Books by Ron Briley

         Offering an alternative to encyclopedic textbooks that confirm Henry Ford’s complaint that the study of history is just “one damned thing after another,” it provides an informal and conversational narrative history of the American experience from the Colonial period to the present day. Above all, history is a story, and the story of America is a complicated and contested tale. Rather than simply the exceptionalism of a shining city upon a hill, the American saga includes a dark stain of prejudice and nativism still present within the national fabric. Beginning with the assault upon Native lands and culture along with the introduction of racial slavery, patterns of exploitation and greed fostering gender, racial, and class inequality are an essential part of America’s story.         Themes of prejudice and inequality, however, are offset by the promise of social justice and an egalitarian America outlined by Thomas Jefferson’s Declaration of Independence, Elizabeth Cady Stanton’s Seneca Falls Declaration of Principles, Abraham Lincoln’s Gettysburg Address, Franklin D. Roosevelt’s The Four Freedoms, and Martin Luther King Jr.’s “I Have a Dream” oratory. While considering topics such as Presidential leadership, Talking American History emphasizes the efforts of American reformers, dreamers, freedom fighters, dissenters, radicals, and workers to move the nation toward the democratic promise laid out in its founding documents. The framework is a traditional political history narrative told from a progressive perspective. This is an interpretation with which not all readers will agree, but the intention is to facilitate dialogue and debate that are imperative for the survival of American democracy.

Embarks on a chronological exploration of Guthrie's music in the vein of American radicalism and civil rights. Ron Briley begins this journey with an overview of five key periods in Guthrie's life and, in the chapters that follow, analyses his political ideas through primary and secondary source materials.

In 1952, Elia Kazan testified before the House Un-American Activities Committee (HUAC) investigating alleged communist infiltration of the entertainment industry. The cloud of this cooperation, which assured that the filmmaker would avoid the blacklist, plagued Kazan throughout the remainder of his life and career. This book presents a close analysis of Kazan's cinema following his testimony, examining the political themes they conveyed, in order to gain a better understanding of the filmmaker's consciousness.The films covered in this volume include Viva Zapata (1952), On the Waterfront (1954), East of Eden (1954), Baby Doll (1956), A Face in the Crowd (1957), Splendor in the Grass (1961), America, America (1963), and The Last Tycoon (1976).