Giant is a sprawling narrative, centered around the Benedict family, Texas cattle ranchers, and Jett Rink, a nouveau riche oilman. Originally serialized in Ladies' Home Journal in 1952, subsequently published as a novel, then adapted into George Stevens's 1956 film starring James Dean, Rock Hudson, and Elizabeth Taylor, Giant is a text that dramatizes the domestication and naturalization of the oil industry in the postwar United States while endorsing a multiracial vision of Texas. This essay explores how Giant ultimately arrives at nationalistic pluralism after representing the radical changes brought about by the modern oil industry in the US, particularly the erosion of traditional class divisions as Jett Rink's oil wealth exceeds the Benedict's ranching wealth. The subsumption of oil into liberal pluralism marks what this essay names “fossil-fuel futurity,” an ideological configuration in which normative life is produced through the commodities and modes of transportation made available by fossil-fuel culture. The essay then puts Giant into a broader context of narratives about oil in the postwar US, especially the television series Dallas (1978–91) and the film There Will Be Blood (2007). In all three texts, oil culture becomes postwar US culture, saturating aesthetic, affective, and family relations. The challenge for us, then, is to imagine a mode of futurity that does not replicate the ideological valences of “fossil-fuel futurity.”

Over several decades of interviewing people and crafting their words into published works, Studs Terkel defined, expanded, and challenged the field of oral history. Terkel often described his methods as similar to those of a “prospector for gold” sifting through the statements of his subjects to create essays that reveal each person's “essence.” Drawing on his planning documents, interview transcripts, manuscripts and published texts, I trace Terkel's approach to oral history through two of his best-known works – Hard Times and “The Good War” – and through three stages: his planning and performance of interviews, his editing of the individual transcripts, and his construction of the completed text. I conclude by considering the implications of Terkel's unconventional approach to oral history and the ways in which his methodology may reflect his long history of involvement with progressive political movements. Terkel crafted his subject's narratives into texts I term “documentary memory”; he insisted that his works are subjective “memory books” but also employed a documentary rhetoric of objectivity. Terkel believed telling stories of the past to be a form of social action and he used his texts about the past to comment politically on his present – his “memory books” document earlier periods in American history relevant to the cultural moment in which he published.

This article considers the negotiation of masculinity that takes place within a family context, juxtaposing Raewyn Connell's concept of hegemonic masculinity with one that is more aligned with the collective. Taking Philip Roth's 2003 novel The Plot Against America, the article uses the character of Herman Roth as a case study. Despite Roth's reputation as a fundamentally masculine writer, and one who has not always represented the family as a positive force on individual masculine identity, this novel portrays a father who is responsive to circumstance and whose masculinity evolves according to his family's needs.

On 26 June 2010, the brand new Gulf of Mexico exhibit at the National Mississippi River Museum & Aquarium in Dubuque, Iowa opened devoid of life. The tanks were purposefully left empty, rather than showing the vibrant aquatic life of the Gulf, to highlight the oil spill associated with BP's Deepwater Horizon offshore drilling incident earlier in 2010. According to the museum's press release, the museum wanted

The Dominican American community in New York is perhaps one of the best examples of how processes of transculturation are affecting traditional definitions of ethnic identification. Given the intense economic, social and cultural transnational exchanges between the island and the USA from the 1960s, Dominicanyorks have been challenging the illusion of homogeneity in the definition of Americanness for decades, creating transnational social networks that transcend traditional national and ethnographic boundaries. The theatrical works of Josefina Báez, a Dominican American performer living in New York, and Sherezada (Chiqui) Vicioso, a Dominican poet and playwright who lived and worked in the US metropolis for decades before moving back to the Dominican Republic, lyrically explore issues of diaspora, identity and migration and the impact these phenomena might have in the lives of migrant Dominican women. Presenting diasporic experiences from two differing but interconnected locales – New York and the Dominican Republic – these plays offer two complementary views on the ways in which ethnicity, race, social class, age and geopolitical location interact in the formation of transcultural identities, thus contributing to develop a hemispheric approach to the study of identity formation in the Americas.

For decades now, Oscar Wilde has been celebrated in academic and popular circles as a transgressor of gender boundaries and a devotee of the woman's world and an “appreciative inheritor of women's culture.” What has been underappreciated, however, is that Wilde also acted as an advocate of gender binaries in ways that significantly challenge this reputation. This article argues that Wilde's writings reveal a traditionalist critique of American gender politics that reflects his concern over the management of cultural institutions and values, and the increasingly precarious place of men within them. Rather than locating these anxieties in Britain, Wilde displaced them onto the United States, a country whose cultural institutions he had become intimate with during a year-long lecture tour in the early 1880s. By exposing and problematizing Wilde's response to the late nineteenth-century crisis in masculinity and his disappointment at the failure of American men to take their place in society as arbiters of taste, this article underscores the need for a nuanced reassessment of Wildean gender politics. At stake here are fundamental questions about how a transgressive politics sits alongside traditionalism, and how a conservative gender bias in transatlantic fin de siècle culture operated even in the period's progressive circles.

In this essay I examine the importance of home within what Peter Brooks has called “the melodramatic imagination.” Arguing that nineteenth-century theatrical melodrama has a long afterlife, I examine the significance of John Howard Payne's song “Home Sweet Home” in two of D. W. Griffith's films, Home Sweet Home (1913) and The Birth of a Nation (1915). I show that home is elevated to a sacred site within melodrama and that, within Griffith's infamous 1915 film, this sacred site is a white southern home which he takes to represent the nation. Melodrama is an ethical drama in which virtue and vice face each other. Home, as a crucial element of melodrama, is often represented as its site of confrontation, indeed is often precisely what is at stake within such confrontations. Given the political potency of home in arguments about nation and identity, the confrontation between virtue and vice over home has powerful potential to articulate issues of belonging and exclusion, desire and longing. The intermingling of representations of home and melodrama, combined with the long afterlife of nineteenth-century theatrical melodrama, makes understanding and scrutinizing these formations an important critical act.