Pamela Fox – författare

Whether found in country barn dances, the plaintive twang of Hank Williams, the glitzy glamour of Dolly Parton, or the country-pop sound of Faith Hill, country music has always maintained an allegiance to its own authenticity. Its specific sounds and images have changed over the past century, but country music has consistently been associated with rusticity, a notion connected to the working class and rooted in ideals like unspoiled rural life and values and humble origins. The music suggests not only uncomplicated musical arrangements and old-time instruments such as the banjo and fiddle, but performers who identify with their everyday fans. Natural Acts explores the ways that country musicians -- particularly women artists -- have established a "natural" country identity. Pamela Fox focuses on five revealing moments in country performance: blackface comedy during country music's "Golden Age" of pre-1945 radio and stage programming; the minstrel's "rube" or hillbilly equivalent in the same period; postwar honky-tonk music and culture; the country star memoir or autobiography of the '80s and '90s; and the recent roots phenomenon known as alt.country. "'All I gotta do is act naturally,' Buck Owens sang, and Pamela Fox knows where the acting comes in. From early hillbilly acts to alt.country, Natural Acts lays bare, with wide-ranging scholarship and incisive analysis, the ideologies of authenticity on which country music rests. As engrossing and useful as any book I know on country music." ---Eric Lott, author of Love and Theft: Blackface Minstrelsy and the American Working Class "The first completely mature book of country music historical criticism. It is a deep investigation of country music's power to articulate the displaced pleasures and anxieties of a society wracked by structural change. Historically rigorous, Fox uncovers documents that demonstrate the ongoing power of minstrelsy in barn dance programs across the country past World War II; musically and lyrically astute, she shows how the best honky-tonk music simultaneously critiques the dangers of that setting while seductively luring listeners to those sawdust and alcohol drenched environments; with her ear attuned to the formal complexities of autobiography, Fox directs our attention to the contradictory performance of identity that characterizes the life stories of Reba McEntire, Naomi Judd, Dolly Parton, and others. Natural Acts is provocative, stunning, and engagingly written. Country music studies has come of age." ---Barry Shank, The Ohio State University

Many recent discussions of working-class culture in literary and cultural studies have tended to present an oversimplified view of resistance. In this groundbreaking work, Pamela Fox offers a far more complex theory of working-class identity, particularly as reflected in British novels of the late nineteenth and early twentieth centuries. Through the concept of class shame, she produces a model of working-class subjectivity that understands resistance in a more accurate and useful way-as a complicated kind of refusal, directed at both dominated and dominant culture.With a focus on certain classics in the working-class literary "canon," such as The Ragged Trousered Philanthropists and Love on the Dole, as well as lesser-known texts by working-class women, Fox uncovers the anxieties that underlie representations of class and consciousness. Shame repeatedly emerges as a powerful counterforce in these works, continually unsettling the surface narrative of protest to reveal an ambivalent relation toward the working-class identities the novels apparently champion. Class Fictions offers an equally rigorous analysis of cultural studies itself, which has historically sought to defend and value the radical difference of working-class culture. Fox also brings to her analysis a strong feminist perspective that devotes considerable attention to the often overlooked role of gender in working-class fiction. She demonstrates that working-class novels not only expose master narratives of middle-class culture that must be resisted, but that they also reveal to us a need to create counter narratives or formulas of working-class life. In doing so, this book provides a more subtle sense of the role of resistance in working class culture. While of interest to scholars of Victorian and working-class fiction, Pamela Fox’s argument has far-reaching implications for the way literary and cultural studies will be defined and practiced.