The “shocking” and “suspense-packed” bestseller about one teacher’s stand against student violence, and the basis for the Academy Award–nominated film (The New York Times Book Review). After serving his country in World War II, Richard Dadier decides to become an English teacher—and for the sin of wanting to make a difference, he’s hired at North Manual Trades High School. A tough vocational school in the East Bronx, Manual Trades is home to angry, unruly teenagers exiled from New York City’s regular public schools. On his first day, Dadier endures relentless mockery and ridicule and makes an enemy of the student body by rescuing a female colleague from a vicious attack. His fellow educators are bitter, disillusioned, and too afraid of their pupils to risk turning their backs on them in the classroom. But Dadier refuses to give up without a fight. Over the course of the semester, he tries again and again to break through the wall of hatred and scorn and win his students’ respect. The more he learns about their difficult circumstances, the more convinced he becomes that a good teacher can make a difference in their lives. His idealism will be put to the ultimate test, however, when a long-simmering power struggle with his most intimidating student explodes into a violent schoolroom showdown. The basis for the blockbuster film starring Glenn Ford and Sidney Poitier, Evan Hunter’s The Blackboard Jungle is a brutal, unflinching look at the dark side of American education and an early masterpiece from the author who went on to write the gritty 87th Precinct series as Ed McBain. Drawn from Hunter’s own experiences as a New York City schoolteacher, it is a “nightmarish but authentic” drama that packs a knockout punch (Time).

Although in recent years scholars have explored the cultural construction of masculinity, they have largely ignored the ways in which masculinity intersects with other categories of identity, particularly those of race and ethnicity. The essays in Race and the Subject of Masculinities address this concern and focus on the social construction of masculinity--black, white, ethnic, gay, and straight--in terms of the often complex and dynamic relationships among these inseparable categories. Discussing a wide range of subjects including the inherent homoeroticism of martial-arts cinema, the relationship between working-class ideologies and Elvis impersonators, the emergence of a gay, black masculine aesthetic in the works of James Van der Zee and Robert Mapplethorpe, and the comedy of Richard Pryor, Race and the Subject of Masculinities provides a variety of opportunities for thinking about how race, sexuality, and "manhood" are reinforced and reconstituted in today's society. Editors Harry Stecopoulos and Michael Uebel have gathered together essays that make clear how the formation of masculine identity is never as obvious as it might seem to be. Examining personas as varied as Eddie Murphy, Bruce Lee, Tarzan, Malcolm X, and Andre Gidé, these essays draw on feminist critique and queer theory to demonstrate how cross-identification through performance and spectatorship among men of different races and cultural backgrounds has served to redefine masculinity in contemporary culture. By taking seriously the role of race in the making of men, Race and the Subject of Masculinities offers an important challenge to the new studies of masculinity. Contributors. Herman Beavers, Jonathan Dollimore, Richard Dyer, Robin D. G. Kelly, Christopher Looby, Leerom Medovoi, Eric Lott, Deborah E. McDowell, José E. Muñoz, Harry Stecopoulos, Yvonne Tasker, Michael Uebel, Gayle Wald, Robyn Wiegman

Race, sex, and gender.

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