The texts that make up postcolonial print cultures are often found outside the archival catalogue, and in lesser-examined repositories such as personal collections, the streets, or appendages to established collections. This volume examines the published and unpublished writing, magazines, pamphlets, paratexts, advertisements, cartoons, radio, and street art that serve as the intellectual forces behind opposition to colonial orders, as meditations on the futures of embryonic nation states, and as visions of new forms of equality. The print cultures examined here are necessarily anti-institutional; they serve as a counterpoint to the colonial archive and, relatedly, to more traditional genres and text formats coming out of large-scale publishers. This means that much of the primary material analyzed in this book has not been scrutinized before. Many of these print productions articulate collective liberation projects with origins in the grassroots. They include debates around the shape of the postcolonial nation and the new state formation that necessarily draw on a diverse and contentious public sphere of opinion. Their rhetoric ranges from the reformist to the revolutionary. Reflecting the diversity, indeed the disorderliness, of postcolonial print cultures this book covers local, national, and transnational cultures from Asia, Africa, Europe and the Americas. Its wide-ranging essays offer a nuanced and, taken together, a definitive (though that is not to say comprehensive or systematic) study of a global phenomenon: postcolonial print cultures as a distinct literary field. The chapters recover the efforts of writers, readers and publishers to produce a postcolonialism ‘from below’, and thereby offer a range of fresh perspectives on the meaning and history of postcolonialism.

In recent years, academics, policy makers and media outlets have increasingly recognised the importance of Caribbean migrations and migrants to the histories and cultures of countries across the Northern Atlantic. Memory, migration and (de)colonisation furthers our understanding of the lives of many of these migrants, and the contexts through which they lived and continue to live. In particular, it focuses on the relationship between Caribbean migrants and processes of decolonisation. The chapters in this book range across disciplines and time periods to present a vibrant understanding of the ever-changing interactions between Caribbean peoples and colonialism as they migrated within and between colonial contexts. At the heart of this book are the voices of Caribbean migrants themselves, whose critical reflections on their experiences of migration and decolonisation are interwoven with the essays of academics and activists.

Fierce Tea Theory focuses on the life and work of Jaisen, a self-proclaimed New Age performance artist from the Northeast of England. Alone, or with his brother and friends, he instigates artistic events -- performances which are strongly ritualistic and extraordinarily surreal and anarchistic. Taking as his apparent starting point the documentation of the activities of an extraordinary and fascinating individual, Webb has developed his approach in such a way that the subject becomes a mechanism for far wider considerations of the nature of individual self and identity.

This second volume of a three-volume set offers concise biographical information for generals and admirals of the Third Reich with surnames between H and O. The set covers all branches of service, providing a brief but scholarly overview of each individual, including personal details and dates for all attachments to unit, and medals awarded, offering a readily accessible go-to reference work for all World War II researchers and historians. In addition to the biographic information, this volume includes detailed appendices on Reichsheer Generals and Reichsmarine Admirals, 1921–35. These books are packed with information on these senior officers of the Third Reich, many of whom are little documented in the English language.

Before Charlie's Angels, Miami Vice, or NYPD Blue, there was Dragnet. From 1951 to 1959, Jack Webb starred as Sergeant Joe Friday in the most successful police drama in television history. Webb ("Just the facts, ma'am") was also the creator of Dragnet, and what made the show so revolutionary was its documentary-style format and the fact that each episode was "ripped" from the files of the LAPD. But 1950s television censors deemed many of the stories in the LAPD's files too violent or sensational for the airwaves. The Badge is Webb's collection of stories that could not be presented on TV: untold, behind-the-scenes accounts of the Black Dahlia murder, the Brenda Allen confessions, Stephen Nash's "thrill murders," and Donald Bashor's "sleeping lady murders," to name just a few. Case by case, The Badge takes readers on a spine chilling police tour through the dark, shadowy world of Los Angeles crime. It is a journey that, even four decades after it originally appeared in print, no reader is likely to forget.

Billy Wilder directs this Oscar-winning classic exposé of the Hollywood studio system. Struggling Hollywood writer Joe Gillis (William Holden) is attempting to avoid his creditors when he pulls his car into the garage of an apparently deserted mansion. He soon discovers that it is in fact the home of Norma Desmond (Gloria Swanson), an ageing actress who was once a star of silent films. Desperate for money, Gillis agrees to work on a screenplay adaptation of 'Salome' which Norma has written for her intended comeback. Gillis then gradually becomes trapped in Norma's bizarre fantasy world, and when he tries to leave her, she makes an attempt at suicide. The film also features silent screen legends Cecil B. DeMille, Buster Keaton and Erich von Stroheim in supporting roles.