From one of our most talented and original new literary voices comes the next great American supernatural novel: a work that explores the dark dimensions of the hometowns and the neighbors we thought we knew. Some places are too good to be true. Under a pink moon, there is a perfect little town not found on any map: Wink, New Mexico. In that town, there are quiet streets lined with pretty houses, houses that conceal the strangest things. After a couple years of hard traveling, ex-cop Mona Bright inherits her long-dead mother's home. And the closer Mona gets to her mother's past, the more she understands that the people of Wink are very, very different . . . "Perfect for fans of Stephen King and Neil Gaiman." -- Library Journal

As important cultural icons of the early nineteenth-century United States, adventurers energized the mythologies of the West and contributed to the justifications of territorial conquest. They told stories of exhilarating perils, boundless landscapes, and erotic encounters that elevated their chauvinism, avarice, and violence into forms of nobility. As self-proclaimed avatars of American exceptionalism, Jimmy L. Bryan Jr. suggests in The American Elsewhere, adventurers transformed westward expansion into a project of romantic nationalism. A study of US expansionism from 1815–1848, The American Elsewhere delves into the “adventurelogues” of the era to reveal the emotional world of men who sought escape from the anonymity of the urban East and pressures of the Market Revolution. As volunteers, trappers, traders, or curiosity seekers, they stepped into “elsewheres,” distant and dangerous. With their words and art, they entered these unfamiliar realms that had fostered caution and apprehension, and they reimagined them as regions that awakened romantic and reckless optimism. In doing so, Bryan shows, adventurers created the figure of the remarkable American male that generated a wide appeal and encouraged a personal investment in nationhood among their audiences. Bryan provides a thorough reading of a wide variety of sources—including correspondence, travel accounts, fiction, poetry, artwork, and material culture—and finds that adventurers told stories and shaped images that beguiled a generation of Americans into believing in their own exceptionality and in their destiny to conquer the continent.

As important cultural icons of the early nineteenth-century United States, adventurers energized the mythologies of the West and contributed to the justifications of territorial conquest. They told stories of exhilarating perils, boundless landscapes, and erotic encounters that elevated their chauvinism, avarice, and violence into forms of nobility. As self-proclaimed avatars of American exceptionalism, Jimmy L. Bryan Jr. suggests in The American Elsewhere, adventurers transformed westward expansion into a project of romantic nationalism. A study of US expansionism from 1815–1848, The American Elsewhere delves into the “adventurelogues” of the era to reveal the emotional world of men who sought escape from the anonymity of the urban East and pressures of the Market Revolution. As volunteers, trappers, traders, or curiosity seekers, they stepped into “elsewheres,” distant and dangerous. With their words and art, they entered these unfamiliar realms that had fostered caution and apprehension, and they reimagined them as regions that awakened romantic and reckless optimism. In doing so, Bryan shows, adventurers created the figure of the remarkable American male that generated a wide appeal and encouraged a personal investment in nationhood among their audiences. Bryan provides a thorough reading of a wide variety of sources—including correspondence, travel accounts, fiction, poetry, artwork, and material culture—and finds that adventurers told stories and shaped images that beguiled a generation of Americans into believing in their own exceptionality and in their destiny to conquer the continent.

"I'm the one they send to the trailer park outside Chimayo, New Mexico, to see the place where the guy went crazy and shot somebody. I'm the one who gets sent to the monster truck show, Lollapalooza concerts, the world's biggest bridal fair. Readers warm to my style . . . unless it drives them to apoplexy."-H.S. Take the off ramp to the world of Hank Stuever, a truly original writer who captures the humorous and haunting rhythms of modern American lives Hank Stuever's funny, touching reports take us to everyday places where the increasingly unusual realities of today's world run rampant. Stuever--twice a finalist for the Pulitzer Prize--calls this terrain the American Elsewhere. He finds it by bypassing Big News and taking off ramps to places where seemingly ordinary people lead lives just slightly off-kilter. Stuever's Elsewhere extends through trailer parks, roller rinks, malls no longer sparkling, and suburbs where robot dogs growl and bored children jump off rooftops using Hefty-bag parachutes. From Star Wars conventions to credit disasters, from snipers to missing persons, there is always something happening in Elsewhere-and Hank Stuever never misses a scintilla of the action. In Off Ramp, his destinations include Plano, Texas, home of two friends both named Angie ("Plano princesses") who turn home décor disasters over to a TV decorating show and wind up at war against orange carpet. In Washington D.C, we meet a pony-tailed "sofa surgeon" who confronts the mysteries of the universe and couches that won't go through doorways. In Albuquerque, New Mexico, a spiral-permed secretary begins an odyssey toward marriage that takes her from anxiety dreams ("I'm walking down the aisle and nobody is looking at me or anything") to anxiety that is no dream. And we are there. We visit discount funeral homes ("Let's say you're dead..."), campgrounds where international bonds are formed ("We are from Netherlands, and we are for two days wonderink, who it is you are storage facilities where America keeps its strangest secrets. We meet the men who drew the comic-book characters (including Wonder Woman) Stuever loved as a child professional bowlers, waterbed aficionados, and some Texans on "debris drives" in search of pieces of the fallen Columbia shuttle. Finally, we travel to Stuever's hometown of Oklahoma lCity where the bombing of the Alfred P.Murrah federal building has created a kind of Elsewhere he has never seen before. You never know quite where Hank Stuever is going to take you. Off Ramp is the terrific debut of a fresh, humane, one-of-a-kind journalistic voice.

From one of our most talented and original new literary voices comes the next great American supernatural novel: a work that explores the dark dimensions of the hometowns and the neighbors we thought we knew. Some places are too good to be true. Under a pink moon, there is a perfect little town not found on any map: Wink, New Mexico. In that town, there are quiet streets lined with pretty houses, houses that conceal the strangest things. After a couple years of hard traveling, ex-cop Mona Bright inherits her long-dead mother's home. And the closer Mona gets to her mother's past, the more she understands that the people of Wink are very, very different . . . "Perfect for fans of Stephen King and Neil Gaiman." -- Library Journal

This study conceives the literary and cinematic category of 'noir' as a way of understanding the defining conflict between authenticity and consumer culture in post-World War II America. It analyses works of fiction and film in order to argue that both contribute to a 'noir tradition' that is initiated around the end of World War II and continues to develop and evolve in the present.

Nordic Film Cultures and Cinemas of Elsewhere introduces a new concept to Nordic film studies as well as to other small national, transnational and world cinema traditions. Examining overlooked 'elsewheres', the book presents Nordic cinemas as international, cosmopolitan, diasporic and geographically dispersed, from their beginnings in the early silent period to their present 21st-century dynamics. Exploring both canonical works by directors like Ingmar Bergman and Lars von Trier, as well as a wide range of unknown or overlooked narratives of movement, synthesis and resistance, the book offers a new model of inquiry into a multi-varied Scandinavian cultural lineage, and into small nation and pan-regional world cinemas.