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Blues music is in the midst of its second revival in popularity in roughly thirty years. The year 1960 can be identified, with some qualification, as a reference point for the first rise in international awareness and appreciation of the blues. This first period of wide‐spread white interest in the blues continued until the early seventies, while the current revival began in the middle 1980s. During both periods a sizeable literature on the blues has appeared. This article provides a thumbnail sketch of the popularity of the blues, followed by a description of scholarly and critical literature devoted to the music. Documentary and instructional materials in audio and video formats are also discussed. Recommendations are made for library collections and a list of selected sources is included at the end of the article.

IT is evident from the numerous press cuttings which are reaching us, that we are once more afflicted with one of those periodical visitations of antagonism to Public Libraries, which occasionally assume epidemic form as the result of a succession of library opening ceremonies, or a rush of Carnegie gifts. Let a new library building be opened, or an old one celebrate its jubilee, or let Lord Avebury regale us with his statistics of crime‐diminution and Public Libraries, and immediately we have the same old, never‐ending flood of articles, papers and speeches to prove that Public Libraries are not what their original promoters intended, and that they simply exist for the purpose of circulating American “Penny Bloods.” We have had this same chorus, with variations, at regular intervals during the past twenty years, and it is amazing to find old‐established newspapers, and gentlemen of wide reading and knowledge, treating the theme as a novelty. One of the latest gladiators to enter the arena against Public Libraries, is Mr. J. Churton Collins, who contributes a forcible and able article, on “Free Libraries, their Functions and Opportunities,” to the Nineteenth Century for June, 1903. Were we not assured by its benevolent tone that Mr. Collins seeks only the betterment of Public Libraries, we should be very much disposed to resent some of the conclusions at which he has arrived, by accepting erroneous and misleading information. As a matter of fact, we heartily endorse most of Mr. Collins' ideas, though on very different grounds, and feel delighted to find in him an able exponent of what we have striven for five years to establish, namely, that Public Libraries will never be improved till they are better financed and better staffed.

WRITING at the beginning of the New Year, we wish our readers prosperity and advancement in it. The past year, in spite of industrial commotion, has been a good one for librarians on the whole, although great progress, in such circumstances as the nation found itself, was impossible. There was, however, no serious set‐back anywhere, and there were hopeful indications. Amongst these were the stirrings towards getting libraries for themselves of the smaller urban areas. Finding themselves a part of a county library scheme, they have asked: Why cannot we have our own library? Whatever the answer may be—and the question has shown in many cases a desire on the part of the questioners to control their own libraries—the county movement has quickened the pace considerably.

I ENTERED the literary world late in the immediate post‐war years when changes of literary taste and loyalty were already in the air. The first broadcast I gave was, I remember, an attack upon Virginia Woolf. Her books had nurtured me as an adolescent, and I was in reaction against her influence.

The purpose of this paper is to highlight how young people engage in social justice work. This study is guided by the following question: how do students engage in the social justice work of storytelling through art?

The title stems from a conversation the researcher had with the four female students about whether they identified themselves as activists. After the students collectively agreed that they did not align with the term “activist”, they continued to grapple with definitions of the word and discussed other terms to describe themselves. The conversation is one of many that emerged from a three-year qualitative research project that focused on youth activism, which included a one-year critical narrative inquiry into a ninth-grade Humanities classroom.

This paper positions the artwork as activism, in that the girls embedded multiple narratives into their art to portray a complex narrative about the realities of sex trafficking in their community.

The paper will conclude with implications that focus on the importance of blurring the boundaries between classrooms and communities, cultivating spaces for young people to develop an activist stance and working alongside youth as they compose political–personal stories about injustice, inequality and inequities in their fights for social change.

This paper offers a unique discussion of artmaking (collective biography) as a form of socially just youth literacy. As such, interstitial literacies become the acts of speaking, reading, writing and being that youth/students create and engage in as they move between classrooms and communities.

The Biographical Dictionary of Modern British Radicals, the Dictionary of Labour Biography, and the Dictionnaire Biographique du Mouvetnent Ouvrier Francais are three ongoing collective biographies of working class and radical politicians, philosophers, and activists. They are all scholarly works, well‐edited, informative and interesting to read. The entries in all three dictionaries are composed by experts in their fields and have excellent bibliographies.

Through an analysis of the leaders of the 1960s Student Nonviolent Coordinating Committee (SNCC) this paper highlights the importance of individual identity work, and argues for an expanded theoretical treatment of social movement identity processes that takes account of partial identity correspondence (a partial alignment between an individual identity and the movement identity) to include degrees of identity congruence. Actors can embrace a movement, but remain in a state of conflict regarding some dimensions of its identity. Extending James Jasper's ((1997). The art of moral protest: Culture, biography, and creativity in social movements. Chicago: The University of Chicago Press) identity classifications, the data suggest that participants engage in identity justification work when incongruence among personal identity (biographical), collective identity (ascribed, i.e. race, gender), and movement identities exist. This work may not reflect the organization's efforts to frame or reframe the movement identity. This study finds that individuals manage incongruence with organizational and tactical movement identities by employing three identity justification mechanisms: (1) personal identity modification of the movement's identity; (2) individual amplification of the common cause dimension of collective identity; and (3) individual amplification of the activist identity through pragmatic politics. Rather than dismantling the past, as Snow and McAdam ((2000). In: S. Stryker, T. J. Owens, & R. W. White (Eds), Self, identity, and social movements (pp. 41–67). Minneapolis: University of Minnesota Press) propose, actors incorporate their biographies as a mechanism to achieve feelings of community and belonging. It is not so much an alignment with the organization's proffered movement identity as it is a reordering of the saliency hierarchy of their identities. Unlike Snow and McAdam's conceptualization of identity amplification, the reordering of an identity hierarchy and the amplification of certain identities is precipitated by the actor's, not the organization's, efforts to align her/his personal identity, collective identity, and movement identities.

Qualitative research consistently centers Eurocentrism through courses' integrations of ontological, epistemological and axiological perspectives. This literal whitewashing was a source of great frustration and confusion for the authors, four Black women, who found their identities omitted and disregarded in qualitative inquiry. Using Collins' outsider-within concept and collective narratives to center their experiences, the authors seek through their writing to actively repurpose and re-engage with qualitative scholarship that generally seeks to exclude Black women.

Theoretically informed by Collins' outsider-within concept, the authors use Deleuze and Parnet's collective biography to tell the stories of four Black doctoral students negotiating race, gender, class and intellectual identity, while critiquing Eurocentric theory, through coursework. The collaborative writing process provided shared space for the engagement of individual thoughts and experiences with(in) others' narratives.

Black women can interpret qualitative inquiry outside of the Eurocentric norm, and qualitative courses can provide spaces for them to do so by repositioning Black women philosophers as central to understanding qualitative inquiry.

Through collective biography (Deleuze and Parnet, 2007), this paper centers the voices of four Black women scholars who use a creative writing approach to think with/through theory as Black women (Jackson and Mazzei, 2012). The paper offers new discussions of and ways in which qualitative researchers might decolonize Eurocentric ways of knowing in qualitative inquiry and qualitative pedagogy from students' perspectives.