Deer Head Nation

A dedicated deer hunter “writes with humor and insight” about his adventures—and misadventures—in the wild (Orlando Sentinel). Every autumn, millions of men and women across the country don their camo, stock up on doe urine, and undertake a quintessential American tradition—deer hunting. The pinnacle of a hunter’s quest is killing a buck with antlers that “score” highly enough to qualify for the Boone and Crockett record book. But in all his seasons on the trail, Pete Bodo, an avid outdoorsman and student of the hunt, had never reached that milestone. Sadly, he had to admit it: He was a nimrod. Whitetail Nation is the uproarious story of the season Pete Bodo set out to kill the big buck. From the rolling hills of upstate New York to the vast and unforgiving land of the Big Sky to the Texas ranches that feature high fences, deer feeders, and money-back guarantees, Bodo traverses deep into the heart of a lively, growing subculture that draws powerfully on durable American values: the love of the frontier, the importance of self-reliance, the camaraderie of men in adventure, the quest for sustained youth, and yes, the capitalist’s right to amass every high tech hunting gadget this industry’s exploding commerce has to offer. Gradually, Bodo closes in on his target—that elusive monster buck—and with each day spent perched in a deer stand or crawling stealthily in high grass (praying the rattlesnakes are gone), or shivering through the night in a drafty cabin (flannel, polar fleece, and whiskey be damned), readers are treated to an unforgettable tour through a landscape that ranges from the exalted to the absurd. Along the way Bodo deftly captures the spirit and passion of this rich American pursuit, tracing its history back to the days of Lewis and Clark and examining that age old question: “Why do men hunt?”

Explores contemporary American films that challenge official history. Our movies have started talking back to us, and Film Nation takes a close look at what they have to say. In movies like JFK and Forrest Gump, Robert Burgoyne sees a filmic extension of the debates that exercise us as a nation -- debates about race and culture and national identity, about the nature and makeup of American history. In analyses of five films that challenge the traditional myths of the nation-state -- Glory, Thunderheart, JFK, Born on the Fourth of July, and Forrest Gump -- Burgoyne explores the reshaping of our collective imaginary in relation to our history. These movies, exploring the meaning of "nation" from below, highlight issues of power that underlie the narrative construction of nationhood. Film Nation exposes the fault lines between national myths and the historical experience of people typically excluded from those myths. Throughout, Burgoyne demonstrates that these films, in their formal design, also preserve relics of the imaginary past they contest. Here we see how the "genre memory" of the western, the war film, and the melodrama shapes these films, creating a complex exchange between old concepts of history and the alternative narratives of historical experience that contemporary texts propose. The first book to apply theories of nationalism and national identity to contemporary American films, Film Nation reveals the cinematic rewriting of history now taking place as a powerful attempt to rearticulate the cultural narratives that define America as a nation.

A logo on products ranging from chopsticks and toilet paper to cell phones and automobiles, the panda is one of the most ubiquitous images in China and throughout the world. Yet the panda holds little notable historical significance in China. Although it has existed in the territory of present-day China since the Pliocene epoch, its widespread popularity there is not only recent, but almost sudden. In Panda Nation, E. Elena Songster links the emergence of the giant panda as a national symbol to the development of nature protection in the People's Republic of China. The panda's transformation into a national treasure exemplifies China's efforts in the mid-twentieth century to distinguish itself as a nation through government-directed science and popular nationalism. The story of the panda's iconic rise offers a striking reflection of China's recent and dramatic ascent as a nation in global status.

The controversial governor recounts his fight to reform his state and issues a call to action for the whole country In 2010, Scott Walker was elected governor of Wisconsin with a mandate to improve its economy and restore fiscal responsibility. With the state facing a $3.6 billion budget deficit, he proposed a series of reforms to limit the collective bargaining power of public employee unions, which was costing taxpayers billions in pension and health care costs. . In June 2012, he won a special recall election with a higher share of the vote than he had for his original election, becoming the first governor in the country to survive a recall election. In this book, Governor Walker shows how his commitment to limited but effective government paid off. During his tenure Wisconsin has saved more than $1 billion, property taxes have gone down for the first time in twelve years, and the deficit was turned into a surplus. He also shows what his experiences can teach defenders of liberty across the country about standing up to the special interests that favor the status quo.

The extent to which American poetry reinvented itself after World War II is a testament to the changing social, political and economic landscape of twentieth-century American life. Registering an important shift in the way scholars contextualize modern and contemporary American literature, this Companion explores how American poetry has documented and, at times, helped propel the literary and cultural revolutions of the past sixty-five years. This Companion sheds new light on the Beat, Black Arts and other movements while examining institutions that govern poetic practice in the United States today. The text also introduces seminal figures like Sylvia Plath, John Ashbery and Gwendolyn Brooks while situating them alongside phenomena such as the 'academic poet' and popular forms such as spoken word and rap, revealing the breadth of their shared history. Students, scholars and readers will find this Companion an indispensable guide to post-war and late twentieth-century American poetry.

Philosophers and theorists have long recognized both the subversive and the transformative possibilities of friendship, the intimacy of which can transcend the impersonality of such identity categories as race, class, or gender. Unlike familial relations, friendships are chosen, opening a space of relative freedom in which to create and explore new identities. This process has been particularly valuable to poets marginalized by gender or sexuality since the second half of the twentieth century, as friendship provides both a buffer against and a wedge into predominantly male homosocial poetic communities. Among Friends presents a richly theorized evocation of friendship as a fluid, critical social space, one that offers a vantage point from which to explore the gendering of poetic institutions and practices from the postwar period to the present. With friendship as an optic, the essays in this volume offer important new insights into the gender politics of the poetic avant-garde, since poetry as an institution has continued to be transformed by dramatic changes wrought by second-wave feminism, sexual liberation, and gay rights. These essays reveal the intimate social negotiations that fight, fracture, and queer the conventions of authority and community that have long constrained women poets and the gendering of poetic subjectivities. From this shared perspective, the essays collected here investigate a historically and aesthetically wide-ranging array of subjects: from Joanne Kyger and Philip Whalen’s trans-Pacific friendship, to Patti Smith’s grounding of her punk persona in the tension between her romantic friendships with male artists and her more professional connections to the poets of the St. Mark’s scene, and from the gender dynamics of the Language School to the Flarf network’s reconception of poetic community in the digital age and the Black Took Collective’s creation of an intimate poetics of performance. Together, these explorations of poetic friendship open up new avenues for interrogating contemporary American poetry. Contributors: Maria Damon, Andrew Epstein, Ross Hair, Duriel E. Harris, Daniel Kane, Dawn Lundy Martin, Peter Middleton, Linda Russo, Lytle Shaw, Ann Vickery, Barrett Watten, Ronaldo V. Wilson

Since the turn of the new millennium English-language verse has entered a new historical phase, but explanations vary as to what has actually happened and why. What might constitute a viable avant-garde poetics in the aftermath of such momentous developments as 9/11, globalization, and the financial crisis? Much of this discussion has taken place in ephemeral venues such as blogs, e-zines, public lectures, and conferences. Nobody’s Business is the first book to treat the emergence of Flarf and Conceptual Poetry in a serious way. In his engaging account, Brian M. Reed argues that these movements must be understood in relation to the proliferation of digital communications technologies and their integration into the corporate workplace. Writers such as Andrea Brady, Craig Dworkin, Kenneth Goldsmith, Danny Snelson, and Rachel Zolf specifically target for criticism the institutions, skill sets, and values that make possible the smooth functioning of a postindustrial, globalized economy. Authorship comes in for particular scrutiny: how does writing a poem differ in any meaningful way from other forms of "content providing"? While often adept at using new technologies, these writers nonetheless choose to explore anachronism, ineptitude, and error as aesthetic and political strategies. The results can appear derivative, tedious, or vulgar; they can also be stirring, compelling, and even sublime. As Reed sees it, this new generation of writers is carrying on the Duchampian practice of generating antiart that both challenges prevalent definitions or art and calls into question the legitimacy of the institutions that define it.