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                "description": "<p>Americans have long held fast to a rigid definition of womanhood, revolving around husband, home, and children.  Women who rebelled against this definition and carved out independent lives for themselves have often been rendered invisible in U.S. history.In this unusual comparative study, Trisha Franzen brings to light the remarkable lives of two generations of autonomous women: Progressive Era spinsters and mid-twentieth century lesbians.  While both groups of women followed similar paths to independence--separating from their families, pursuing education, finding work, and creating woman-centered communities--they faced different material and cultural challenge and came to claim very different identities. Many of the turn-of-the-century women were prominent during their time, from internationally recognized classicist Edith Hamilton through two early Directors of the Women's Bureau, Mary Anderson and Freida Miller. Maturing during the time of a broad and powerful women's movement, they were among that era's new women, the often-single women who were viewed as in the vanguard of women's struggle for equality.<br> In contrast, never-married women after World War II, especially lesbians, were considered beyond the pale of real womanhood.  Before the women's and gay/lesbian liberation movements, they had no positive contemporary images of alternative lives for women.  Highlighting the similarities and differences between women-oriented women confronting changing gender and sexuality systems, Spinsters and Lesbians thus traces a continuum among women who constructed lives outside institutionalized heterosexuality.</p>",
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                "description": "<p>The weather in Moscow is good, there's no cholera, there's also no lesbian love...Brrr!  Remembering those persons of whom you write me makes me nauseous as if I'd eaten a rotten sardine.  Moscow doesn't have them--and that's marvellous.\"<br>Anton Chekhov, writing to his publisher in 1895<br> Chekhov's barbed comment suggests the climate in which Sophia Parnok was writing, and is an added testament to to the strength and confidence with which she pursued both her personal and artistic life.  Author of five volumes of poetry, and lover of Marina Tsvetaeva, Sophia Parnok was the only openly lesbian voice in Russian poetry during the Silver Age of Russian letters.  Despite her unique contribution to modern Russian lyricism however, Parnok's life and work have essentially been forgotten.<br> Parnok was not a political activist, and she had no engagement with the feminism vogueish in young Russian intellectual circles.  From a young age, however, she deplored all forms of male posturing and condescension and felt alienated from what she called patriarchal virtues.   Parnok's approach to her sexuality was equally forthright.  Accepting lesbianism as her natural disposition, Parnok acknowledged her relationships with women, both sexual and non-sexual, to be the centre of her creative existence.<br> Diana Burgin's extensively researched life of Parnok is deliberately woven around the poet's own account, visible in her writings.  The book is divided into seven chapters, which reflect seven natural divisions in Parnok's life.  This lends Burgin's work a particular poetic resonance, owing to its structural affinity with one of Parnok's last and greatest poetic achievements, the cycle of love lyrics Ursa Major.  Dedicated to her last lover, Parnok refers to this cycle as a seven-star of verses, after the seven stars that make up the constellation.   Parnok's poems, translated here for the first time in English, added to a wealth of biographical material, make this book a fascinating and lyrical account of an important Russian poet.  Burgin's work is essential reading for students of Russian literature, lesbian history and women's studies.</p>",
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                "description": "<p>How Spanish-language radio has influenced American and Latino discourse on key current affairs issues such as citizenship and immigration. <br><br>Winner, Book of the Year presented by the American Association of Hispanics in Higher Education<br><br>Honorable Mention for the 2015 Latino Studies Best Book presented by the Latin American Studies Association<br><br><br>The<br>last two decades have produced continued Latino population growth, and marked<br>shifts in both communications and immigration policy. Since the 1990s, Spanish-<br>language radio has dethroned English-language radio stations in major cities<br>across the United States, taking over the number one spot in Los Angeles,<br>Houston, Miami, and New York City. Investigating the cultural and political<br>history of U.S. Spanish-language broadcasts throughout the twentieth century, Sounds<br>of Belonging reveals how these changes have helped Spanish-language radio<br>secure its dominance in the major U.S. radio markets.<br><br><br><br><br><br><br>Bringing together theories on the immigration experience with<br>sound and radio studies, Dolores Ines Casillas documents<br>how Latinos form listening relationships with Spanish-language radio<br>programming. Using a vast array of sources, from print culture and industry<br>journals to sound archives of radio programming, she reflects on institutional<br>growth, the evolution of programming genres, and reception by the radio<br>industry and listeners to map the trajectory of Spanish-language radio, from<br>its grassroots origins to the current corporate-sponsored business it has<br>become. Casillas focuses on Latinos use of Spanish-language radio to help<br>navigate their immigrant experiences with U.S. institutions, for example in<br>broadcasting discussions about immigration policies while providing anonymity<br>for a legally vulnerable listenership. Sounds of Belonging proposes that<br>debates of citizenship are not always formal personal appeals but a collective<br>experience heard loudly through broadcast radio.</p>",
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                "description": "<p>Winner of the 2013 New York Book Show Award in Scholarly/Professional Book Design<br><br>From Ernest and Julio Gallo to Francis Ford Coppola, Italians have shaped the history of California wine. More than any other group, Italian immigrants and their families have made California viticulture one of Americas most distinctive and vibrant achievements, from boutique vineyards in the Sonoma hills to the massive industrial wineries of the Central Valley. But how did a small group of nineteenth-century immigrants plant the roots that flourished into a world-class industry? Was there something particularly Italian in their success?<br><br><br><br><br><br>In this fresh, fascinating account of the ethnic origins of California wine, Simone Cinotto rewrites a century-old triumphalist story. He demonstrates that these Italian visionaries were not skilled winemakers transplanting an immemorial agricultural tradition, even if California did resemble the rolling Italian countryside of their native Piedmont. Instead, Cinotto argues that it was the wine-makers access to social capital, or the ethnic and familial ties that bound them to their rich wine-growing heritage, and not financial leverage or direct enological experience, that enabled them to develop such a successful and influential wine business. Focusing on some of the most important names in wine historyparticularly Pietro Carlo Rossi, Secondo Guasti, and the Galloshe chronicles a story driven by ambition and creativity but realized in a complicated tangle of immigrant entrepreneurship, class struggle, racial inequality, and a new world of consumer culture.<br><br><br><br><br><br>Skillfully blending regional, social, and immigration history, Soft Soil, Black Grapes takes us on an original journey into the cultural construction of ethnic economies and markets, the social dynamics of American race, and the fully transnational history of American wine.</p>",
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                "description": "<p>Explores the sexual world of the one of the most fabled and romanticized characters in historythe pirate<br><br>From Blackbeard to Captain Hook, pirates have been the subject of countless movies, books, children's tales, and even a world-famous amusement park ride. In Sodomy and the Pirate Tradition, B.R. Burg looks beyond the myth to analyze the social and sexual world of sea rovers. Through his innovative analysis of archival materials, he uncovers the queer history of piracy.<br><br>Burg makes the groundbreaking argument that buccaneer sexuality differed widely from that of other all-male institutions such as prisons. Instead of existing within a regimented structure of rule, regulations, and oppressive supervision, buccaneers operated in a society in which widespread tolerance of homosexuality was the norm and conditions encouraged its practice.<br><br>Sodomy and the Pirate Tradition has helped to reshape the figure of the pirate for a new century. In Burgs introduction, he discusses the controversy that surrounded the book when it was published in 1983 and how our perspectives on all-male societies have since changed. Creating an indelible impact on our culture, the book was even read by Johnny Depp in preparation for his role of Captain Jack Sparrow. In a time when we are rethinking conventional historical narratives, Sodomy and the Pirate Tradition offers an essential, alternative perspective on the centuries-old figure of the pirate.</p>",
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