(Author's Preface)I should like to state at the beginning of my book that what is stated in it on controversial matters is my own firm opinion, except where in a few cases the views of other people are published and their names given.I wish to make it clear that though there were, and are, sharp differences of opinion on the subject of Fast-Leg-Theory bowling between myself and some Australians, there was always an atmosphere of complete cordiality between the teams on both sides. Although we differ seriously over my Fast-Leg-Theory bowling I have done my best in the following pages not to disturb that atmosphere.Until now my side of the matter has not been heard. I have refused many tempting offers to break silence. As a fast bowler and a hitter by nature I have written strongly because I cannot express myself otherwise.I hope very much indeed that in doing so, though I was one, of the aggrieved parties in Australia, I have given nobody half the offence from which I suffered so often on the last tour.A belief exists that some of the things I have written about are not yet to be discussed.Obviously I differ from that view. I do so because I feel that in a matter of such vital interest to cricketers as the possible admission by legislation of such a far-reaching principle as that bowlers may not bowl as they like, no cricketer can keep silent. I believe I have only written here what very many cricketers are saying. But I have written supported by first-hand knowledge.For the many imperfections of style and language in my first book I beg the indulgence of my reader.Yours Sincerely,H. Larwood

In 1932, England’s cricket team, led by the haughty Douglas Jardine, had the fastest bowler in the world: Harold Larwood. Australia boasted the most prolific batsman the game had ever seen: the young Don Bradman. He had to be stopped. The leg-side bouncer onslaught inflicted by Larwood and Bill Voce, with a ring of fieldsmen waiting for catches, caused an outrage that reverberated to the back of the stands and into the highest levels of government. Bodyline, as this infamous technique came to be known, was repugnant to the majority of cricket-lovers. It was also potentially lethal – one bowl fracturing the skull of Australian wicketkeeper Bert Oldfield – and the technique was outlawed in 1934. After the death of Don Bradman in 2001, one of the most controversial events in cricketing history – the Bodyline technique - finally slid out of living memory. Over seventy years on, the 1932-33 Ashes series remains the most notorious in the history of Test cricket between Australia and England. David Frith’s gripping narrative has been acclaimed as the definitive book on the whole saga: superbly researched and replete with anecdotes, Bodyline Autopsy is a masterly anatomy of one of the most remarkable sporting scandals.

As the courts betray us and our leaders fail us, only we can keep each other safe. In this powerful, empathetic look at abortion clinic escorting, “one of the most under-covered and crucial, lifesaving, rigorous forms of activism out there” (Rebecca Traister), Lauren Rankin offers real hope—and a real call to action for a post-Roe America. Incisive and eye-opening, Bodies on the Line makes a clear case that the right to an abortion is a fundamental part of human dignity. And now that the Supreme Court has overturned Roe v Wade, the stakes facing us all if that right disappears have never been higher. Clinic escorts—everyday volunteers who shepherd patients safely inside to receive care—are fighting on the front lines by replacing hostility with humanity. Prepared to stand up and protect abortion access as they have for decades, even in the face of terrorism and violence, clinic escorts live—and have even died—to ensure that abortion remains not only accessible but a basic human right. Their stories have never been told—until now. With precision and passion, Lauren Rankin traces the history and evolution of this movement to tell a broader story of the persistent threats to safe and legal abortion access, and the power of individuals to stand up and fight back. Deeply researched, featuring interviews with clinic staff, patients, experts, and activists—plus the author’s own experience as a clinic escort—Bodies on the Line reframes the “abortion wars,” highlighting the power of people to effect change amid unimaginable obstacles, and the unprecedented urgency of channeling that power.

Over thirty years ago, historian Marion Stell tracked down the women who played in the inaugural international Test cricket series against England in the summer of 1934–1935. Their stories and this extraordinary time in Australian sport are told here for the first time. After the contentious 'bodyline' mens' series in 1932–1933, sporting relations between Australia and England were at an all-time low. The long traditions built on fair play and sportsmanship had been shattered and controversy raged in the media. At the same time, a group of talented young women were invited to play for their country. Hailing from all classes and backgrounds, these exceptional players defied social and family expectations to pursue the sport they loved, gaining recognition and celebrity in Test series here and abroad. Drawing from rare source material, photos and interviews with the original players, The Bodyline Fix shines a long-overdue light on gender, race and class in 1930s Australia. The impact and legacy of these early sportswomen lives on to inspire current generations.

"Rather than simply engaging in a triumphalist narrative of overcoming where both disability and disablement are shunned alike, Disabilities of the Color Line argues that Black authors and activists have consistently avowed disability as a part of Black social life in varied and complex ways. Sometimes their affirmation of disability serves to capture how their bodies, minds, and health have been and are made vulnerable to harm and impairment by the state and society. Sometimes their assertion of disability symbolizes a sense of commonality and community that comes not only from a recognition of the shared subjection of blackness and disability but also from a willingness to imagine and create a world distinct from the dominant social order. Through the work of David Walker, Henry Box Brown, William and Ellen Craft, Charles Chesnutt, James Weldon Johnson, and Mamie Till-Mobley, Disabilities of the Color Line examines how Black writer-activists have engaged in an aesthetics of redress: modes of resistance that show how Black communities have rigorously acknowledged disability as a response to forms of racial injury and in the pursuit of racial and disability justice"--

Bodies on the Line offers the first sustained study of the poetry reading in its most formative period: the 1960s. Raphael Allison closely examines a vast archive of audio recordings of several key postwar American poets to explore the social and literary context of the sixties poetry reading, which is characterized by contrasting differing styles of performance: the humanist style and the skeptical strain. The humanist style, made mainstream by the Beats and their imitators, is characterized by faith in the power of presence, emotional communion, and affect. The skeptical strain emphasizes openness of interpretation and multivalent meaning, a lack of stability or consistency, and ironic detachment. By comparing these two dominant styles of reading, Allison argues that attention to sixties poetry readings reveals poets struggling between the kind of immediacy and presence that readings suggested and a private retreat from such performance-based publicity, one centered on the text itself. Recordings of Robert Frost, Charles Olson, Gwendolyn Brooks, Larry Eigner, and William Carlos Williams—all of whom emphasized voice, breath, and spoken language and who were inveterate professional readers in the sixties—expose this struggle in often surprising ways. In deconstructing assertions about the role and importance of the poetry reading during this period, Allison reveals just how dramatic, political, and contentious poetry readings could be. By discussing how to "hear" as well as "read" poetry, Bodies on the Line offers startling new vantage points from which to understand American poetry since the 1960s as both performance and text.