnam and the race riots; from disco inferno to the Million Man March. This is an insightful and riveting study which looks at the place black music occupies in social history, its battle for the desegregation of popular music and its contribution to social change outside the recording studio

For a Kentucky rifleman who spent his tour trudging through Vietnam's Central Highlands, it was Nancy Sinatra's ""These Boots Are Made for Walkin'."" For a ""tunnel rat"" who blew smoke into the Viet Cong's underground tunnels, it was Jimi Hendrix's ""Purple Haze."" For a black marine distraught over the assassination of Martin Luther King Jr., it was Aretha Franklin's ""Chain of Fools."" And for countless other Vietnam vets, it was ""I Feel Like I'm Fixin' to Die,"" ""Who'll Stop the Rain,"" or the song that gives this book its title. In We Gotta Get Out of This Place, Doug Bradley and Craig Werner place popular music at the heart of the American experience in Vietnam. They explore how and why U.S. troops turned to music as a way of connecting to each other and the World back home and of coping with the complexities of the war they had been sent to fight. They also demonstrate that music was important for every group of Vietnam veterans -- black and white, Latino and Native American, men and women, officers and ""grunts"" -- whose personal reflections drive the book's narrative. Many of the voices are those of ordinary soldiers, airmen, seamen, and marines. But there are also ""solo"" pieces by veterans whose writings have shaped our understanding of the war -- Karl Marlantes, Alfredo Vea, Yusef Komunyakaa, Bill Ehrhart, Arthur Flowers -- as well as songwriters and performers whose music influenced soldiers' lives, including Eric Burdon, James Brown, Bruce Springsteen, Country Joe McDonald, and John Fogerty. Together their testimony taps into memories -- individual and cultural -- that capture a central if often overlooked component of the American war in Vietnam.