On Thanksgiving night, 1915, a small band of hooded men gathered atop Stone Mountain, an imposing granite butte just outside Atlanta. With a flag fluttering in the wind beside them, a Bible open to the twelfth chapter of Romans, and a flaming cross to light the night sky above, William Joseph Simmons and his disciples proclaimed themselves the new Knights of the Ku Klux Klan, named for the infamous secret order in which many of their fathers had served after the Civil War. Unsure of their footing in a newly modern America and longing for the provincial, patriarchal world of the past, the men of the second Klan saw themselves as an army in training for a war between the races. They boasted that they had bonded into "an invisible phalanx...to stand as impregnable as a tower against every encroachment upon the white man's liberty...in the white man's country, under the white man's flag." Behind the Mask of Chivalry brings the "invisible phalanx" into broad daylight, culling from history the names, the life stories, and the driving passions of the anonymous Klansmen beneath the white hoods and robes. Using an unusual and rich cache of internal Klan records from Athens, Georgia, to anchor her observations, Nancy MacLean combines a fine-grained portrait of a local Klan world with a penetrating analysis of the second Klan's ideas and politics nationwide. No other right-wing movement has ever achieved as much power as the Ku Klux Klan of the 1920s, and this book shows how and why it did. MacLean reveals that the movement mobilized its millions of American followers largely through campaigns waged over issues that today would be called "family values": Prohibition violation, premarital sex, lewd movies, and anxieties about women's changing roles and waning parental authority. Neither elites nor "poor whites," most of the Klan rank and file were married, middle-aged, and middle class. Local meetings, or klonklaves, featured readings of the minutes, plans for recruitment campaigns and Klan barbecues, and distribution of educational materials--Christ and Other Klansmen was one popular tome. Nonetheless, as mundane as proceedings often were at the local level, crusades over "morals" always operated in the service of the Klan's larger agenda of virulent racial hatred and middle-class revanchism. The men who deplored sex among young people and sought to restore the power of husbands and fathers were also sworn to reclaim the "white man's country," striving to take the vote from blacks and bar immigrants. Comparing the Klan to the European fascist movements that grew out of the crucible of the first World War, MacLean maintains that the remarkable scope and frenzy of the movement reflected less on members' power within their communities than on the challenges to that power posed by African Americans, Jews, Catholics, immigrants, and white women and youth who did not obey the Klan's canon of appropriate conduct. In vigilante terror, the Klan's night riders acted out their movement's brutal determination to maintain inherited hierarchies of race, class, and gender. Compellingly readable and impeccably researched, Behind the Mask of Chivalry is an unforgettable investigation of a crucial era in American history, and the social conditions, cultural currents, and ordinary men that built this archetypal American reactionary movement. In this thirtieth anniversary edition, MacLean reflects on this history amidst the resurgence of right-wing populism, white Christian nationalism, and political violence and intimidation in the twenty-first century.

Tin Pan Alley, once New York City’s songwriting and recording mecca, issued more than a thousand songs about the American South in the first half of the twentieth century. In Reinventing Dixie, John Bush Jones explores the broad impact of these songs in creating and disseminating the imaginary view of the South as a land of southern belles, gallant gentlemen, and racial harmony. In profiles of Tin Pan Alley’s lyricists and composers, Jones explains how a group of undereducated and untraveled writers—the vast majority of whom were urban northerners or European immigrants— constructed the specific and detailed images of the South used in their song lyrics. In the process of evaluating the origins of Tin Pan Alley’s songbook, Jones analyzes these songwriters’ attitudes about North-South reconciliation, ideals of honor and hospitality, and the recurring theme of the yearning for home. Though a few of the songs employed parody or satire to undercut the vision of a peaceful, romantic South, the majority ignored the realities of racism and poverty in the region. By the end of Tin Pan Alley’s era of cultural prominence in the mid-twentieth century, Jones contends that the work of its writers had cemented the “moonlight and magnolias” myth in the minds of millions of Americans. Reinventing Dixie sheds light on the role of songwriters in forming an idyllic vision of the South that continues to influence the American imagination.

On the great influence of a valiant lord: "The companions, who see that good warriors are honored by the great lords for their prowess, become more determined to attain this level of prowess." On the lady who sees her knight honored: "All of this makes the noble lady rejoice greatly within herself at the fact that she has set her mind and heart on loving and helping to make such a good knight or good man-at-arms." On the worthiest amusements: "The best pastime of all is to be often in good company, far from unworthy men and from unworthy activities from which no good can come." Enter the real world of knights and their code of ethics and behavior. Read how an aspiring knight of the fourteenth century would conduct himself and learn what he would have needed to know when traveling, fighting, appearing in court, and engaging fellow knights. Composed at the height of the Hundred Years War by Geoffroi de Charny, one of the most respected knights of his age, A Knight's Own Book of Chivalry was designed as a guide for members of the Company of the Star, an order created by Jean II of France in 1352 to rival the English Order of the Garter. This is the most authentic and complete manual on the day-to-day life of the knight that has survived the centuries, and this edition contains a specially commissioned introduction from historian Richard W. Kaeuper that gives the history of both the book and its author, who, among his other achievements, was the original owner of the Shroud of Turin.

This book works to complicate and push against common arguments that the Western from its inception is an anti-feminist genre. By focusing on representations of women professionals in Westerns, it shows that women in cinematic and televisual Westerns sometimes do acquire agency and empowerment in the private and public realms, despite our culture’s tendency to gender the former as feminine and the latter as solely masculine. The study reviews the relationship of these progressive Westerns to both explicit and latent feminist ideologies relevant to their times, as the films evolved from the 1930s to the twenty-first century.

The Praying South and the Fighting South are two of our most popular images of white southern culture. In Subduing Satan, Ted Ownby details the tensions between these complex--and often opposing--attitudes. "Ownby's re-creation of male recreation is rich and fascinating. He paints the saloon and the street, the cockfighting and dogfighting rings as realms of distinctly male vices, enjoyed lustily by men seeking to escape the sweet virtue of the Southern Christian home.--Nation "A bold new thesis. . . . [Ownby] gives us guideposts in the ongoing search for the meaning of southern history.--Journal of Southern History "I suspect that for many years ahead Ted Ownby's Subduing Satan will serve as the standard guide on how to write religious social history.--Bertram Wyatt-Brown, University of Florida "This is one of the freshest and most interesting books written about the American South in years. By focusing on the cultural conflicts of everyday life, Ownby gets us right to the heart of white culture in the South between Reconstruction and the 1920s.--Edward L. Ayers, University of Virginia