Members of Congress often delegate power to bureaucratic experts, but they fear losing permanent control of the policy. One way Congress has dealt with this problem is to require reauthorization of the program or policy. Cox argues that Congress uses this power selectively, and is more likely to require reauthorization when policy is complex or they do not trust the executive branch. By contrast, reauthorization is less likely to be required when there are large disagreements about policy within Congress. In the process, Cox shows that committees are important independent actors in the legislative process, and that committees with homogenous policy preferences may have an advantage in getting their bills through Congress.

This biography of Beverly Kimes, was written by her beloved husband, Jim Cox. This is not a book about the illustrious career of Beverly Kimes, first woman editor of Automobile Quarterly, renowned author, or the foremost classic car historian of her time. But, a story about Beverly Kimes; daughter, sister, friend, mentor, wife, and inspiration to women and men who had the distinct honor of having her be part of their lives.

Determination is everything. This was her mantra, the creed that she lived by from the time she was a small girl growing up West Chicago, until the day she died in 2008. Beverly Kimes was a woman on a mission: to do whatever it was she was destined to do (and she did plenty ) by taking on a leadership role, and helping those who travelled with her.

This biography chronicles Beverly's early years, taken from copious notes, letters and pictures found in numerous personal scrapbooks saved over the years. It follows her adult life in New York, through her rise up the ranks to editor of Automobile Weekly, her notoriety as an automobile historian, and life with her husband, family and friends.

How does someone so determined for greatness, make it happen in a career she initially knew nothing about? When she went to her interview with Scott Baily at Automobile Quarterly, she told him, "The only thing I know about automobiles, is that I have a driver's license."

This inspiring story is about a woman, in a man's world, overcoming odds, getting involved, and touching the hearts of all types of people worldwide along the way. The road to greatness was not easy for Beverly, in fact it took its rocky turns. Life was filled with obstacles due to illness, circumstances, or just plain fate. But she travelled on, nonetheless, with dignity and style.

And for all who had come to know and love her, it was a hell of a ride

Over the course of the last twenty years, Native American and Indigenous American literary studies has experienced a dramatic shift from a critical focus on identity and authenticity to the intellectual, cultural, political, historical, and tribal nation contexts from which these Indigenous literatures emerge. The Oxford Handbook of Indigenous American Literature reflects on these changes and provides a complete overview of the current state of the field.
The Handbook's forty-three essays, organized into four sections, cover oral traditions, poetry, drama, non-fiction, fiction, and other forms of Indigenous American writing from the seventeenth through the twenty-first century. Part I attends to literary histories across a range of communities, providing, for example, analyses of Inuit, Chicana/o, Anishinaabe, and Metis literary practices. Part II draws on earlier disciplinary and historical contexts to focus on specific genres, as authors discuss Indigenous non-fiction, emergent trans-Indigenous autobiography, Mexicanoh and Spanish poetry, Native drama in the U.S. and Canada, and even a new Indigenous children's literature canon. The third section delves into contemporary modes of critical inquiry to expound on politics of place, comparative Indigenism, trans-Indigenism, Native rhetoric, and the power of Indigenous writing to communities of readers. A final section thoroughly explores the geographical breadth and expanded definition of Indigenous American through detailed accounts of literature from Indian Territory, the Red Atlantic, the far North, Yucatan, Amerika Samoa, and Francophone Quebec.
Together, the volume is the most comprehensive and expansive critical handbook of Indigenous American literatures published to date. It is the first to fully take into account the last twenty years of recovery and scholarship, and the first to most significantly address the diverse range of texts, secondary archives, writing traditions, literary histories, geographic and political contexts, and critical discourses in the field."

Over the course of the last twenty years, Native American and Indigenous American literary studies has experienced a dramatic shift from a critical focus on identity and authenticity to the intellectual, cultural, political, historical, and tribal nation contexts from which these Indigenous literatures emerge. The Oxford Handbook of Indigenous American Literature reflects on these changes and provides a complete overview of the current state of the field. The Handbook's forty-three essays, organized into four sections, cover oral traditions, poetry, drama, non-fiction, fiction, and other forms of Indigenous American writing from the seventeenth through the twenty-first century. Part I attends to literary histories across a range of communities, providing, for example, analyses of Inuit, Chicana/o, Anishinaabe, and Metis literary practices. Part II draws on earlier disciplinary and historical contexts to focus on specific genres, as authors discuss Indigenous non-fiction, emergent trans-Indigenous autobiography, Mexicanoh and Spanish poetry, Native drama in the U.S. and Canada, and even a new Indigenous children's literature canon. The third section delves into contemporary modes of critical inquiry to expound on politics of place, comparative Indigenism, trans-Indigenism, Native rhetoric, and the power of Indigenous writing to communities of readers. A final section thoroughly explores the geographical breadth and expanded definition of Indigenous American through detailed accounts of literature from Indian Territory, the Red Atlantic, the far North, Yucatan, Amerika Samoa, and Francophone Quebec. Together, the volume is the most comprehensive and expansive critical handbook of Indigenous American literatures published to date. It is the first to fully take into account the last twenty years of recovery and scholarship, and the first to most significantly address the diverse range of texts, secondary archives, writing traditions, literary histories, geographic and political contexts, and critical discourses in the field.

Native American fiction writers have confronted Euro-American narratives about Indians and the colonial world those narratives help create. These Native authors offer stories in which Indians remake this colonial world by resisting conquest and assimilation, sustaining their cultures and communities, and surviving.

In "Muting White Noise," James H. Cox considers how Native authors have liberated our imaginations from colonial narratives. Cox takes his title from Sherman Alexie, for whom the white noise of a television set represents the white mass-produced culture that mutes American Indian voices. Cox foregrounds the work of Native intellectuals in his readings of the American Indian novel tradition. He thereby develops a critical perspective from which to re-see the role played by the Euro-American novel tradition in justifying and enabling colonialism.

By examining novels by Native authors--especially Thomas King, Gerald Vizenor, and Alexie--Cox shows how these writers challenge and revise colonizers' tales about Indians. He then offers "red readings" of some revered Euro-American novels, including Herman Melville's "Moby-Dick," and shows that until quite recently, even those non-Native storytellers who sympathized with Indians could imagine only their vanishing by story's end.

"Muting White Noise" breaks new ground in literary criticism. It stands with Native authors in their struggle to reclaim their own narrative space and tell stories that empower and nurture, rather than undermine and erase, American Indians and their communities.

A comprehensive, up-to-date overview of the work of one of the foremost Native North American writers and his reception and influence. Thomas King is one of North America's foremost Native writers, best known for his novels, including Green Grass, Running Water, for the DreadfulWater mysteries, and for collections of short stories such as One Good Story, That One and A Short History of Indians in Canada. But King is also a poet, a literary and cultural critic, and a noted filmmaker, photographer, and scriptwriter and performer for radio. His career and oeuvre have been validated by literary awards and by the inclusion of his writing in college and university curricula. Critical responses to King's work have been abundant, yet most of this criticism consists of journal articles, and to date only one book-length study of his work exists. Thomas King: Works and Impact fills this gap by providing an up-to-date, comprehensive overview of all major aspects of King's oeuvre as well as its reception and influence. It brings together expert scholars to discuss King's role in and impact on Native literature and to offer in-depth analyses of his multifaceted body of work. The volume will be of interest to students and scholars of literature,English, and Native American studies, and to King aficionados. Contributors: Jesse Rae Archibald-Barber, Julia Breitbach, Stuart Christie, James H. Cox, Marta Dvorak, Floyd Favel, Kathleen Flaherty, Aloys Fleischmann, MarleneGoldman, Eva Gruber, Helen Hoy, Renee Hulan and Linda Warley, Carter Meland, Reingard M. Nischik, Robin Ridington, Suzanne Rintoul, Katja Sarkowsky, Blanca Schorcht, Mark Shackleton, Martin Kuester and Marco Ulm, Doris Wolf. Eva Gruber is Assistant Professor in the Department of American Studies at the University of Konstanz, Germany.

Bringing fresh insight to a century of writing by Native Americans The Political Arrays of American Indian Literary History challenges conventional views of the past one hundred years of Native American writing, bringing Native American Renaissance and post-Renaissance writers into conversation with their predecessors. Addressing the political positions such writers have adopted, explored, and debated in their work, James H. Cox counters what he considers a "flattening" of the politics of American Indian literary expression and sets forth a new method of reading Native literature in a vexingly politicized context. Examining both canonical and lesser-known writers, Cox proposes that scholars approach these texts as "political arrays": confounding but also generative collisions of conservative, moderate, and progressive ideas that together constitute the rich political landscape of American Indian literary history. Reviewing a broad range of genres including journalism, short fiction, drama, screenplays, personal letters, and detective fiction-by Lynn Riggs, Will Rogers, Sherman Alexie, Thomas King, Leslie Marmon Silko, Louise Erdrich, Winona LaDuke, Carole laFavor, and N. Scott Momaday-he demonstrates that Native texts resist efforts to be read as advocating a particular set of politics Meticulously researched, The Political Arrays of American Indian Literary History represents a compelling case for reconceptualizing the Native American Renaissance as a literary-historical constellation. By focusing on post-1968 Native writers and texts, argues Cox, critics have often missed how earlier writers were similarly entangled, hopeful, frustrated, contradictory, and unpredictable in their political engagements.

When Mura the Siamese cat screams, Death is sure to strike At Madame Fournier's quarantined pension in Taxco, Mexico's fabled "silver city," Death remorselessly stalks new prey. Among these confined guests-the actress on the run, the playboy in pursuit, the disagreeable newspaper columnist, the New York artist, the archaeology professor, the enigmatic matron and the highly discreet gentleman from Dallas, Texas-who will live and who will die? Can Hugh Rennert, U.S. Customs Service agent and something of an amateur detective, unmask a murderer and end a deadly rampage? Are the killings really the work of a Nagual, a human who can take animal form? Why won't the Mexican house servants, Esteban, Marie and Micaela, tell what they know? When The Cat Screams, the second Hugh Rennert mystery, originally appeared in 1934, Todd Downing's eminent American publisher, Doubleday, Doran's Crime Club, proclaimed the novel "one of the most unusual mystery stories the Crime Club has ever published." With The Cat Screams, Todd Downing had fashioned a plot that was spellbindingly exotic yet also "plausible and logical." Doubleday, Doran chose The Cat Screams as a monthly Crime Club Selection, an honor only very rarely granted an author new to its list. Don't let the screaming of Mura frighten you away. . . . Read The Cat Screams and see for yourself why as a literary stylist Todd Downing was "far superior to the average mystery writer."

Bringing fresh insight to a century of writing by Native Americans The Political Arrays of American Indian Literary History challenges conventional views of the past one hundred years of Native American writing, bringing Native American Renaissance and post-Renaissance writers into conversation with their predecessors. Addressing the political positions such writers have adopted, explored, and debated in their work, James H. Cox counters what he considers a "flattening" of the politics of American Indian literary expression and sets forth a new method of reading Native literature in a vexingly politicized context. Examining both canonical and lesser-known writers, Cox proposes that scholars approach these texts as "political arrays": confounding but also generative collisions of conservative, moderate, and progressive ideas that together constitute the rich political landscape of American Indian literary history. Reviewing a broad range of genres including journalism, short fiction, drama, screenplays, personal letters, and detective fiction-by Lynn Riggs, Will Rogers, Sherman Alexie, Thomas King, Leslie Marmon Silko, Louise Erdrich, Winona LaDuke, Carole laFavor, and N. Scott Momaday-he demonstrates that Native texts resist efforts to be read as advocating a particular set of politics Meticulously researched, The Political Arrays of American Indian Literary History represents a compelling case for reconceptualizing the Native American Renaissance as a literary-historical constellation. By focusing on post-1968 Native writers and texts, argues Cox, critics have often missed how earlier writers were similarly entangled, hopeful, frustrated, contradictory, and unpredictable in their political engagements.

The forty years of American Indian literature taken up by James H. Cox-the decades between 1920 and 1960-have been called politically and intellectually moribund. On the contrary, Cox identifies a group of American Indian writers who share an interest in the revolutionary potential of the indigenous peoples of Mexico-and whose work demonstrates a surprisingly assertive literary politics in the era. By contextualizing this group of American Indian authors in the work of their contemporaries, Cox reveals how the literary history of this period is far more rich and nuanced than is generally acknowledged. The writers he focuses on-Todd Downing (Choctaw), Lynn Riggs (Cherokee), and D'Arcy McNickle (Confederated Salish and Kootenai)-are shown to be on par with writers of the preceding Progressive and the succeeding Red Power and Native American literary renaissance eras. Arguing that American Indian literary history of this period actually coheres in exciting ways with the literature of the Native American literary renaissance, Cox repudiates the intellectual and political border that has emerged between the two eras.