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2021 Top Ten Finalist for the Locus Awards in Nonfiction Joshua
Smith's chapter "Uncle Tom's Cabin Showdown" won the 2021 Don D.
Walker Prize from the Western Literature Association Weird Westerns
is an exploration of the hybrid western genre-an increasingly
popular and visible form that mixes western themes, iconography,
settings, and conventions with elements drawn from other genres,
such as science fiction, horror, and fantasy. Despite frequent
declarations of the western's death, the genre is now defined in
part by its zombie-like ability to survive in American popular
culture in weird, reanimated, and reassembled forms. The essays in
Weird Westerns analyze a wide range of texts, including those by
Native American authors Stephen Graham Jones (Blackfeet) and
William Sanders (Cherokee); the cult television series Firefly and
The Walking Dead; the mainstream feature films Suicide Squad and
Django Unchained; the avant-garde and bizarre fiction of Joe R.
Lansdale; the tabletop roleplaying game Deadlands: The Weird West;
and the comic book series Wynonna Earp. The essays explore how
these weird westerns challenge conventional representations by
destabilizing or subverting the centrality of the heterosexual,
white, male hero but also often surprisingly reinforce existing
paradigms in their inability to imagine an existence outside of
colonial frameworks.
Looking across the cultural landscape of the twenty-first century,
its literature, film, television, comic books, and other media, we
can see multiple examples of what Shelley S. Rees calls a
“changeling western,” what others have called “weird
westerns,” and what Michael K. Johnson refers to as
“speculative westerns”—that is, hybrid western forms created
by merging the western with one or more speculative genres or
subgenres, including science fiction, fantasy, horror, and
alternate history. Speculative Wests investigates both speculative
westerns and other speculative texts that feature western settings.
Just as “western” refers both to a genre and a region,
Johnson’s narrative involves a study of both genre and place, a
study of the “speculative Wests” that have begun to emerge in
contemporary texts such as the zombie-threatened California of
Justina Ireland’s Deathless Divide (2020), the reimagined future
Navajo nation of Rebecca Roanhorse’s Sixth World series
(2018–19), and the complex temporal and geographic borderlands of
Alfredo Véa’s time travel novel The Mexican Flyboy (2016).
Focusing on literature, film, and television from 2016 to 2020,
Speculative Wests creates new visions of the American West.
Seeming sometimes more like science fiction than science,
anaerobic bacteria have been at the center of a number of exciting
new discoveries. This volume discusses and explains the diversity
of metabolism, modes of protein transport, molecular biology and
physiology of these unusual microbes. It has practical applications
ranging from wastewater treatment to clinical diagnosis and
treatment of medical conditions.
During the past twenty years, multitudes of exciting discoveries in the field of anaerobic bacteria have been made. BIOCHEMISTRY AND PHYSIOLOGY OF ANAEROBIC BACTERIA explores the full range of these microorganisms. Many anaerobes have been found to have the uniquely fascinating quality of being able to survive, indeed even thrive, in extreme environments. Anaerobic bacteria often do not require oxygen, can survive extremes in temperature, and can withstand the presence of toxins and heavy metals. In addition, these organisms have very different metabolic processes than "conventional" microorganisms. The wide diversity of metabolism in anaerobes is only part of the story. They have distinct energies, cytochromes, electron transport proteins, hydrogenases and dohydrogenases. Their molecular biology, physiology, and ability to use many types of electron receptors (CO2, sulfur, nitrogen and metal oxides) are also extraordinary. With practical applications ranging from wastewater treatment to food storage issues, clinical diagnosis and treatment of a wide range of medical conditions to decontamination of heavy metal exposures BIOCHEMISTRY AND PHYSIOLOGY OF ANAEROBIC BACTERIA will prove indispensable to researchers and students alike.
2021 Top Ten Finalist for the Locus Awards in Nonfiction Joshua
Smith's chapter "Uncle Tom's Cabin Showdown" won the 2021 Don D.
Walker Prize from the Western Literature Association Weird Westerns
is an exploration of the hybrid western genre-an increasingly
popular and visible form that mixes western themes, iconography,
settings, and conventions with elements drawn from other genres,
such as science fiction, horror, and fantasy. Despite frequent
declarations of the western's death, the genre is now defined in
part by its zombie-like ability to survive in American popular
culture in weird, reanimated, and reassembled forms. The essays in
Weird Westerns analyze a wide range of texts, including those by
Native American authors Stephen Graham Jones (Blackfeet) and
William Sanders (Cherokee); the cult television series Firefly and
The Walking Dead; the mainstream feature films Suicide Squad and
Django Unchained; the avant-garde and bizarre fiction of Joe R.
Lansdale; the tabletop roleplaying game Deadlands: The Weird West;
and the comic book series Wynonna Earp. The essays explore how
these weird westerns challenge conventional representations by
destabilizing or subverting the centrality of the heterosexual,
white, male hero but also often surprisingly reinforce existing
paradigms in their inability to imagine an existence outside of
colonial frameworks.
Looking across the cultural landscape of the twenty-first century,
its literature, film, television, comic books, and other media, we
can see multiple examples of what Shelley S. Rees calls a
“changeling western,” what others have called “weird
westerns,” and what Michael K. Johnson refers to as
“speculative westerns”—that is, hybrid western forms created
by merging the western with one or more speculative genres or
subgenres, including science fiction, fantasy, horror, and
alternate history. Speculative Wests investigates both speculative
westerns and other speculative texts that feature western settings.
Just as “western” refers both to a genre and a region,
Johnson’s narrative involves a study of both genre and place, a
study of the “speculative Wests” that have begun to emerge in
contemporary texts such as the zombie-threatened California of
Justina Ireland’s Deathless Divide (2020), the reimagined future
Navajo nation of Rebecca Roanhorse’s Sixth World series
(2018–19), and the complex temporal and geographic borderlands of
Alfredo Véa’s time travel novel The Mexican Flyboy (2016).
Focusing on literature, film, and television from 2016 to 2020,
Speculative Wests creates new visions of the American West.
Born in 1893 into the only African American family in White Sulphur
Springs, Montana, Emmanuel Taylor Gordon (1893-1971) became an
internationally famous singer in the 1920s at the height of the
Harlem Renaissance. With his musical partner, J. Rosamond Johnson,
Gordon was a crucially important figure in popularizing African
American spirituals as an art form, giving many listeners their
first experience of black spirituals. Despite his fame, Taylor
Gordon has been all but forgotten, until now. Michael K. Johnson
illuminates Gordon's personal history and his cultural importance
to the legacy of the Harlem Renaissance, arguing that during the
height of his celebrity, Gordon was one of the most significant
African American male vocalists of his era. Gordon's story-working
in the White Sulphur Springs brothels as an errand boy, traveling
the country in John Ringling's private railway car, performing on
vaudeville stages from New York to Vancouver to Los Angeles,
performing for royalty in England, becoming a celebrated author
with a best-selling 1929 autobiography, and his long bout of mental
illness-adds depth to the history of the Harlem Renaissance and
makes him one of the most fascinating figures of the twentieth
century. Through detailed documentation of Gordon's
career-newspaper articles, reviews, letters, and other archival
material-the author demonstrates the scope of Gordon's cultural
impact. The result is a detailed account of Taylor's musical
education, his career as a vaudeville performer, the remarkable
performance history of Johnson and Gordon, his status as an
in-demand celebrity singer and author, his time as a radio star,
and, finally, his descent into madness. Can't Stand Still brings
Taylor Gordon back to the center of the stage.
Hoo-Doo Cowboys and Bronze Buckaroos undertakes an
interdisciplinary exploration of the African American West through
close readings of texts from a variety of media. This approach
allows for both an in-depth analysis of individual texts and a
discussion of material often left out or underrepresented in
studies focused only on traditional literary material. The book
engages heretofore unexamined writing by Rose Gordon, who wrote for
local Montana newspapers rather than for a national audience;
memoirs and letters of musicians, performers, and singers (such as
W. C. Handy and Taylor Gordon), who lived in or wrote about touring
the American West; the novels and films of Oscar Micheaux;
black-cast westerns starring Herb Jeffries; largely unappreciated
and unexamined episodes from the ""golden age of western
television"" that feature African American actors; film and
television westerns that use science fiction settings to imagine a
""postracial"" or ""postsoul"" frontier; Percival Everett's fiction
addressing contemporary black western experience; and movies as
recent as Quentin Tarantino's Django Unchained. Despite recent
interest in the history of the African American West, we know very
little about how the African American past in the West has been
depicted in a full range of imaginative forms. Hoo-Doo Cowboys and
Bronze Buckaroos advances our discovery of how the African American
West has been experienced, imagined, portrayed, and performed.
"Hoo-Doo Cowboys and Bronze Buckaroos" undertakes an
interdisciplinary exploration of the African American West through
close readings of texts from a variety of media. This approach
allows for both an in-depth analysis of individual texts and a
discussion of material often left out or underrepresented in
studies focused only on traditional literary material. The book
engages heretofore unexamined writing by Rose Gordon, who wrote for
local Montana newspapers rather than for a national audience;
memoirs and letters of musicians, performers, and singers (such as
W. C. Handy and Taylor Gordon), who lived in or wrote about touring
the American West; the novels and films of Oscar Micheaux;
black-cast westerns starring Herb Jeffries; largely unappreciated
and unexamined episodes from the golden age of western television
that feature African American actors; film and television westerns
that use science fiction settings to imagine a postracial or
postsoul frontier; Percival Everett's fiction addressing
contemporary black western experience; and movies as recent as
Quentin Tarantino's "Django Unchained."
Despite recent interest in the history of the African American
West, we know very little about how the African American past in
the West has been depicted in a full range of imaginative forms.
"Hoo-Doo Cowboys and Bronze Buckaroos" advances our discovery of
how the African American West has been experienced, imagined,
portrayed, and performed.
Born in 1893 into the only African American family in White Sulphur
Springs, Montana, Emmanuel Taylor Gordon (1893-1971) became an
internationally famous singer in the 1920s at the height of the
Harlem Renaissance. With his musical partner, J. Rosamond Johnson,
Gordon was a crucially important figure in popularizing African
American spirituals as an art form, giving many listeners their
first experience of black spirituals. Despite his fame, Taylor
Gordon has been all but forgotten, until now. Michael K. Johnson
illuminates Gordon's personal history and his cultural importance
to the legacy of the Harlem Renaissance, arguing that during the
height of his celebrity, Gordon was one of the most significant
African American male vocalists of his era. Gordon's story-working
in the White Sulphur Springs brothels as an errand boy, traveling
the country in John Ringling's private railway car, performing on
vaudeville stages from New York to Vancouver to Los Angeles,
performing for royalty in England, becoming a celebrated author
with a best-selling 1929 autobiography, and his long bout of mental
illness-adds depth to the history of the Harlem Renaissance and
makes him one of the most fascinating figures of the twentieth
century. Through detailed documentation of Gordon's
career-newspaper articles, reviews, letters, and other archival
material-the author demonstrates the scope of Gordon's cultural
impact. The result is a detailed account of Taylor's musical
education, his career as a vaudeville performer, the remarkable
performance history of Johnson and Gordon, his status as an
in-demand celebrity singer and author, his time as a radio star,
and, finally, his descent into madness. Can't Stand Still brings
Taylor Gordon back to the center of the stage.
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