Search results for ""author walt"

The Hawthorn Archive, named after the richly fabled tree, has long welcomed the participants in the various Euro-American social struggles against slavery, racial capitalism, imperialism, and authoritarian forms of order. The Archive is not a library or a research collection in the conventional sense but rather a disorganized and fugitive space for the development of a political consciousness of being indifferent to the deadly forms of power that characterize our society. Housed by the Archive are autonomous radicals, runaways, abolitionists, commoners, and dreamers who no longer live as obedient or merely resistant subjects. In this innovative, genre- and format-bending publication, Avery F. Gordon, the “keeper” of the Archive, presents a selection of its documents—original and compelling essays, letters, cultural analyses, images, photographs, conversations, friendship exchanges, and collaborations with various artists. Gordon creatively uses the imaginary of the Archive to explore the utopian elements found in a variety of resistive and defiant activity in the past and in the present, zeroing in on Marxist critical theory and the black radical tradition. Fusing critical theory with creative writing in a historical context, The Hawthorn Archive represents voices from the utopian margins, where fact, fiction, theory, and image converge. Reminiscent of the later fictions of Italo Calvino or Walter Benjamin’s Arcades Project, The Hawthorn Archive is a groundbreaking work that defies strict disciplinary, methodological, and aesthetic boundaries. And like Ghostly Matters: Haunting and the Sociological Imagination, which established Gordon as one of the most influential interdisciplinary scholars of the humanities and social sciences in recent years, it provides a kaleidoscopic analysis of power and effect. The Hawthorn Archive’s experimental format and inventive synthesis of critical theory and creative writing make way for a powerful reconception of what counts as social change and political action, offering creative inspiration and critical tools to artists, activists, scholars across various disciplines, and general readers alike.

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This book provides an intellectual history of the modernist "minimum dwelling", exploring how early modernism saw mass housing as a primary vehicle for achieving the utopian transformation of society. It reappraises the often-overlooked 2nd and 3rd CIAM conferences (1929-31), addressing their engagement with the "minimum dwelling" and revealing them both as milestones in the organisation's annals and as seminal moments in the history of interwar modernism. In 1929, an eclectic international group of avant-garde modernist architects, including Ernst May, Mart Stam, Walter Gropius and Le Corbusier, met in Frankfurt for the second instalment of the CIAM conferences. They discussed a design programme for cost-effective, good-quality housing, seeking new approaches and processes to maximize quality and functionality while ensuring affordability for the wider population. In exploring the meaning and form of the 'minimum dwelling', they also re-defined dwelling as the hub of a new way of living, proposing a revolutionary multi-scalar approach to urban design based on the concept of the Existenzminimum (‘optimally minimal housing’). Despite the two conferences falling short of the organizer’s expectations, and being overshadowed by later instalments, the participating architects sanctioned a semantic shift from minimum as bare necessity to a very different, aspirational, kind of minimalism – transforming the entire conversation on mass low-cost dwelling in design, social and ethical terms. Split into two parts, The Minimum Dwelling Revisited first takes a genealogical approach to explore the provenance of the concept of "minimum dwelling" prior to the 2nd and 3rd CIAM conferences, it then traces the proceedings of the two conferences themselves. Addressing the origins of the "minimum dwelling" concept but also its legacies, and serving as a corrective to the overemphasis on 4th CIAM conference and the Athens Charter, the book is essential reading for scholars researching urban design during the Interwar period.

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In 1957 Horace Stoneham took his Giants of New York baseball team and headed west, starting a gold rush with bats and balls rather than pans and mines. But San Francisco already had a team, the Seals of the Pacific Coast League, and West Coast fans had to learn to embrace the newcomers. Starting with the franchise’s earliest days and following the team up to recent World Series glory, Home Team chronicles the story of the Giants and their often topsy-turvy relationship with the city of San Francisco. Robert F. Garratt shines light on those who worked behind the scenes in the story of West Coast baseball: the politicians, businessmen, and owners who were instrumental in the club’s history.Home Team presents Stoneham, often left in the shadow of Dodgers owner Walter O’Malley, as a true baseball pioneer in his willingness to sign black and Latino players and his recruitment of the first Japanese player in the Major Leagues, making the Giants one of the most integrated teams in baseball in the early 1960s. Garratt also records the turbulent times, poor results, declining attendance, two near-moves away from California, and the role of post-Stoneham owners Bob Lurie and Peter Magowan in the Giants’ eventual reemergence as a baseball powerhouse. Garratt’s superb history of this great ball club makes the Giants’ story one of the most compelling of all Major League franchises.

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The emergence of "male-centered serials" such as The Shield, Rescue Me, and Sons Of Anarchy and the challenges these characters face in negotiating modern masculinities. From the meth-dealing but devoted family man Walter White of AMC’s Breaking Bad, to the part-time basketball coach, part-time gigolo Ray Drecker of HBO’s Hung, depictions of male characters perplexed by societal expectations of men and anxious about changing American masculinity have become standard across the television landscape. Engaging with a wide variety of shows, including The League, Dexter, and Nip/Tuck, among many others, Amanda D. Lotz identifies the gradual incorporation of second-wave feminism into prevailing gender norms as the catalyst for the contested masculinities on display in contemporary cable dramas. Examining the emergence of “male-centered serials” such as The Shield, Rescue Me, and Sons of Anarchy and the challenges these characters face in negotiating modern masculinities, Lotz analyzes how these shows combine feminist approaches to fatherhood and marriage with more traditional constructions of masculine identity that emphasize men’s role as providers. She explores the dynamics of close male friendships both in groups, as in Entourage and Men of a Certain Age, wherein characters test the boundaries between the homosocial and homosexual in their relationships with each other, and in the dyadic intimacy depicted in Boston Legal and Scrubs. Cable Guys provides a much needed look into the under-considered subject of how constructions of masculinity continue to evolve on television.

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The emergence of "male-centered serials" such as The Shield, Rescue Me, and Sons Of Anarchy and the challenges these characters face in negotiating modern masculinities. From the meth-dealing but devoted family man Walter White of AMC’s Breaking Bad, to the part-time basketball coach, part-time gigolo Ray Drecker of HBO’s Hung, depictions of male characters perplexed by societal expectations of men and anxious about changing American masculinity have become standard across the television landscape. Engaging with a wide variety of shows, including The League, Dexter, and Nip/Tuck, among many others, Amanda D. Lotz identifies the gradual incorporation of second-wave feminism into prevailing gender norms as the catalyst for the contested masculinities on display in contemporary cable dramas. Examining the emergence of “male-centered serials” such as The Shield, Rescue Me, and Sons of Anarchy and the challenges these characters face in negotiating modern masculinities, Lotz analyzes how these shows combine feminist approaches to fatherhood and marriage with more traditional constructions of masculine identity that emphasize men’s role as providers. She explores the dynamics of close male friendships both in groups, as in Entourage and Men of a Certain Age, wherein characters test the boundaries between the homosocial and homosexual in their relationships with each other, and in the dyadic intimacy depicted in Boston Legal and Scrubs. Cable Guys provides a much needed look into the under-considered subject of how constructions of masculinity continue to evolve on television.

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In Benjamin’s Library, Jane O. Newman offers, for the first time in any language, a reading of Walter Benjamin’s notoriously opaque work, Origin of the German Tragic Drama that systematically attends to its place in discussions of the Baroque in Benjamin’s day. Taking into account the literary and cultural contexts of Benjamin’s work, Newman recovers Benjamin’s relationship to the ideologically loaded readings of the literature and political theory of the seventeenth-century Baroque that abounded in Germany during the political and economic crises of the Weimar years. To date, the significance of the Baroque for Origin of the German Tragic Drama has been glossed over by students of Benjamin, most of whom have neither read it in this context nor engaged with the often incongruous debates about the period that filled both academic and popular texts in the years leading up to and following World War I. Armed with extraordinary historical, bibliographical, philological, and orthographic research, Newman shows the extent to which Benjamin participated in these debates by reconstructing the literal and figurative history of sixteenth- and seventeenth-century books that Benjamin analyzes and the literary, art historical and art theoretical, and political theological discussions of the Baroque with which he was familiar. In so doing, she challenges the exceptionalist, even hagiographic, approaches that have become common in Benjamin studies. The result is a deeply learned book that will infuse much-needed life into the study of one of the most influential thinkers of the twentieth century.

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"Hickman['s] . . . style of pragmatism provides us with flexible, philosophical 'tools' which can be used to analyze and penetrate various technology and technological cultural problems of the present. He, himself, uses this toolkit to make his analyses and succeeds very well indeed." —Don IhdeA practical and comprehensive appraisal of the value of philosophy in today's technological culture.Philosophical Tools for Technological Culture contends that technology—a defining mark of contemporary culture—should be a legitimate concern of philosophers. Larry A. Hickman contests the perception that philosophy is little more than a narrow academic discipline and that philosophical discourse is merely redescription of the ancient past. Drawing inspiration from John Dewey, one of America's greatest public philosophers, Hickman validates the role of philosophers as cultural critics and reformers in the broadest sense. Hickman situates Dewey's critique of technological culture within the debates of 20th-century Western philosophy by engaging the work of Richard Rorty, Albert Borgmann, Jacques Ellul, Walter Benjamin, Jürgen Habermas, and Martin Heidegger, among others. Pushing beyond their philosophical concerns, Hickman designs and assembles a set of philosophical tools to cope with technological culture in a new century. His pragmatic treatment of current themes—such as technology and its relationship to the arts, technosciences and technocrats, the role of the media in education, and the meaning of democracy and community life in an age dominated by technology—reveals that philosophy possesses powerful tools for cultural renewal. This original, timely, and accessible work will be of interest to readers seeking a deeper understanding of the meanings and consequences of technology in today's world.

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Jack's Journey is the moving and extraordinary story of an unknown ANZAC action at Gallipoli during the period of the Landing on 1 and 2 May, 1915. Kit Cullen began tracing Jack Collyer's story using his three diaries and his service record. The diaries cover the voyage from Australia to training in Egypt and Lemnos and, finally, landing at Anzac. Unfortunately, the last diary ended as Jack entered the firing line on Bolton's Ridge at dusk on 25 April. He was wounded a week later. Where was Jack and what was he doing when he was wounded? What Kit discovered over ten years of painstaking research is extraordinary. On 1 May Jack and about fifty other members of No. 15 Platoon 4th Battalion were ordered to go to the aid of about 60 Royal Marines who had been trapped for two and a half days in an isolated trench. The Marines were running out of ammunition and water and needed support. Before dawn Jack and his mates entered the valley, which they christened Death Trap Valley, before dawn and positioned themselves in Loutit's Post overlooking the Marines for most of the day under heavy enemy fire. The 4th Battalion's rescue mission was undertaken at the height of the third Turkish counter attack. At 3 o'clock in the afternoon the ANZACs were ordered to resupply the Marines with ammunition and water and to reinforce their line. To do so meant running the gauntlet of the death trap - an exposed fifty metre long track, marked by the Turks as a killing ground. As the platoon braved the death trap, one by one, most of them were killed or wounded, including Jack. Snowy Robson carried ammunition and water to the beleaguered garrison without being hit. An hour later he also guided and took charge of No.3 Platoon 4th Battalion which was ordered into the valley to reinforce the isolated trench. In all, Snowy diced the death trap six times - five in daylight - without being hit. The position and the Marines were saved. Five Allied gallantry medals were awarded for the action, including the first Victoria Cross at Anzac. Walter Parker, a Royal Marine stretcher bearer, was the recipient. Snowy Robson was awarded a Distinguished Conduct Medal for his feats. The other extraordinary aspect of the 4th Battalion's participation in the action was the corruption of the historical record by Charles Bean. Bean omitted any reference to the 4th Battalion in his telling of the story in the Official History, despite knowing what happened. Instead, he gave the credit for saving the Marines to his brother's unit, the 3rd Battalion, which played a part on 2 May in relieving the Marines and the remnants of the two 4th Battalion parties. Bean misused a letter from the Royal Marine hierarchy specifically praising the 4th Battalion's sacrifice and courage, claiming its sentiments for the 3rd Battalion. The tragic heroism of Jack and his mates, and Bean's historiographical skulduggery would have remained hidden if Kit Cullen hadn't stumbled on them in the course of his research.

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How did literature shape nineteenth-century science?Erasmus Darwin and his grandson, Charles, were the two most important evolutionary theorists of eighteenth- and nineteenth-century Britain. Although their ideas and methods differed, both Darwins were prolific and inventive writers: Erasmus composed several epic poems and scientific treatises, while Charles is renowned both for his collected journals (now titled The Voyage of the Beagle) and for his masterpiece, The Origin of Species. In The Age of Analogy, Devin Griffiths argues that the Darwins’ writing style was profoundly influenced by the poets, novelists, and historians of their era. The Darwins, like other scientists of the time, labored to refashion contemporary literary models into a new mode of narrative analysis that could address the contingent world disclosed by contemporary natural science. By employing vivid language and experimenting with a variety of different genres, these writers gave rise to a new relational study of antiquity, or “comparative historicism,” that emerged outside of traditional histories. It flourished instead in literary forms like the realist novel and the elegy, as well as in natural histories that explored the continuity between past and present forms of life. Nurtured by imaginative cross-disciplinary descriptions of the past—from the historical fiction of Sir Walter Scott and George Eliot to the poetry of Alfred Tennyson—this novel understanding of history fashioned new theories of natural transformation, encouraged a fresh investment in social history, and explained our intuition that environment shapes daily life.Drawing on a wide range of archival evidence and contemporary models of scientific and literary networks, The Age of Analogy explores the critical role analogies play within historical and scientific thinking. Griffiths also presents readers with a new theory of analogy that emphasizes language's power to foster insight into nature and human society. The first comparative treatment of the Darwins’ theories of history and their profound contribution to the study of both natural and human systems, this book will fascinate students and scholars of nineteenth-century British literature and the history of science.

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On 7 April 1944 a Slovakian Jew, Rudolf Vrba (born Walter Rosenberg), and a fellow prisoner, Alfred Wetzler, succeeded in escaping from Auschwitz-Birkenau. As block registrars both men had been allowed relative (though always risky) freedom of movement in the camp and thus had been able to observe the massive preparations underway at Birkenau of the entire killing machine for the eradication of Europe's last remaining Jewish community, the 800,000 Jews of Hungary. The two men somehow made their way back to Slovakia where they sought out the Jewish Council (Judenrat) to warn them of the impending disaster. The Vrba-Wetzler report was the first document about the Auschwitz death camp to reach the free world and to be accepted as credible. Its authenticity broke the barrier of skepticism and apathy that had existed up to that point. However, though their critical and alarming assessment was in the hands of Hungarian Jewish leaders by April 28 or early May 1944, it is doubtful that the information it contained reached more than just a small part of the prospective victims—during May and June 1944, about 437,000 Hungarian Jews boarded, in good faith, the "resettlement" trains that were to carry them off to Auschwitz, where most of them were gassed on arrival. Vrba, who emigrated to Canada at war's end, published his autobiography in England nearly forty years ago. Yet his and Wetzler's story has been carefully kept from Israel's Hebrew-reading public and appears nowhere in any of the history texts that are part of the official curriculum. As Ruth Linn writes, "Israeli Holocaust historiography was to follow the spirit of the court's policy at the Eichmann trial: silencing and removing challenging survivors from the gallery, and muting questions about the role of the Jewish Council in the deportations." In 1998 Linn arranged for publication of the first Hebrew edition of Vrba's memoirs. In Escaping Auschwitz she establishes the chronology of Vrba's disappearance not only from Auschwitz but also from the Israeli Holocaust narrative, skillfully exposing how the official Israeli historiography of the Holocaust has sought to suppress the story.

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The first comprehensive biography of this undervalued writer, who was considered 'far and away the best living woman poet' in her day.Andrew Motion's Spectator Book of the Year.'One of the many achievements of This Rare Spirit is its rejection of that tired view of the poet as mouse that barely roared in favour of a true sense of a spikily modern woman, bound by various obligations but resilient, headstrong, and poetically inventive . . . Copus's diligent, scholarly, sensitive work should help Mew's pipe play on for years to come.' Declan Ryan, Los Angeles Review of Books'[A] supreme biography . . . It is hard to do justice to the breadth of research Copus has done here, or the compassionate, detailed conjuring of Mew and her milieu . . . An essential book, a classic work of literary biography.' Seán Hewitt, Irish Times'[K]eenly intelligent, fascinating and nuanced biography . . . Save Charlotte Mew! And read this book.' Joanna Kavenna, Literary Review'An exquisitely told account of the life of a half-forgotten London poet whose work was admired by Hardy, Sassoon and Virginia Woolf. Julia Copus does her justice at last.' Claire Tomalin'This Rare Spirit is a classic - the biography of Mew we have all been waiting for.' Fiona BensonThe British poet Charlotte Mew (1869-1928) was regarded as one of the best poets of her age by fellow writers, including Virginia Woolf, Siegfried Sasson, Walter de la Mare and Marianne Moore. She has since been neglected, but her star is beginning to rise again, all the more since her 150th anniversary in 2019. This is the first comprehensive biography, from cradle to grave, and is written by fellow poet Julia Copus, who recently unveiled a blue plaque on Mew's childhood house in Doughty Street and was the editor of the Selected Poetry and Prose (2019).Mew was a curious mix of New Woman and stalwart Victorian. Her poems speak to us strongly today, in these strangely mixed times of exposure and seclusion: they reveal the private agony of an isolated being who was forced to keep secret the tragedies of her personal life while being at the same time propelled by her work into the public arena. Her poetry transfigures that very private suffering into art that has a universal resonance.

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New from the Winner of the Writers' Trust of Canada Marian Engel Award and the Governor General's Award for English Fiction Once touted as compendiums of human knowledge, the encyclopedias and handbooks of bygone eras now read quaintly, if not comically--yet within their musty pages are often found phrases of uncanny evocative power. Scrupulously stitching such fragments together, in a sequel to the Governor General's Award-winning Forms of Devotion, By The Book is a collection of verbal and visual collages whose alchemies transform long-dead texts into tales of enduring vitality. With her visually witty full-colour artwork and stories like "What Is A Hat? Where Is Constantinople? Who Was Sir Walter Raleigh? And Many Other Common Questions, Some With Answers, Some Without," and "Consumptives Should Not Kiss Other People: A Handy Guide to the Care and Maintenance of Your Family's Good Health," Schoemperlen's irreverent and ironic brand of nostalgia combines vintage kitsch with comic, creepy, unexpectedly moving yarns. Praise for By The Book "Diane Schoemperlen's By The Book is a bravura performance. Fragments, collage, assemblage, found poetry - none of the conventional words cover it for they miss the fantastic wit, the energy of humour, the divine ability to find comedic ore in the print detritus of our culture. She doesn't rescue texts; with her wicked sense of irony, she actually puts thought where there was none. She infects the banal with the virus of her own brain and makes it into art. Then she makes a picture of it--oh, dwell upon the details; there are whole novels lurking in the details."--Douglas Glover Praise for Diane Schoemperlen "Schoemperlen's inventive language and narrative structures encourage readers to be free 'from the prison of everyday thinking."--New York Times Book Review "Lovely, clever [and] imaginative."--Wall Street Journal "Cuttingly witty ...Schoemperlen could almost form a school of piquant and inventive fiction with Julie Hecht, Janet Kauffman, and Lydia Davis."--Booklist "There is no mistaking a Schoemperlen story--devoted to form, faithful to the mysteries of the everyday."--The Globe & Mail

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The French political philosopher Raymond Aron once observed that the twentieth century "could have been Germany's century." In 1900, the country was Europe's preeminent power, its material strength and strident militaristic ethos apparently balanced by a vital culture and extraordinary scientific achievement. It was poised to achieve greatness. In Einstein's German World, the eminent historian Fritz Stern explores the ambiguous promise of Germany before Hitler, as well as its horrifying decline into moral nihilism under Nazi rule, and aspects of its remarkable recovery since World War II. He does so by gracefully blending history and biography in a sequence of finely drawn studies of Germany's great scientists and of German-Jewish relations before and during Hitler's regime. Stern's central chapter traces the complex friendship of Albert Einstein and the Nobel Prize-winning chemist Fritz Haber, contrasting their responses to German life and to their Jewish heritage. Haber, a convert to Christianity and a firm German patriot until the rise of the Nazis; Einstein, a committed internationalist and pacifist, and a proud though secular Jew. Other chapters, also based on new archival sources, consider the turbulent and interrelated careers of the physicist Max Planck, an austere and powerful figure who helped to make Berlin a happy, productive place for Einstein and other legendary scientists; of Paul Ehrlich, the founder of chemotherapy; of Walther Rathenau, the German-Jewish industrialist and statesman tragically assassinated in 1922; and of Chaim Weizmann, chemist, Zionist, and first president of Israel, whose close relations with his German colleagues is here for the first time recounted. Stern examines the still controversial way that historians have dealt with World War I and Germans have dealt with their nation's defeat, and he analyzes the conflicts over the interpretations of Germany's past that persist to this day. He also writes movingly about the psychic cost of Germany's reunification in 1990, the reconciliation between Germany and Poland, and the challenges and prospects facing Germany today. At once historical and personal, provocative and accessible, Einstein's German World illuminates the issues that made Germany's and Europe's past and present so important in a tumultuous century of creativity and violence.

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Portfolio: Beginning Pen & Ink will teach you everything you need to know about the fundamentals of drawing with pen and ink. From the beloved and best-selling Portfolio art series by Walter Foster Publishing comes Portfolio: Beginning Pen & Ink, a book that invites you to explore this classic art medium in new and refreshing ways. This comprehensive guide is packed with valuable resources for artists of all skill levels, starting with the basics and ending with intricate, original step-by-step projects that are sure to impress—and inspire. Portfolio: Beginning Pen & Ink introduces drawing basics, including stippling, hatching, and crosshatching; how to master the fundamentals of mark-making and line work; and helpful exercises for contour drawing, gesture drawing, perspective, and more. Chapters on value, tone, mood, light and shadow, and texture follow, ensuring that artists gain the drawing knowledge they need before working on the step-by-step projects featured in the book. Artists can even learn to add color to their black-and-white art using watercolor for a fresh, modern take on an age-old art form. Whether you're a new artist looking to try a celebrated art technique, a pen-and-ink enthusiast, a mixed-media master, or a graphite-pencil fan looking to branch out to new mediums, Portfolio: Beginning Pen & Ink will teach you everything you need to know. The Portfolio series covers essential art techniques, core concepts, and media with an approach and format that’s perfect for aspiring, beginning, and intermediate artists.Also available from the series: Beginning Acrylic, Beginning Drawing, Beginning Watercolor, Beginning Pastel, Beginning Colored Pencil, Beginning Color Mixing, Expressive Painting, Beginning Color Mixing, and Beginning Composition.

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There are many Stevensons behind the initials RLS, but the one that has endeared him to readers for so long is surely the fighter, battling to stay alive. Jorge Luis Borges described his brief life as courageous and heroic. In Philip Callow’s absorbing new biography, one can see why. Doctors, called repeatedly to what should have been his deathbed, would find a scarecrow, twitching and alive. A sickly child, Louis became in turn a bohemian dandy, a literary gypsy traipsing through the mountains of France with a donkey, and at twenty-eight the lover of an American woman ten years his senior, the fabulous Fanny. He escaped his Scottish town, his family, his friends who had mapped out a literary career for him in London, and instead went chaotically across the Atlantic and overland to California in poverty and despair to reach his beloved, whereupon he escaped into marriage and committed himself to being a nomad. He sailed the Pacific and dreamed of being an explorer; his restlessness was Victorian. With the power of a novelist and the grace of a poet (of which he is both), Philip Callow captures this great writer and his many contradictions. He was a born exile longing for home; a northerner who thrived on tropic sunshine; a near atheist who organized Sunday services for his Samoan workers. He has been called Scotland's finest writer of English prose, a more economical Walter Scott. As an essayist he equaled Hazlitt. In emotional crises he wept openly, to the embarrassment of his wife. “His feelings are always his reasons,” said Henry James, and caught in a sentence the secret of Stevenson’s popularity as one of the last of the classic storytellers. Louis brings him alive. With 8 pages of black-and-white photographs.

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Following World War I, political commentator Walter Lippmann worried that citizens increasingly held inaccurate and misinformed beliefs because of the way information was produced, circulated, and received in a mass-mediated society. Lippmann dubbed this manipulative opinion-making process "the manufacture of consent." A more familiar term for such large-scale persuasion would be propaganda. In Weapons of Democracy, Jonathan Auerbach explores how Lippmann's stark critique gave voice to a set of misgivings that had troubled American social reformers since the late nineteenth century. Progressives, social scientists, and muckrakers initially drew on mass persuasion as part of the effort to mobilize sentiment for their own cherished reforms, including regulating monopolies, protecting consumers, and promoting disinterested, efficient government. "Propaganda" was associated with public education and consciousness raising for the good of the whole. By the second decade of the twentieth century, the need to muster support for American involvement in the Great War produced the Committee on Public Information, which zealously spread the gospel of American democracy abroad and worked to stifle dissent at home. After the war, public relations firms-which treated publicity as an end in itself-proliferated. Weapons of Democracy traces the fate of American public opinion in theory and practice from 1884 to 1934 and explains how propaganda continues to shape today's public sphere. The book closely analyzes the work of prominent political leaders, journalists, intellectuals, novelists, and corporate publicists, including Woodrow Wilson, Theodore Roosevelt, Mark Twain, George Creel, John Dewey, Julia Lathrop, Ivy Lee, and Edward Bernays. Truly interdisciplinary in both scope and method, this book will appeal to students and scholars in American studies, history, political theory, media and communications, and rhetoric and literary studies.

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One of the most prolific and respected directors of Japanese cinema, Naruse Mikio (1905–69) made eighty-nine films between 1930 and 1967. Little, however, has been written about Naruse in English, and much of the writing about him in Japanese has not been translated into English. With The Cinema of Naruse Mikio, Catherine Russell brings deserved critical attention to this under-appreciated director. Besides illuminating Naruse’s contributions to Japanese and world cinema, Russell’s in-depth study of the director sheds new light on the Japanese film industry between the 1930s and the 1960s.Naruse was a studio-based director, a company man renowned for bringing films in on budget and on time. During his long career, he directed movies in different styles of melodrama while displaying a remarkable continuity of tone. His films were based on a variety of Japanese literary sources and original scripts; almost all of them were set in contemporary Japan. Many were “women’s films.” They had female protagonists, and they depicted women’s passions, disappointments, routines, and living conditions. While neither Naruse or his audiences identified themselves as “feminist,” his films repeatedly foreground, if not challenge, the rigid gender norms of Japanese society. Given the complex historical and critical issues surrounding Naruse’s cinema, a comprehensive study of the director demands an innovative and interdisciplinary approach. Russell draws on the critical reception of Naruse in Japan in addition to the cultural theories of Harry Harootunian, Miriam Hansen, and Walter Benjamin. She shows that Naruse’s movies were key texts of Japanese modernity, both in the ways that they portrayed the changing roles of Japanese women in the public sphere and in their depiction of an urban, industrialized, mass-media-saturated society.

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For decades the high walls of Manchester's Strangeways Prison have contained some of England's most infamous criminals. Until hanging was abolished in the 1960s it was also the main centre of execution for convicted murderers from all parts of the north west. The history of execution at Manchester began with the hanging of a young Salford man, convicted of murdering a barman on Boxing Day 1868: he was the first of 100 murderers to pay the ultimate penalty here.Over the next ninety-five years many infamous criminals took the short walk to the gallows. They included Dr Buck Ruxton, who butchered his wife and maid; John Jackson, who escaped from Strangeways after murdering a prison warder; Walter Rowland, hanged for the murder of a prostitute and the only man to occupy the condemned cell at Strangeways twice; Chung Yi Miao, who strangled his wife on their honeymoon; and Oldham teenager Ernie Kelly, whose execution almost caused a riot outside the prison. Also included are the stories behind scores of lesser-known criminals: poisoners, spurned lovers, cut-throat killers, and many more.Steve Fielding has fully researched all these cases, and they are collected together here in one volume for the first time. Infamous executioners also played their part in the gaol's history: Calcraft, Marwood, Binns and Berry all officiated here, as did many local men: Bolton hangman James Billington and his sons, Rochdale barber John Ellis, and Manchester publicans Albert Pierrepoint and Harry Allen. Fully illustrated with rare photographs, documents and news-cuttings, Hanged at Manchester is bound to appeal to anyone interested in the darker side of the north west of England's history.

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Candace Slater takes us on a journey into the Amazon that will forever change our ideas about one of the most written-about, filmed, and fought-over areas in the world. In this book she deftly traces a rich and marvelous legacy of stories and images of the Amazon that reflects the influence of widely different groups of people--conquistadors, corporate executives, subsistence farmers --over the centuries. A careful, passionate consideration of one of the most powerful environmental icons of our time, Entangled Edens makes clear that we cannot defend the Amazon's dazzling array of plants and animals without comprehending its equally astonishing human and cultural diversity. Early explorers describe encounters with fearsome warrior women and tell of golden cities complete with twenty-four-carat kings. Contemporary miners talk about a living, breathing gold. TV documentaries decry deforestation and mercury poisoning. How do these disparate visions of the Amazon relate to one another? As she fits the pieces of the puzzle together, Slater shows how today's widespread portrayal of the region as a fragile rain forest on the brink of annihilation is every bit as likely as earlier depictions to obscure important aspects of this immense and complicated region. In this book, Slater draws on her fifteen years of experience collecting stories and oral histories among many different groups of people in the Amazon. Throughout Entangled Edens, the voices of contemporary Amazonians mingle with the analyses of such writers as Claude Levi-Strauss, Theodore Roosevelt, and nineteenth-century naturalist Henry Walter Bates. Slater convinces us that these stories and ideas, together with an understanding of their origins and ongoing impact, are as critical as scientific analyses in the fight to preserve the rain forest.

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As WWI drew to a close, change reverberated through the halls of England's country homes. As the sun set slowly on the British Empire, the shadows lengthened on the lawns of a thousand stately homes. In The Long Weekend, historian Adrian Tinniswood introduces us to the tumultuous, scandalous and glamourous history of English country houses during the years between World Wars. As estate taxes and other challenges forced many of these venerable houses onto the market, new sectors of British and American society were seduced by the dream of owning a home in the English countryside. Drawing on thousands of memoirs, letters, and diaries, as well as the eye-witness testimonies of belted earls and bibulous butlers, Tinniswood brings the stately homes of England to life as never before, opening the door to a world by turns opulent and ordinary, noble and vicious, and forever wrapped in myth. We are drawn into the intrigues of legendary families such as the Astors, the Churchills and the Devonshires as they hosted hunting parties and balls that attracted the likes of Charlie Chaplin, T.E. Lawrence, and royals such as Edward VIII and Wallis Simpson. We waltz through aristocratic soirees, and watch as the upper crust struggle to fend off rising taxes and underbred outsiders, property speculators and poultry farmers. We gain insight into the guilt and the gingerbread, and see how the image of the country house was carefully protected by its occupants above and below stairs. Through the glitz of estate parties, the social tensions between old money and new, the hunting parties, illicit trysts, and grand feasts, Tinniswood offers a glimpse behind the veil of these great estates--and reveals a reality much more riveting than the dream.

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Conceptions of evil have changed dramatically over time, and though humans continue to commit acts of cruelty against one another, today we possess a clearer, more moral way of analyzing them. In Narrating Evil, Maria Pia Lara explores what has changed in our understanding of evil, why the transformation matters, and how we can learn from this specific historical development. Drawing on Immanuel Kant's and Hannah Arendt's ideas about reflective judgment, Lara argues that narrative plays a key role in helping societies acknowledge their pasts. Particular stories haunt our consciousness and lead to a kind of examination and dialogue that shape notions of morality. A powerful description of a crime can act as a filter, helping us to draw conclusions about what constitutes a moral wrong, and public debates over these narratives allow us to construct a more accurate picture of historical truth, leading to a better understanding of why such actions are possible. In building her argument, Lara considers Greek tragedies, Shakespeare's depictions of evil, Joseph Conrad's literary metaphors, and movies that portray human cruelty. Turning to such philosophers and writers as Jurgen Habermas, Walter Benjamin, Primo Levi, Giorgio Agamben, and Ariel Dorfman, Lara defines a reflexive relationship between an event, the narrative of the event, and the public reception of the narrative, and she proves that the stories of perpetrators and sufferers are always intertwined. The process of disclosure, debate, and the public fashioning of collective judgment are vital methods through which we make sense not only of new forms of cruelty but of past crimes as well. Narrating Evil describes the steps of this process and why they are a crucial part of our attempt to build a different, more just world.

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WINNER OF THE 2023 COMPTON CROOK AWARDSHORTLISTED FOR THE 2023 WORLD FANTASY AWARD FOR BEST NOVELSHORTLISTED FOR THE LOCUS AWARD FOR BEST FIRST NOVEL'Wild, witty, and profound. . . a cosmic storm of talent' Victor LaVallePut on your dancing shoes and step into New Orleans as you've never seen it before in this vibrant and imaginative debut.Nola is a city of wonders. An alternate New Orleans made of music and magic, where spirits dance the night away and Wise Women help keep the order. To those from Away, Nola might seem strange. To failed magician Perilous Graves, it's simply home. Then the rhythm of the city stutters. Nine songs of power have escaped from the magical piano that maintains the city's beat, and without them, Nola will fail. Unwilling to watch his home be destroyed, Perry will sacrifice everything to save it. But a storm is brewing and even if they capture the songs, Nola's time might be coming to an end. Praise for The Ballad of Perilous Graves: 'A hallucinatory wonder of a debut' Walter Mosley'Gripping and inventive fantasy' Guardian'An enchanting, energetic, wild ride of a story set to a staccato melody. The electric prose leaps off the page in a riot of colours and sounds' Leslye Penelope'A wild, dark and joyful love song to New Orleans, the power of stories, and hope in the face of destruction' H. G. Parry 'I ached to live in their world. A stunning debut that is sure to become a classic' Elizabeth Hand 'Alex Jennings writes with an energy and a profusion of imagination and vividness that carries you off. Brilliant!' Katherine Addison 'A beautiful song full of magic and rhythm, darkness and delight. A profoundly gorgeous debut' Christina Henry

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*** FOR FANS OF RICHARD OSMAN AND JANICE HALLETT, WE INVITE YOU TO MEET A NEW LITERARY SLEUTH – JANE AUSTEN . . . ***'Richly imagined and wonderfully plotted - a great read' S.J. BENNETT'Sharp and energetic whilst simultaneously warm and heartfelt. This is a delicious treat for fans of Austen's novels and delightfully compelling mysteries' B. P . WALTER'Exceptional - the Austen whodunnit I feel like I've been waiting my whole life for! I loved it' SOPHIE IRWINIt is a truth universally acknowledged, that every good mystery is in need of a brilliant sleuth . . .Welcome to Hampshire, 1795, where a young Jane Austen has her sights set on securing a marriage proposal from the dashing Tom Lefroy at a local ball.But when a shocking discovery is made - a milliner's lifeless body tucked away in a linen closet - Jane finds herself embroiled in an unexpected murder mystery.As she races against the clock to clear her beloved brother Georgy's name, Jane uses her sharp wits to navigate the treacherous waters of society, unmasking secrets and unearthing hidden motives along the way. With every twist and turn, Jane's determination to solve the case deepens. And if she fails, her brother will face the ultimate punishment - the hangman's noose . . .Join Jane on her quest for justice as she faces down danger, deceit, and scandal amidst her own friends and neighbours. Will she uncover the truth in time, or will the real killer go free? One thing's for certain - in Hampshire, nothing is as it seems . . .*** BETWEEN THE MATCH-MAKING AND MATRIMONY LIES MURDER . . . . ***Why readers LOVE Miss Austen Investigates!'Delightful and entertaining' 5***** reader review'Jane Austen makes a perfect detective!' 5***** reader review 'This book is such a joy!' 5***** reader review'A very clever whodunnit!' 5***** reader review'Kept me entertained throughout' 5***** reader review

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This theological study examines how Pope Francis lives out mercy in his own Petrine ministry and calls for it to be lived out by the people of God. The centerpiece of Pope Francis’s pontificate from the very first days has been his proclamation of the importance of the mercy of God. While facing global problems of climate change, terror, political destabilization, refugees, and dire poverty, the Holy Father has articulated the mission of the Church through mercy, love, and forgiveness to reveal the compassion of God for all and particularly for those most vulnerable existing on the margins of society. In this compelling study, Gill Goulding, CJ, examines for the first time the critical and determinative role of mercy in Francis’s papacy using his homilies, allocutions, encyclicals, and addresses as primary sources. Goulding traces the theme of mercy in Francis’s thought, attending to its Ignatian foundations and its Christological, Trinitarian, and ecclesiological significance for the Church today, particularly the impact of his reappropriation and elevation of the discourse of mercy on the work of the Curia in Rome. Goulding enters into dialogue with other theologians, including Romano Guardini, Walter Kasper, and Hans Urs von Balthasar, to demonstrate a continuity between Francis and his predecessors, especially Benedict XVI, in this area of mercy. In addition, Goulding argues that the influence of St. Ignatius Loyola, in particular his Spiritual Exercises, needs to be taken into account, paying special attention to Francis’s call for the practice of discernment. Throughout Pope Francis and Mercy, Goulding lays the groundwork for future research and suggests a wider appreciation of the necessary tools to enable an engagement with mercy in our contemporary world.

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It has taken almost five years for the United States of Europe to stabilize its position in 17th-century Europe. Now it turns its attention to the New World, where the English have ceded their colonial claims to France. There are vast lands and rich resources across the Atlantic for any nations powerful enough to rule and control them—and equal incentive for other nations to block their path.The time-displaced Americans know about the future path that led to their own United States in North America, in the other universe they came from. But do they want to repeat that history as it was? Yes, they had democracy—but they are helping to create that in Europe. And they have learned the bitter prices paid for chattel slavery and the near-extermination of the native populations.Knowledge is power. Perhaps a new course can be taken. Accordingly, an expedition is sent to the New World to see just what might be happening there and what might be done. They are armed with their technology, among which are a radio and an airship. More importantly, they are armed with the knowledge of future history and their determination not to repeat the errors of their past.What could possibly go wrong?About Eric Flint:“This alternate history series is . . . a landmark . . . ”—Booklist“[Eric] Flint's 1632 universe seems to be inspiring a whole new crop of gifted alternate historians.”—Booklist"[R]eads like a technothriller set in the age of the Medicis . . . ”—Publishers WeeklyAbout Walter H. Hunt: "A compelling and immersive novel in which every word feels authentic and every chapter draws the reader deeper into the dark and terrifying power of the mind.”—New York Journal of Books

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Catastrophic Historicism unsettles the historicist constitution of Julia de Burgos (1914–53), Puerto Rico’s most iconic writer—a critical task that necessitates redefining the concept of historicism. Through readings of Aristotle, Walter Benjamin, Jacques Derrida, Werner Hamacher, and Frank Ankersmit, Mendoza-de Jesús shows that historicism grounds historical objectivity in the historian’s capacity to compose totalizing narratives that domesticate the contingency of the past. While critiques of historicism as a realism leave untouched the sovereignty of the historian, the book insists that reading the text of history requires an attunement to danger—a modality that interrupts historicism by infusing the past with a contingency that evades total appropriation. After desedimenting the monumental tradition that has reduced de Burgos to a totemic figure, Catastrophic Historicism reads the poet’s first collection, Poema en 20 surcos (1938). Mendoza-de Jesús argues that the historicity of Poema crystallizes in the lyrical speaker’s self-institution as an embodied ipseity, which requires producing racialized/gendered allegorical figures—the bearers of an abject flesh—that lack any ontological resistance to modern alienation. Rather than treating de Burgos’s poetics of selfhood as the ideal image of Puerto Rican sovereignty, Mendoza-de Jesús endangers this idealization by drawing attention to the abjection that sustains our attachments to ipseity as the form of a truly sovereign life. In this way, Catastrophic Historicism not only resets the terms of ongoing critiques of historicism in the humanities—it also intervenes in Puerto Rican historicity for the sake of its transformation.

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An illustrated tour of this historic mansion on the Mississippi River, now the official home of the president of the University of Minnesota—and the most-visited public residence in the state Built as a family home in 1922 by lumber baron Edward Brooks, Eastcliff, a twenty-room estate in St. Paul on the banks of the Mississippi River, has been the official residence for presidents of the University of Minnesota since 1961. If houses could write memoirs, Eastcliff's would likely be a sensation, and Eastcliff: History of a Home reveals the story of this building and those it housed and hosted over a century of momentous change, told by an insider.A resident of Eastcliff for eight years as spouse of the university’s sixteenth president, Karen Kaler is a knowing and companionable guide through the historic home—from the foyer, hung with photographs of presidents’ families; to the library and bedrooms, living and dining rooms where family dramas played out and Minnesota history unfolded; to the carriage house and catering kitchen, whose denizens keep the household running. Here are the Georgian colonial-style facade, the tennis court, and an early, do-it-yourself saltwater pool. Here are the garden room and the dollhouse, Eastcliff in miniature. Here is a hallway that was once used as a shooting range and an attic with a skeleton in it. Amid all the splendor, business, and mischief there are visits from Helen Keller, Katharine Hepburn, Eddie Vedder, the Dalai Lama, and Vice Presidents Walter Mondale and Hubert Humphrey, whose appearance results in children surprising the Secret Service—a reminder that Eastcliff is the setting for family life as well as the site of academic and political events.In her tour of Eastcliff's hundred-year history, Karen Kaler tells all of these stories and more, graciously opening the doors to this illustrious home.

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Circles and Circuits: Chinese Caribbean Art examines artistic production in Cuba, Trinidad, Jamaica, and Panama, where large immigrant populations and political, economic, and socio-cultural conditions enabled the development of rich art practices in the Chinese diasporic community. The volume touches on the dynamic interconnections between the Chinese diasporic art communities and intercontinental Caribbean art movements bringing into focus the intimate relationships between the artists and those around them, including those who influenced their work, from peers to mentors and family. Circles and Circuits: Chinese Caribbean Art ultimately explores how global migrations and the legacies of cultural, political, and economic power have shaped Chinese Caribbean art practices in the Caribbean and its diaspora. This catalog accompanies the exhibition Circles and Circuits: Chinese Caribbean Art, presented in two parts: History and Art of the Chinese Caribbean Diaspora at the California African American Museum and Contemporary Chinese Caribbean Art at the Chinese American Museum. The exhibition is part of the Getty’s initiative Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles. Presenting a wealth of rarely seen artworks, archival materials, and scholarship, the exhibitions and catalog shift the frame of critical discourse on Chinese Caribbean art history and visual cultures. Circles and Circuits: Chinese Caribbean Art offers a foundational introduction into Chinese Caribbean art and its global context.History and Art of the Chinese Caribbean Diaspora will be on display at the California African American Museum from September 15, 2017 through February 25, 2018. Contemporary Chinese Caribbean Art will be on display at the Chinese American Museum in Los Angeles from September 15, 2017 through March 11, 2018. Contributors. Alexandra Chang, Evelyn Hu-Dehart, Julia P. Hertzbert, Mar Hollingsworth, Walton Look Lai, Sean Metzger, Patrica Mohammed, Lok Siu, Steve Wong Published by the Chinese American Museum with the assistance of the Getty Foundation and distributed by Duke University Press

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Shortlisted, Best Atlantic Published Book Award and Canadian Regional Design AwardA major publication comprising 240 pages with 75 colour plates and 60 black-and-white photographs provides extensive documentation of the exhibition Masterworks from the Beaverbrook Art Gallery. Along with a complete catalogue of artworks, it features an overview and history of the historic collection, along with curatorial commentary on each work of art by the Beaverbrook Art Gallery's Curator and Deputy Director, and curator of the exhibition, Terry Graff. Further, it includes important essays by five internationally respected art historians, scholars, and curators, Elliot King, James Hamilton, Richard Calvocoressi, Angus Stewart, and Katharine Eustace, that focus on several key works of art.In addition, Bernard Riordon, Director and CEO of the Beaverbrook Art Gallery, provides a foreword and timely essay documenting the recently resolved legal battle with the Beaverbrook Foundation (UK) over ownership of several works. Elliot King, art historian and leading specialist on the work of Salvador Dalí and curator of the recent exhibition Dalí: The Late Work at the High Museum of Art, examines Dalí's monumental painting Santiago El Grande. James Hamilton, curator and art historian, who has written several books, lectured internationally, and curated several important exhibitions on JMW Turner, examines Turner's Fountain of Indolence. Richard Calvocoressi, Director of the Henry Moore Foundation and former Director of the Scottish National Gallery of Modern Art in Edinburgh, provides special insight into Lucien Freud's Hotel Bedroom. Angus Stewart, independent curator known for his many exhibitions at the Olympia London fine art and antiques fair, including the major 2003 project that marked the centenary of artist Graham Sutherland's birth, examines important Sutherland works, such as Helena Rubinstein, Studies for Churchill, and Portrait of Lord Beaverbrook. Katharine Eustace, art historian and curator, whose publications include Continuity and Change: Twentieth Century Sculpture in the Ashmolean Museum, provides a thoughtful essay on Walter Sickert in relation to the Beaverbrook Art Gallery's Sickert paintings, such as H.M. King Edward VIII.

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The first comprehensive biography of this undervalued writer, who was considered 'far and away the best living woman poet' in her day.Andrew Motion's Spectator Book of the Year.'One of the many achievements of This Rare Spirit is its rejection of that tired view of the poet as mouse that barely roared in favour of a true sense of a spikily modern woman, bound by various obligations but resilient, headstrong, and poetically inventive . . . Copus's diligent, scholarly, sensitive work should help Mew's pipe play on for years to come.' Declan Ryan, Los Angeles Review of Books'[A] supreme biography . . . It is hard to do justice to the breadth of research Copus has done here, or the compassionate, detailed conjuring of Mew and her milieu . . . An essential book, a classic work of literary biography.' Seán Hewitt, Irish Times'[K]eenly intelligent, fascinating and nuanced biography . . . Save Charlotte Mew! And read this book.' Joanna Kavenna, Literary Review'An exquisitely told account of the life of a half-forgotten London poet whose work was admired by Hardy, Sassoon and Virginia Woolf. Julia Copus does her justice at last.' Claire Tomalin'This Rare Spirit is a classic - the biography of Mew we have all been waiting for.' Fiona BensonThe British poet Charlotte Mew (1869-1928) was regarded as one of the best poets of her age by fellow writers, including Virginia Woolf, Siegfried Sasson, Walter de la Mare and Marianne Moore. She has since been neglected, but her star is beginning to rise again, all the more since her 150th anniversary in 2019. This is the first comprehensive biography, from cradle to grave, and is written by fellow poet Julia Copus, who recently unveiled a blue plaque on Mew's childhood house in Doughty Street and was the editor of the Selected Poetry and Prose (2019).Mew was a curious mix of New Woman and stalwart Victorian. Her poems speak to us strongly today, in these strangely mixed times of exposure and seclusion: they reveal the private agony of an isolated being who was forced to keep secret the tragedies of her personal life while being at the same time propelled by her work into the public arena. Her poetry transfigures that very private suffering into art that has a universal resonance.

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In this vivid first-hand account we gain unique access to the inner workings of Stalin's Central Women's Sniper School, near Podolsk in Western Russia. Luliia was a dedicated member of the Komsomol (the Soviet communist youth organisation) and her parents worked for the NKVD. She started at the sniper school and eventually became a valued member of her battalion during operations against Prussia. She persevered through eight months of training before leaving for the Front on 24th November 1944 just days after qualifying. Joining the third Belorussian Front her battalion endured rounds of German mortar as well as loudspeaker announcements beckoning them to come over to the German side. Luliia recounts how they would be in the field for days, regularly facing the enemy in terrifying one-on-one encounters. She sets down the euphoria of her first hit and starting her battle count but her reflection on how it was also the ending of a life. These feelings fade as she recounts the barbarous actions of Hitler's Nazi Germany. She recall how the women were once nearly overrun by Germans at their house when other Red Army formations had moved off and failed to tell them. She also details a nine-day stand-off they endured encircled by Germans in Landsberg. Regularly suffering ill-health she took a shrapnel injury to her knee and had to be operated on without an anaesthetic. She would eventually see the end of the war in K ngsberg. Like her famous counterpart Pavlichenko she gained recognition but struggled to come to terms with war service Haunted by flashbacks she burned the letters she sent home from the Front. She later discovered that of the 1885 graduates of her sniper school only 250 had died in war. In this powerful, first-hand account we come up close to the machinations of the NKVD (the secret police) as well as the gruelling toll of war and the breathtaking bravery of this female sniper. Additional material includes notes by John Walter and an introduction by Martin Pegler.

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'A tense, twisty, addictive read' JO SPAIN'Nail-bitingly tense...leaves you gasping for breath' SARAH PEARSEThe waves are to die for. It's a paradise they'd kill to keep.There's a darkness inside all of us and The Bay has a way of bringing it out. Everyone here has their secrets but we don't go looking for them. Because sometimes it's better not to know.Kenna arrives in Sydney to surprise her best friend, shocked to hear she's going to marry a guy she's only just met. But Mikki and her fiancé Jack are about to head away on a trip, so Kenna finds herself tagging along for the ride.Sorrow Bay is beautiful, wild and dangerous. A remote surfing spot with waves to die for, cut off from the rest of the world. Here Kenna meets the mysterious group of people who will do anything to keep their paradise a secret. Sky, Ryan, Clemente and Victor have come to ride the waves and disappear from life. How will they feel about Kenna turning up unannounced?As Kenna gets drawn into their world, she sees the extremes they are prepared to go to for the next thrill. And everyone seems to be hiding something. What has her best friend got involved in and how can she get her away? But one thing is rapidly becoming clear about The Bay: nobody ever leaves. 'A high octane, addictive summer read' LUCY CLARKE'Gave me the same sinister-yet-wish-you-were-there vibes of The Beach' AMY MCCULLOCH'A compulsive page-turner . . . had me until the very last page' SALLY THORNEReaders love Allie Reynolds:'A knife-sharp locked room mystery' HARRIET TYCE'An exciting, twisty page-turner that will keep you guessing all the way to the end' C. L. TAYLOR'Sensational ' PETER JAMES'A white-knuckle ride' ERIN KELLY'Full of atmospheric twists and turns' SARAH PEARSE'Thoroughly compelling and deliciously twisty... I flew through it' B. P. WALTER'Fresh, thrilling and original with complex, believable characters' KAREN HAMILTON

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Culture is the lens through which we make sense of the world. In any conflict, from petty disputes to wars between nation-states, the players invariably view that conflict through the filter of their own cultural experiences. This innovative volume prompts us to pause and think through our most fundamental assumptions about how conflict arises and how it is resolved. Even as certain culturally based disputes, such as the high-profile cases in which an immigrant engages in conduct considered normal in the homeland but which is explicitly illegal in his/her new country, enter public consciousness, many of the most basic intersections of culture and conflict remain unexamined. How are some processes cultured, gendered, or racialized? In what ways do certain groups and cultures define such concepts as "justice" and "fairness" differently? Do women and men perceive events in similar fashion, use different reasoning, or emphasize disparate values and goals? Spanning a wide array of disciplines, from anthropology and psychology to law and business, and culling dozens of intriguing essays, The Culture and Conflict Reader is edited for maximum pedagogical usefulness and represents a bedrock text for anyone interested in conflict and dispute resolution. Contributors include: Kevin Avruch, Peter W. Black, Jeffrey Z. Rubin, Frank E. A. Sander, John Paul Lederach, Heather Forest, Sara Cobb, Janet Rifkin, Ryunosuke Akutagawa, Laura Nader, Pat Chew, Stella Ting-Toomey, Harry C. Triandis, Christopher McCusker, C. Harry Hui, Anita Taylor, Judi Beinstein Miller, Carol Gilligan, Trina Grillo, James W. Grosch, Karen G. Duffy, Paul V. Olczak, Michele Hermann, Martha Chamallas, Loraleigh Keashly, Phil Zuckerman, Tracy E. Higgins, Howard Gadlin, Janie Victoria Ward, Kyeyoung Park, Taunya Lovell Banks, Margaret Read MacDonald, Mary Patrice Erdmans, Manu Aluli Meyer, Doriane Lambelet Coleman, Bruce D. Bonta, Paul E. Salem, Mohammed Abu-Nimer, Marc H. Ross, Z.D. Gurevitch, Mari J. Matsuda, Charles R. Lawrence III, Hsien Chin Hu, Glenn R. Butterton,Walter Otto Weyrauch, Maureen Anne Bell, Martti Gronfors, Thomas Donaldson, Marjorie Shostak, and Heather Forest.

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The Battle of Kursk in July 1943 is known for being the largest tank battle in history. A Russian victory, it marked the decisive end of the German offensive capability on the Eastern Front and set the scene for the Soviet successes that followed. While many have focused on the tank engagements, especially the Battle of Prokhorovka, there was an intense air battle going on overhead that was bigger than the Battle of Britain. As part of the German offensive, the Luftwaffe's VIII Air Corps deployed around 1,100 aircraft in the south alone, while the opposing Soviet Second and Seventeenth air armies initially deployed over 1,600 aircraft. There was a similar effort surrounding the German attack in the north. The battle in the south began with a Soviet air strike on German airfields and a fight for control of the air that continued throughout the day across the front. On the first day of the battle, 5 July 1943, the Germans flew at least 2,387 sorties in the south while the two Soviet air armies flew 1,688 sorties. That first day of battle resulted in 19 to 27 German planes and 189 Soviet aircraft shot down. This was an aerial engagement like no other ever seen before. Involved on the German side were the 52nd and 3rd Fighter Wings. The 52nd Fighter Wing was the most accomplished fighter wing in history and many of its top aces were involved in the combats over the Kursk battlefield. These included Walter Krupinski (197 claimed kills in the war), Gunther Rall, the third highest scoring ace in history (275 claimed kills), and the highest scoring ace in history, Erich Hartmann (352 claimed kills). Opposing them were what were to become three of the top five Soviet aces: Kirill Yevstigneyev (53 claimed kills), Nikolai Gulayev (55 claimed kills) and the top scoring Allied ace of the war, Ivan Kozhedub (62 claimed kills). This was indeed the battle of the aces. But there was also the massive ground attack effort by both sides, including the Junkers Ju 87 Stuka fitted with 37mm anti-tank guns flown by the man who would become most decorated soldier of the Third Reich, Hans-Ulrich Rudel. The aerial battle involved hundreds of Soviet Sturmoviks, or IL-2s, Stalin's armoured ground attack plane. The battle featured the famous attack by Luftwaffe Hs-129s and Fw-190s on Soviet armour on 8 July 1943. Aces at Kursk is not just a war story, but a revealing investigation that analyses the entire air battle that turned the tide of the war on the Eastern Front.

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Wrestling with the Angel is a meditation on contemporary political, legal, and social theory from a psychoanalytic perspective. It argues for the enabling function of formal and symbolic constraints in sustaining desire as a source of creativity, innovation, and social change. The book begins by calling for a richer understanding of the psychoanalytic concept of the symbolic and the resources it might offer for an examination of the social link and the political sphere. The symbolic is a crucial dimension of social coexistence but cannot be reduced to the social norms, rules, and practices with which it is so often collapsed. As a dimension of human life that is introduced by language-and thus inescapably "other" with respect to the laws of nature-the symbolic is an undeniable fact of human existence. Yet the same cannot be said of the forms and practices that represent and sustain it. In designating these laws, structures, and practices as "fictions," Jacques Lacan makes clear that the symbolic is a dimension of social life that has to be created and maintained and that can also be displaced, eradicated, or rendered dysfunctional. The symbolic fictions that structure and support the social tie are therefore historicizable, emerging at specific times and in particular contexts and losing their efficacy when circumstances change. They are also fragile and ephemeral, needing to be renewed and reinvented if they are not to become outmoded or ridiculous. Therefore the aim of this study is not to call for a return to traditional symbolic laws but to reflect on the relationship between the symbolic in its most elementary or structural form and the function of constraints and limits. McNulty analyzes examples of "experimental" (as opposed to "normative") articulations of the symbolic and their creative use of formal limits and constraints not as mere prohibitions or rules but as "enabling constraints" that favor the exercise of freedom. The first part examines practices that conceive of subjective freedom as enabled by the struggle with constraints or limits, from the transference that structures the "minimal social link" of psychoanalysis to constrained relationships between two or more people in the context of political and social movements. Examples discussed range from the spiritual practices and social legacies of Moses, Jesus, and Teresa of Avila to the political philosophy of Hannah Arendt and Jacques Ranciere. The second part is devoted to legal and political debates surrounding the function of the written law. It isolates the law's function as a symbolic limit or constraint as distinct from its content and representational character. The analysis draws on Mosaic law traditions, the political theology of Paul, and twentieth-century treatments of written law in the work of Carl Schmitt, Walter Benjamin, Sigmund Freud, Pierre Legendre, and Alain Badiou. In conclusion, the study considers the relationship between will and constraint in Kant's aesthetic philosophy and in the experimental literary works of the collective Oulipo.

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As early as the ancient Greeks, goddesses served as Muses for artistic creation. In essence, a creatively charged energy inspired the artist, leaving a unique and recognizable mark on the artwork. Picassos relationships with the women in his life was deeply formative, and he often represented them as Muses. He was particularly unabashed in the declaration of his feelings to one of them, Marie-Therese Walter, his youthful mistress of 1927. But at that point Picasso was still married to Olga Khokhlova, thus forced to practice the utmost discretion. His marriage to Olga made him increasingly frustrated with her imposed bourgeois expectations. As a release from this marital burden, Marie-Therese was ever present in his work, often portrayed as Aphrodite with a wreath in her hair, a basket of flowers and fruits by her side. Marie-Therese was the Dream the Muse. This fertile period coincided with the strong influence of surrealism which helped liberate Picassos psyche from the straitjacket that Olgas lifestyle imposed on him. By 1935, however, the model and mistress became a mother to Maya, radically changing the role she previously had. The following year Picasso was introduced to a new woman, Dora Maar, an encounter that signalled the beginning of the end of Marie-Thereses exclusive claim on Picassos affections and the closing of an artistic period clearly marked by fertility. The Aphrodite Period (19241936) provides new insights and analysis of Picassos life as recently uncovered through the research of the Online Picasso Project. This time-span is one of the most illustrative periods of Picassos career in that it clearly demonstrates the close interdependence between sexuality and artistic creativity that characterize Picasso's entire output.

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Choice's Outstanding Academic Title list for 2013 "There is no comparable book on this tunnel. Highly recommended."—Choice Reviews Every year, more than thirty-three million vehicles traverse the Holland Tunnel, making their way to and from Jersey City and Lower Manhattan. From tourists to commuters, many cross the tunnel's 1.6-mile corridor on a daily basis, and yet few know much about this amazing feat of early 20th-century engineering. How was it built, by whom, and at what cost? These and many other questions are answered in Highway Under the Hudson: A History of the Holland Tunnel, Robert W. Jackson's fascinating story about this seminal structure in the history of urban transportation. Jackson explains the economic forces which led to the need for the tunnel, and details the extraordinary political and social politicking that took place on both sides of the Hudson River to finally enable its construction. He also introduces us to important figures in the tunnel's history, such as New Jersey Governor Walter E. Edge, who, more than anyone else, made the dream of a tunnel a reality and George Washington Goethals (builder of the Panama Canal and namesake of the Goethals Bridge), the first chief engineer of the project. Fully illustrated with more than 50 beautiful archival photographs and drawings, Jackson's story of the Holland Tunnel is one of great human drama, with heroes and villains, that illustrates how great things are accomplished, and at what price. Highway Under the Hudson featured in the New York Times Listen to Robert Jackson talk about the book on WAMC Radio

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Among the dramatists who wrote for the professional playhouses of early modern London was a small group of writers who were neither members of the commercial theater industry writing to make a living nor aristocratic amateurs dipping their toes in theatrical waters for social or political prestige. Instead, they were largely working- and middle-class amateurs who had learned most of what they knew about drama from being members of the audience. Using a range of familiar and lesser-known print and manuscript plays, as well as literary accounts and documentary evidence, Playwriting Playgoers in Shakespeare's Theater shows how these playgoers wrote and revised to address what they assumed to be the needs of actors, readers, and the Master of the Revels; how they understood playhouse materials and practices; and how they crafted poetry for theatrical effects. The book also situates them in the context of the period's concepts of, and attitudes toward, playgoers' participation in the activity of playmaking. Plays by playgoers such as the rogue East India Company clerk Walter Mountfort or the highwayman John Clavell invite us into the creative imaginations of spectators, revealing what certain audience members wanted to see and how they thought actors might stage it. By reading Shakespeare's theater through these playgoers' works, Matteo Pangallo contributes a new category of evidence to our understanding of the relationships between the early modern stage, its plays, and its audiences. More broadly, he shows how the rise of England's first commercialized culture industry also gave rise to the first generation of participatory consumers and their attempts to engage with mainstream culture by writing early modern "fan fiction."

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A celebration of Britain's diverse housing styles throughout the twentieth century and beyond. This illuminating book is a fascinating insight into Britain’s built heritage and the diverse housing styles of the twentieth century. Redesigned and updated in a brand-new edition, it showcases 100 houses, from throughout the 20th century and stretching into the 21st, that represent the range of architectural styles throughout the years and show how housing has adapted to suit urban life. Each house is accompanied by stunning photography and texts written by leading architectural critics and design historians, including Gavin Stamp, Elain Harwood, Barnabas Calder, Alan Powers and Gillian Darley. From specially commissioned architect-designed houses for private individuals to housing built for increased workforces, each of the 100 houses brings a different design style or historical story. There are houses built as part of garden cities, semi-detached suburban dwellings, housing estates, eco-houses, almshouses, converted factories and affordable post-war homes. Architectural styles encompass mock Tudor, modernist, Arts and Crafts and brutalism, and featured architects include Giles Gilbert Scott, Walter Gropius, Edwin Lutyens, Powell and Moya and David Chipperfield. The book also contains essays that explore the social and political aspects of housing design in Britain over the last 100 years, looking at the impact the world wars had on housing, exploring domestic technology and building materials and discovering how the modern house came about. This compelling book gives a glimpse into the wonderful housing Britain has to offer and is a must-have for all fans of design history and architecture.

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Kritische profielen belicht een aantal filosofen en schrijvers die zich op een kritische manier verhouden tot de sociale, politieke en culturele realiteit die hen omringt. Het eerste hoofdstuk, "Politieke filosofie", opent met een analyse van een van de protagonisten van de moderne, westers kritische traditie, namelijk de intellectueel, en zoomt vervolgens in op problematisch geworden of eerder klassiek ogende kritische projecten zoals de neomarxistische revolutietheorie van Gyorgy Lukacs of Jurgen Habermas' theorie omtrent de civil society en de publieke ruimte. Het tweede hoofdstuk, "Esthetiek", laat filosofen aan het woord die eveneens schrijven en denken in functie van een duidelijk politiek-filosofische agenda, maar voor wie kunst en literatuur een geprivilegieerde rol spelen in de formulering van een kritische theorie. Via een lectuur van Gyorgy Lukacs, Walter Benjamin, Theodor W. Adorno, Jacques Derrida en Charles Taylor onderzoekt de auteur hoe de kunst kon/kan uitgroeien tot een kritisch paradigma en vooral wat de gevolgen zijn van die metamorfose voor de kunst zelf. De eerste twee hoofdstukken van Kritische profielen bestrijken het terrein van de maatschappij- en cultuurkritische theorie. De hoofdstukken drie en vier, daarentegen, staan veeleer stil bij de artistieke praktijk en vooral bij de literaire praktijk die niet zelden meer oog heeft voor sociale en culturele diversiteit en complexiteit dan de vele vormen van kritische theorie. In "Vorm en realiteit" komen figuren aan bod zoals Louis Aragon, Frans Masereel, Jules Romains, Jean-Paul Sartre en Didier Daeninckx voor wie de artistieke praktijk direct of indirect verbonden is met de idee van maatschappijkritisch engagement. Het zijn stuk voor stuk auteurs en kunstenaars die als het ware de 'binnengrenzen' van hun wereld aftasten en kritisch bevragen. "Grensliteratuur", het laatste hoofdstuk, handelt over auteurs die zich eerder op de 'buitengrens' van de westerse beschaving bewegen: Andre Gide, Michel Leiris en Michel Tournier worden met wisselend succes geconfronteerd met het fundamentele probleem van culturele identiteit en differentie.

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Robert Ponsonby has been at the centre of the music world both in Britain and elsewhere for some sixty years, and "Musical Heroes" is a distillation of his experiences, achievements and friendships in that world. With its deft touch and its empathy, it is both captivating and inspiring, and it is often full of humour. It paints portraits in many formats of the fifty or so figures he knew best, including conductors, composers, performers and administrators: Boult, Beecham, Giulini, Pritchard, Kubelik, Boulez, Walton, Tippett, Berio, Ligeti, Henze, Menuhin, Sena Jurinac, Rostropovich, Jacqueline du Pre, John Ogdon, William Glock, John Drummond, Thomas Armstrong and Robert Mayer are some of those featured. There has been a widespread renaissance in the appreciation of classical music in the past few years, above all among talented young musicians and composers and in schools, where music is now taught systematically. "Musical Heroes" will therefore have a wide appeal not only among established lovers of classical music but also among people who have discovered it for themselves more recently. There is probably more active music-making in Britain today than there has ever been, and concerts in all parts of the country are often packed out. Dame Janet Baker: 'One of the truly great privileges is to spend one's working life among charismatic, interesting and gifted people. It has clearly been the experience of Robert Ponsonby during his many years of artistic administration and he writes about it with obvious delight...How refreshing...to read [his] collection of portraits which steer such a well-judged course between the light and darker sides of the human condition and give us a balanced picture of his subjects. He has a delightful turn of phrase and describes aspects of character which I found immediately recognizable and true. It is all done with wit, perception, kindness, honesty, affection and humour, leaving this reader wanting more'.

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Herbert Bayer was one of the most extraordinary artists associated with the Bauhaus school. A true multimedia artist, he united graphic design, art, and architecture in a unique style that came to represent the bold aesthetic approach of the movement. A teacher with the school until 1928, Bayer went on to become a highly successful graphic designer in Germany, and later one of the most prominent figures in the 20th-century art scene of the United States. This broad biographical account, which presents previously unseen archival photographs and episodes from the life of Bayer and other influential Bauhaus artists such as Walter Gropius, Marcel Breuer and László Moholy-Nagy, follows Bayer through the Weimar Republic, Nazi Germany and finally to his exile in the United States. Specifically, Patrick Rössler reveals for the first time Bayer’s unique experience of 1930s Germany, where, with his commercial and artistic life shattered by terror and censorship, he distracted himself with leading a hedonistic life. Shining a light on Bayer’s time in Berlin during the Weimar Republic, and his route out of the Nazi state, Rössler provides rich new insights into how Bauhaus artists navigated a protracted period of social upheaval and dictatorship, where commercial success was fraught with a deep hostility towards the regime and the temptations of emigration. Revealing the tensions of an avant-garde artist struggling to practice during a period of repression, Herbert Bayer, Graphic Designer speaks to both the memory of those who left Nazi Germany, but also the perseverance of artists and intellectuals throughout history who have worked under authoritarian regimes. Drawing on never before interpreted documents, letters and archival material, Rössler tells Bayer’s compelling story – documenting the life of a unique artist and offering a valuable contribution to research in émigré experiences.

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NEW YORK TIMES BESTSELLER * WALL STREET JOURNAL BESTSELLER *WASHINGTON POST BESTSELLER * Andy Borowitz, “one of the funniest people in America” (CBS Sunday Morning), brilliantly “chronicles our embrace of anti-intellectualism” (Walter Isaacson) in American politics, from Ronald Reagan to Dan Quayle, from George W. Bush to Sarah Palin, to its apotheosis in Donald J. Trump.Andy Borowitz has been called a “Swiftian satirist” (The Wall Street Journal) and “one of the country’s finest satirists” (The New York Times). Millions of fans and New Yorker readers enjoy his satirical news column “The Borowitz Report.” Now, in Profiles in Ignorance, he delivers “a wittily alarming polemic that tracks the evolution of American politics from grounds for gravitas to festival of idiocy” (The New York Times). Borowitz argues that over the past fifty years, American politicians have grown increasingly allergic to knowledge, and mass media have encouraged the election of ignoramuses by elevating candidates who are better at performing than thinking. Starting with Ronald Reagan’s first campaign for governor of California in 1966 and culminating with the election of Donald J. Trump to the White House, Borowitz shows how, during the age of twenty-four-hour news and social media, the US has elected politicians to positions of great power whose lack of the most basic information is terrifying. In addition to Reagan, Quayle, Bush, Palin, and Trump, Borowitz covers a host of congresspersons, senators, and governors who have helped lower the bar over the past five decades. Profiles in Ignorance aims to make us both laugh and cry: laugh at the idiotic antics of these public figures, and cry at the cataclysms these icons of ignorance have caused. But most importantly, the book delivers a call to action and a cause for optimism: History doesn’t move in a straight line, and we can change course if we act now.

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The captivating and heroic story of Hudson Stuck—an Episcopal priest—and his team's history-making summit of Denali.In 1913, four men made a months-long journey by dog sled to the base of the tallest mountain in North America. Several groups had already tried but failed to reach the top of a mountain whose size—occupying 120 square miles of the earth’s surface —and position as the Earth’s northernmost peak of more than 6,000 meters elevation make it one of the world’s deadliest mountains. Although its height from base to top is actually greater than Everest’s, it is Denali's weather, not altitude, that have caused the great majority of fatalities—over a hundred since 1903. Denali experiences weather more severe than the North Pole, with temperatures of forty below zero and winds that howl at 80 to 100 miles per hour for days at a stretch. But in 1913 none of this mattered to Hudson Stuck, a fifty-year old Episcopal priest, Harry Karstens, the hardened Alaskan wilderness guide, Walter Harper, part of the Koyukon people, and Robert Tatum, a divinity student, both just in their twenties. They were all determined to be the first to set foot on top of Denali. In A Window to Heaven, Patrick Dean brings to life this heart-pounding and spellbinding feat of this first ascent and paints a rich portrait of the frontier at the turn of the twentieth century. The story of Stuck and his team will lead us through the Texas frontier and Tennessee mountains to an encounter with Jack London at the peak of the Yukon Goldrush. We experience Stuck's awe at the rich Inuit and Athabascan indigenous traditions—and his efforts to help preserve these ways of life. Filled with daring exploration and rich history, A Window to Heaven is a brilliant and spellbinding narrative of success against the odds.

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The definitive guide to complying with the brand-newBasel III requirements and creating sustainable valueWith the Final Standard of Basel III published and implementation deadlines set, there's no better time for the revised and updated edition of the cornerstone resource bankers, bank regulators, auditors, and risk managers worldwide rely on--Bank Valuation and Value-Based Management. Whether you're complying with the new standards of practice, valuing a bank, or searching forsustainable value creation, you can do it quicker and more effectively with the insight only Jean Dermine can offer.Renowned for his expertise in asset and liabilitymanagement, European financial markets, and banking theory, Dermine provides the most comprehensivereference available on the essence of banking--asset-liability management, with particular focus on an institution's banking book. Along with an in-depth exploration of what drives value in a bank, he equips you with his personal bank valuation model aimed at assessing decisions that enhance shareholder value. Complementing his toolbox of practical instruments for valuing banks, Dermine gives you a robust, integrated value-based management framework for addressing such managerialissues as fund transfer pricing, risk-adjusted performanceevaluation, deposit pricing, capital management, loan pricing and provisioning, securitization, and the measurement of interest-rate risk.Relevant in banking systems across the globe, this new edition includes the latest methods and strategies for: Identifying the drivers of sustainable value creation Choosing a fund transfer price that includes liquidity and solvency risks Allocating economic capital to business unitsPricing deposits and loans Estimating the duration of nonmaturing accounts Allocating provisions on performing and nonperforming loans. Throughout the book, extensive mathematical formulas and exercises ground conceptual coverage to hands-on practices. A wealth of exercises and real-world problems work to develop your intuitive sense for asset-liability management in the international banking community.Bank Valuation and Value-Based Management, Second Edition, is your one-stop resource for all the information critical to your success.PRAISE FOR BANK VALUATION AND VALUE BASED MANAGEMENT, Second Edition:"Professor Dermine's book covers the full range of critical topics in banking today--valuation, pricing, and risk management. Analytical, complete, and relevant, this book is a gem! At a time of increased scrutiny of the banking industry, this volume uses an analytic approach that will serve the reader well for years to come. A must-read for anyone in the profession." -- ANTHONY M. SANTOMERO, Director, Citigroup; former president, Federal Reserve Bank of Philadelphia; Senior Advisor, McKinsey & Company; and Richard K. Mellon Professor Emeritus of Finance, the Wharton School"Valuing banks, especially large and complex ones, poses special challenges that recent history has made abundantly clear at great cost to investors and taxpayers. This second edition of the leading volume in the field builds on its strengths as a comprehensive treatment of thekey valuation and bank management components. It is a must-read for anyone seeking to understand modern banking and finance." -- INGO WALTER, Seymour Milstein Professor of Finance, Corporate Governance, and Ethics at the Stern School of Business, New York University"It is extraordinarily clear and very helpful for my day-to-day activity. It is significantly increasing my understanding of the bank." -- PAOLO BELTRATTI, Professor of Finance, Bocconi University, and former chairman of the management board, Intesa Sanpaolo."A jewel. I will recommend it." -- BRUNO COLMANT, Roland Berger, former member of the NYSE management committee

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The novel has lost its purpose, Joseph Bottum argues in this fascinating new look at the history of fiction. We have not transcended our need for what novels provide, but we have grown to distrust the culture that allowed novels to flourish. “For almost three hundred years,” Bottum writes, “the novel was a major art form, perhaps the major art form, of the modern world—the device by which, more than any other, we tried to explain ourselves to ourselves.” But now we no longer “read novels the way we used to.”In a historical tour de force—the kind of sweeping analysis almost lost to contemporary literary criticism—Bottum traces the emergence of the novel from the modern religious crisis of the individual soul and the atomized self. In chapters on such figures as Sir Walter Scott, Charles Dickens, and Thomas Mann, he examines the enormous ambitions once possessed by novels and finds in these older works a rebuke of our current failure of nerve.“We walk with our heads down,” Bottum writes. “Without a sense of the old goals and reasons––a sense of the good achieved, understood as progress––all that remains are the crimes the culture committed in the past to get where it is now. uncompensated by achievement, unexplained by purpose, these unameliorated sins must now seem overwhelming: the very definition of a failed culture.” In readings of everything from genre fiction to children’s books, Bottum finds a lack of faith in the ability of art to respond to the deep problems of existence. “the decline of the novel’s prestige reflects and confirms a genuine cultural crisis,” he writes.Linking the novel to its religious origins, Bottum describes the urgent search for meaning in the new conditions of the modern age: “If the natural world is imagined by modernity as empty of purpose, then the hunt for nature’s importance is supernatural, by definition.” the novel became a fundamental device by which culture pursued the supernatural—facilitated by modernity’s confidence in science and cultural progress. Losing that confidence, Bottum says, we lost the purpose of the art: “the novel didn’t fail us. We failed the novel.”Told in fast-paced, wide-ranging prose, Bottum’s The Decline of the Novel is a succinct critique of classical and contemporary fiction, providing guidelines for navigating the vast genre. this book is a must-read for those who hunger for grand accounts of literature, students of literary form, critics of contemporary art, and general readers who wish to learn, finally, what we all used to know: the deep moral purpose of reading novels.

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How have fairy tales from around the world changed over the centuries? What do they tell us about different cultures and societies? This volume explores the period when the European fairy tales conquered the world and shaped the global imagination in its own image. Examining how collectors, children’s writers, poets, and artists seized the form to challenge convention and normative ideas, this book explores the fantastic imagination that belies the nineteenth century’s materialist and pedestrian reputation. Looking at writers including E.T.A Hoffman, the Brothers Grim, S.T. Coleridge, Walter Scott, Oscar Wilde, Christina Rosetti, George MacDonald, and E. Nesbit, the volume shows how fairy tales touched every aspect of nineteenth century life and thought. It provides new insights into themes including: forms of the marvelous, adaptation, gender and sexuality, humans and non-humans, monsters and the monstrous, spaces, socialization, and power. With contributions from international scholars across disciplines, this volume is an essential resource for researchers, scholars and students of literature, history, and cultural studies. A Cultural History of Fairy Tales (6-volume set) A Cultural History of Fairy Tales in Antiquity is also available as a part of a 6-volume set, A Cultural History of Fairy Tales, tracing fairy tales from antiquity to the present day, available in print, or within a fully-searchable digital library accessible through institutions by annual subscription or on perpetual access (see www.bloomsburyculturalhistory.com). Individual volumes for academics and researchers interested in specific historical periods are also available digitally via www.bloomsburycollections.com.

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Following the 1957 season, two of baseball’s most famous teams, the Brooklyn Dodgers and the New York Giants, left the city they had called home since the 19th century and headed west. The Dodgers went to Los Angeles and the Giants to San Francisco. Those events have entered baseball lore, and indeed the larger culture, as acts of betrayal committed by greedy owners Walter O’Malley of the Dodgers and Horace Stoneham of the Giants. The departure of these two teams, but especially the Dodgers, has not been forgotten by those communities. Even six decades later, it is not hard to find older Brooklynites who are still angry about losing the Dodgers. This is one side of the story. Baseball Goes West seeks to tell another side. Lincoln A. Mitchell argues that the moves to California, second only to Jackie Robinson’s debut in 1947, forged Major League Baseball (MLB) as we know it today. By moving two famous teams with national reputations and many well-known players, MLB benefited tremendously, increasing its national profile and broadening its fan base. This was particularly important following a decade that, despite often being described as baseball’s golden age, was plagued with moribund franchises, low wages for many players, and a difficult dismantling of the apartheid system that had been part of big league baseball since its inception.In the years immediately following the moves, the two most iconic players of the 1960s, Sandy Koufax and Willie Mays, had their best years, bringing even greater status and fame to their respective ball clubs. The Giants played an instrumental role in the first phase of baseball’s globalization by leading the effort to bring players from Latin America to the big leagues, while the Dodgers set attendance records and pioneered new ways to market the game. Sports historians, baseball fans, and historians of American culture on a broader scale will appreciate Mitchell’s reframing of baseball’s move west and his insights into the impacts felt throughout baseball and beyond.

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