Farewell, Mr. Gangster!


Book Description




A Dictionary of the Underworld


Book Description

First published in 1949 (this edition in 1968), this book is a dictionary of the past, exploring the language of the criminal and near-criminal worlds. It includes entries from Australia, New Zealand, Canada and South Africa, as well as from Britain and America and offers a fascinating and unique study of language. The book provides an invaluable insight into social history, with the British vocabulary dating back to the 16th century and the American to the late 18th century. Each entry comes complete with the approximate date of origin, the etymology for each word, and a note of the milieu in which the expression arose.




The Selected Works of Eric Partridge


Book Description

This set reissues important selected works by Eric Partridge, covering the period from 1933 to 1968. Together, the books look at many and diverse aspects of language, focusing in particular on English. Included in the collection are a variety of insightful dictionaries and reference works that showcase some of Partridge’s best work. The books are creative, as well as practical, and will provide enjoyable reading for both scholars and the more general reader, who has an interest in language and linguistics.




Mob Culture


Book Description

Mob Culture offers a long-awaited, fresh look at the American gangster film, exposing its hidden histories from the Black Hand gangs of the early twentieth century to The Sopranos. Departing from traditional approaches that have typically focused on the "nature" of the gangster, the editors have collected essays that engage the larger question of how the meaning of criminality has changed over time. Grouped into three thematic sections, the essays examine gangster films through the lens of social, gender, and racial/ethnic issues.




Life and Death of Pretty Boy Floyd


Book Description

Charles Arthur Floyd, aka Pretty Boy Floyd (1904-1934), was one of the last so-called Robin Hood outlaws. He engaged in numerous bank-robbing exploits across the Midwest until federal agents and local police shot him down near East Liverpool, Ohio, on October 22, 1934. This detailed account of his life, crimes and death makes extensive use of FBI reports, government records, local newspapers and contemporary journalistic accounts.




F.B. Eyes


Book Description

How FBI surveillance influenced African American writing Few institutions seem more opposed than African American literature and J. Edgar Hoover's white-bread Federal Bureau of Investigation. But behind the scenes the FBI's hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureau’s intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlem’s renaissance and Hoover’s career at the Bureau, secretive FBI "ghostreaders" monitored the latest developments in African American letters. By the time of Hoover’s death in 1972, these ghostreaders knew enough to simulate a sinister black literature of their own. The official aim behind the Bureau’s close reading was to anticipate political unrest. Yet, as William J. Maxwell reveals, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the twentieth century. Taking his title from Richard Wright’s poem "The FB Eye Blues," Maxwell details how the FBI threatened the international travels of African American writers and prepared to jail dozens of them in times of national emergency. All the same, he shows that the Bureau’s paranoid style could prompt insightful criticism from Hoover’s ghostreaders and creative replies from their literary targets. For authors such as Claude McKay, James Baldwin, and Sonia Sanchez, the suspicion that government spy-critics tracked their every word inspired rewarding stylistic experiments as well as disabling self-censorship. Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, F.B. Eyes is a groundbreaking account of a long-hidden dimension of African American literature.




Wanted Women


Book Description

The iconic photo of Bonnie Parker—cigar clenched in jaw, pistol in hand—says it all: America loves its bad girls. Now Mary Elizabeth Strunk tells us why. Wanted Women is a startling look at the lives—and legends—of ten female outlaws who gained notoriety during the tumultuous decades that bracketed the tenure of FBI director J. Edgar Hoover. Strunk looks at real-life events and fictional portrayals to decipher what our obsession with these women says about shifting gender roles, evolving law-enforcement practices, and American cultural attitudes in general. These women's stories reveal what it takes-and what it has meant--to be a high-profile female lawbreaker in America. Strunk introduces us to Kathryn "Mrs. Machine Gun" Kelly, Ma Barker, and Bonnie Parker from the 1930s, and, from the 1970s, we meet heiress-turned-revolutionary Patty Hearst, five other women of the Symbionese Liberation Army, and Black Panther Assata Shakur. All saw themselves as struggling against an oppressive legal system. All became "wanted" criminals and would play a part in shaping Hoover's legacy. And all spent enormous amounts of energy attempting to manipulate public opinion in their favor. Strunk argues that each woman's public persona was to some degree invented by Hoover, who saw outlaw women as an alarming threat to public morality. He went after them with a vengeance, but in many ways his obsession only added to their reputations. Strunk shows how Hoover's repeated use of popular culture to publicize the threat of violent women initially succeeded in strengthening his FBI, but his approach became a liability by the time law enforcement was pitted against the women outlaws of the 1970s. The book chronicles the careers of these infamous outlaws both in the real world and in popular culture—film, ads, true-crime stories, autobiographies—as well as Hoover's own forays into filmmaking. It boasts 27 compelling images of movie stills, wanted posters, and other ephemera that have been assembled nowhere else, including rarely reproduced SLA artifacts. Strunk's book is the first study to define the narrow "formula" necessary for a woman to cross over from criminal to outlaw. Hitting on key notes of American culture from Black and gender studies to cinematic and legal history, Wanted Women sets a new benchmark for how we view women and crime as it contributes fresh insights into twentieth-century social history.




Uniform Behavior


Book Description

This book places in historical context the continuing push-pull dynamics between national politics and the entrenched tradition of local control over law enforcement in the U.S. Drawing on the present sense of urgency around the War on Terror and earlier national political initiatives that have sought to influence law enforcement at the local level, this multidisciplinary collection addresses key questions about how national and geopolitical developments come to shape local policing, and inform who decides how, and to what end, local police forces will maintain public order, interact with local communities, and address issues of accountability, oversight, and reform.




Her Best Shot


Book Description

The gun-toting woman holds enormous symbolic significance in American culture. For over two centuries, women who pick up guns have disrupted the popular association of guns and masculinity, spurring debates about women's capabilities for violence as well as their capacity for full citizenship. In Her Best Shot, Laura Browder examines the relationship between women and guns and the ways in which the figure of the armed woman has served as a lightning rod for cultural issues. Utilizing autobiographies, advertising, journalism, novels, and political tracts, among other sources, Browder traces appearances of the armed woman across a chronological spectrum from the American Revolution to the present and an ideological spectrum ranging from the Black Panthers to right-wing militias. Among the colorful characters presented here are Deborah Sampson, who disguised herself as a man to fight in the American Revolution; Pauline Cushman, who posed as a Confederate to spy for Union forces during the Civil War; Wild West sure-shot Annie Oakley; African explorer Osa Johnson; 1930s gangsters Ma Barker and Bonnie Parker; and Patty Hearst, the hostage-turned-revolutionary-turned-victim. With her entertaining and provocative analysis, Browder demonstrates that armed women both challenge and reinforce the easy equation that links guns, manhood, and American identity.




Catalog of Copyright Entries. New Series


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