"Proceedings of the twenty-second annual symposium of the Klutznick Chair in Jewish Civilization - Harris Center for Judaic Studies, October 25-26, 2009" -- P. [i].

Kinky Friedman is not only a man of the people, he's a man of the animal kingdom. Kinky is a man who wears many hats -- not just a Stetson. Aside from being a politico, folksinger, and mystery author, he's also a longtime animal advocate and feels as passionately about his pets as he does about legislative reform. But rather than simply write about his own experiences, why shouldn't he include a few friends? Of course, Kinky's address book is unique, and he's taken full advantage. In his new collection, Kinky's Celebrity Pet Files, the Kinkster writes about his famous friends and their pets you've never met, each with a story as delightful and offbeat as the author himself. Kinky has gathered together an eclectic and extraordinary group of talented celebrity pals to talk about the subject nearest and dearest to their hearts: their pets. With candid, personal photos of the stars and their beloved animals and insider stories to match, the book is like a party only Kinky could throw, and the results are both entertaining and endearing. It's not your average celebrity pet book, because Kinky's not your average celebrity. He's got musicians, like Johnny Cash and his pig, Brian Wilson with his dog, and Willie Nelson doing his best horse whisperer impersonation; actors and comedians ranging from Phyllis Diller with Miss Kitty to Richard Pryor on a pygmy pony; and a lineup of writers, politicians, and some heroes of the past -- Bill Clinton, Joseph Heller, and Mark Twain, to name a few. Hilarious, oddball, heartwarming, and edgy all at once, Kinky's Celebrity Pet Files is a book for animal lovers, celebrity junkies, and anyone who just likes a good story. It's a little weird, it's completely charming, and it's 100 percent Kinky.

How Rick Perry navigated and shaped Texas politics as the state's longest serving governor.

A masterfully updated edition of The F-Word which renders a comprehensive portrait of English's most notorious and colorful word. No word has generated more uses, more creative euphemisms, and more strong opinions than fuck. Jesse Sheidlower's historical dictionary, now in print for over 25 years, charts the uses of fuck and its many permutations, from absofuckinglutely to zipless fuck. It illustrates every sense of every entry with quotations, from the earliest that can be found to a recent example, showing exactly how the word has been used throughout history. This new edition is not just a minor update but a comprehensive revision of Sheidlower's groundbreaking text for the internet age. Major new discoveries push back the known history of fuck by almost two hundred years. Sheidlower also considers rapidly changing attitudes towards the use of fuck in public discourse. The volume includes over 1,000 new quotations; over 100 antedatings (earlier examples of existing entries, improving our understanding of the word's development); and many dozens of new entries, including high-profile recent uses such as AF 'as fuck', fuckboi, and the group of expressions of the sort to give no fucks or zero fucks given.

Musical magic hit Austin, Texas, in the early 1970s. At now-legendary venues such as Threadgill's, Vulcan Gas Company, and the Armadillo World Headquarters, a host of country, rock-and-roll, blues, and folk musicians came together and created a sound and a scene that Jan Reid vividly detailed in his 1974 book, The Improbable Rise of Redneck Rock. The breadth of talent still astounds—Willie Nelson, Janis Joplin, Jerry Jeff Walker, Doug Sahm, Delbert McClinton, Michael Martin Murphey, Willis Alan Ramsey, Kinky Friedman, Steve Fromholz, Bobby Bridger, Billy Joe Shaver, Marcia Ball, and Townes Van Zandt. Reid's book even inspired the nationally popular and long-running PBS series Austin City Limits, which focused attention on the trends that fed the music scene—progressive country, country rock, western swing, blues, and bluegrass among them. In this new edition, Jan Reid revitalizes his classic look at the Austin music scene. He has substantially reworked the early chapters to include musicians and musical currents from other parts of Texas that significantly contributed to the delightful convergence of popular cultures in Austin. Four new chapters and an epilogue show how the creative burst of the seventies directly spawned a new generation of talents who carry on the tradition—Lyle Lovett, Stevie Ray Vaughan, The Fabulous Thunderbirds, Robert Earl Keen, Steve Earle, Jimmy LaFave, Kelly Willis, Joe Ely, Bruce and Charlie Robison, and The Dixie Chicks.

The seventeenth edition of Party Politics in America continues the comprehensive and authoritative coverage of political parties for which it is known while expanding and updating the treatment of key related topics including interest groups and elections. Marjorie Hershey builds on the book’s three-pronged coverage of party organization, party in the electorate, and party in government and integrates contemporary examples—such as campaign finance reform, party polarization, and social media—to bring to life the fascinating story of how parties shape our political system. New to the 17th Edition Fully updated through the 2016 election, including changes in virtually all of the boxed materials, the chapter openings, and the data presented. Explores increasing partisan hostility, the status of voter ID laws and other efforts to affect voter turnout, young voters' attitudes and participation, and the role of big givers such as the energy billionaire Koch brothers in the 2016 campaigns. Critically examines the idea that Super PACs are replacing, or can replace, the party organizations in running campaigns. New and expanded online Instructor's Resources, including author-written test banks, essay questions, relevant websites with correlated sample assignments, the book’s appendix, and links to a collection of course syllabi.

Larry McMurtry declares, "Texas itself doesn't have anything to do with why I write. It never did." Horton Foote, on the other hand, says, "I've just never had a desire to write about any place else." In between those figurative bookends are hundreds of other writers—some internationally recognized, others just becoming known—who draw inspiration and often subject matter from the unique places and people that are Texas. To give everyone who is interested in Texas writing a representative sampling of the breadth and vitality of the state's current literary production, this volume features conversations with fifty of Texas's most notable established writers and emerging talents. The writers included here work in a wide variety of genres—novels, short stories, poetry, plays, screenplays, essays, nonfiction, and magazine journalism. In their conversations with interviewers from the Writers' League of Texas and other authors' organizations, the writers speak of their apprenticeships, literary influences, working habits, connections with their readers, and the domestic and public events that have shaped their writing. Accompanying the interviews are excerpts from the writers' work, as well as their photographs, biographies, and bibliographies. Joe Holley's introductory essay—an overview of Texas writing from Cabeza de Vaca's 1542 Relación to the work of today's generation of writers, who are equally at home in Hollywood as in Texas—provides the necessary context to appreciate such a diverse collection of literary voices. A sampling from the book: "This land has been my subject matter. One thing that distinguishes me from the true naturalist is that I've never been able to look at land without thinking of the people who've been on it. It's fundamental to me." —John Graves "Writing is a way to keep ourselves more in touch with everything we experience. It seems the best gifts and thoughts are given to us when we pause, take a deep breath, look around, see what's there, and return to where we were, revived." —Naomi Shihab Nye "I've said this many times in print: the novel is the middle-age genre. Very few people have written really good novels when they are young, and few people have written really good novels when they are old. You just tail off, and lose a certain level of concentration. Your imaginative energy begins to lag. I feel like I'm repeating myself, and most writers do repeat themselves." —Larry McMurtry "I was a pretty poor cowhand. I grew up on the Macaraw Ranch, east of Crane, Texas. My father tried very hard to make a cowboy out of me, but in my case it never seemed to work too well. I had more of a literary bent. I loved to read, and very early on I began to write small stories, short stories, out of the things I liked to read." —Elmer Kelton