In an age of information and new media the relationships between remembering and forgetting have changed. This volume addresses the tension between loud and often spectacular histories and those forgotten pasts we strain to hear. Employing social and cultural analysis, the essays within examine mnemonic technologies both new and old, and cover subjects as diverse as U.S. internment camps for Japanese Americans in WWII, the Canadian Indian Residential School system, Israeli memorial videos, and the desaparecidos in Argentina. Through these cases, the contributors argue for a re-interpretation of Guy Debord's notion of the spectacle as a conceptual apparatus through which to examine the contemporary landscape of social memory, arguing that the concept of spectacle might be developed in an age seen as dissatisfied with the present, nervous about the future, and obsessed with the past. Perhaps now "spectacle" can be thought of not as a tool of distraction employed solely by hegemonic powers, but instead as a device used to answer Walter Benjamin's plea to "explode the continuum of history" and bring our attention to now-time.

In an age of information and new media the relationships between remembering and forgetting have changed. This volume addresses the tension between loud and often spectacular histories and those forgotten pasts we strain to hear. Employing social and cultural analysis, the essays within examine mnemonic technologies both new and old, and cover subjects as diverse as U.S. internment camps for Japanese Americans in WWII, the Canadian Indian Residential School system, Israeli memorial videos, and the desaparecidos in Argentina. Through these cases, the contributors argue for a re-interpretation of Guy Debord's notion of the spectacle as a conceptual apparatus through which to examine the contemporary landscape of social memory, arguing that the concept of spectacle might be developed in an age seen as dissatisfied with the present, nervous about the future, and obsessed with the past. Perhaps now "spectacle" can be thought of not as a tool of distraction employed solely by hegemonic powers, but instead as a device used to answer Walter Benjamin's plea to "explode the continuum of history" and bring our attention to now-time.

From the southern influence on nineteenth-century New York to the musical legacy of late-twentieth-century Athens, Georgia, to the cutting-edge cuisines of twenty-first-century Asheville, North Carolina, the bohemian South has long contested traditional views of the region. Yet, even as the fruits of this creative South have famously been celebrated, exported, and expropriated, the region long was labeled a cultural backwater. This timely and illuminating collection uses bohemia as a novel lens for reconsidering more traditional views of the South. Exploring wide-ranging locales, such as Athens, Austin, Black Mountain College, Knoxville, Memphis, New Orleans, and North Carolina's Research Triangle, each essay challenges popular interpretations of the South, while highlighting important bohemian sub- and countercultures. In addition to tracing the historical legacy of southern bohemians, the collection traverses such contemporary issues as contested memory, the commodification of the bohemian South, and how southern bohemians play with traditions in new ways that compliment, contradict, and commingle with the region's past traditional practices and ideas. The Bohemian South provides an important perspective in the New South as an epicenter for progress, innovation, and experimentation. Contributors include Scott Barretta, Shawn Chandler Bingham, Jaime Cantrell, Jon Horne Carter, Alex Sayf Cummings, Lindsey A. Freeman, Grace E. Hale, Joanna Levin, Joshua Long, Daniel S. Margolies, Chris Offutt, Zandria F. Robinson, Allen Shelton, Daniel Cross Turner, Zackary Vernon, and Edward Whitley.

In Running, former NCAA Division I track athlete Lindsey A. Freeman presents the feminist and queer handbook of running that she always wanted but could never find. For Freeman, running is full of joy, desire, and indulgence in the pleasure and weirdness of having a body. It allows for a space of freedom—to move and be moved. Through tender storytelling of a lifetime wearing running shoes, Freeman considers injury and recovery, what it means to run as a visibly queer person, and how the release found in running comes from a desire to touch something that cannot be accessed when still. Running invites us to run through life, legging it out the best we can with heart and style.

In Running, former NCAA Division I track athlete Lindsey A. Freeman presents the feminist and queer handbook of running that she always wanted but could never find. For Freeman, running is full of joy, desire, and indulgence in the pleasure and weirdness of having a body. It allows for a space of freedom-to move and be moved. Through tender storytelling of a lifetime wearing running shoes, Freeman considers injury and recovery, what it means to run as a visibly queer person, and how the release found in running comes from a desire to touch something that cannot be accessed when still. Running invites us to run through life, legging it out the best we can with heart and style.

From the southern influence on nineteenth-century New York to the musical legacy of late-twentieth-century Athens, Georgia, to the cutting-edge cuisines of twenty-first-century Asheville, North Carolina, the bohemian South has long contested traditional views of the region. Yet, even as the fruits of this creative South have famously been celebrated, exported, and expropriated, the region long was labeled a cultural backwater. This timely and illuminating collection uses bohemia as a novel lens for reconsidering more traditional views of the South. Exploring wide-ranging locales, such as Athens, Austin, Black Mountain College, Knoxville, Memphis, New Orleans, and North Carolina's Research Triangle, each essay challenges popular interpretations of the South, while highlighting important bohemian sub- and countercultures. In addition to tracing the historical legacy of southern bohemians, the collection traverses such contemporary issues as contested memory, the commodification of the bohemian South, and how southern bohemians play with traditions in new ways that compliment, contradict, and commingle with the region's past traditional practices and ideas. The Bohemian South provides an important perspective in the New South as an epicenter for progress, innovation, and experimentation. Contributors include Scott Barretta, Shawn Chandler Bingham, Jaime Cantrell, Jon Horne Carter, Alex Sayf Cummings, Lindsey A. Freeman, Grace E. Hale, Joanna Levin, Joshua Long, Daniel S. Margolies, Chris Offutt, Zandria F. Robinson, Allen Shelton, Daniel Cross Turner, Zackary Vernon, and Edward Whitley.

Longing for the Bomb traces the unusual story of the first atomic city and the emergence of American nuclear culture. Tucked into the folds of Appalachia and kept off all commercial maps, Oak Ridge, Tennessee, was created for the Manhattan Project by the U.S. government in the 1940s. Its workers labored at a breakneck pace, most aware only that their jobs were helping ""the war effort."" The city has experienced the entire lifespan of the Atomic Age, from the fevered wartime enrichment of the uranium that fueled Little Boy, through a brief period of atomic utopianism after World War II when it began to brand itself as ""The Atomic City,"" to the anxieties of the Cold War, to the contradictory contemporary period of nuclear unease and atomic nostalgia. Oak Ridge's story deepens our understanding of the complex relationship between America and its bombs. Blending historiography and ethnography, Lindsey Freeman shows how a once-secret city is visibly caught in an uncertain present, no longer what it was historically yet still clinging to the hope of a nuclear future. It is a place where history, memory, and myth compete and conspire to tell the story of America's atomic past and to explain the nuclear present.