Whales--are they destined for immediate extinction or will a workable method of controlling their harvest soon appear? In an attempt to answer these and other biological questions related to whaling, the U.S. Department of the Interior, New York Zoological Society, Smithsonian Institution, International Biological Program, and several other organizations sponsored an international conference on the biology of whales in June 1971. The conference brought together experts on cetacean biology and population dynamics of whale stocks and relevant aspects of their biology. This volume collects papers written for that conference by nineteen authors representing eight nations.
The topics discussed include cetacean biology and natural history; methods of estimating the numbers of whales; population counts before, during, and after intensive whaling; recovery rates as whaling diminishes or stops; improved ways of managing whales as a resource; and suggestions for further research. There is in addition a historical chapter on the International Whaling Commission, its failures and its positive accomplishments.
Despite a decades-long international moratorium on commercial whaling, one fleet has continued to hunt and kill whales in the waters surrounding Antarctica. Refusing to let this defiance go unchallenged, the environmental organization Greenpeace began dispatching expeditions to the region in an effort to intercept the whalers and use nonviolent means to stop their lethal practice.
Over the past decade, Kieran Mulvaney led four such expeditions as a campaigner and coordinator. In The Whaling Season, he recounts those voyages in all their drama, disappointments, strain, and elation, giving readers a behind-the-scenes look at the hazards and triumphs of life as an environmental activist on the high seas. The author also explores the larger struggles underlying the expeditions, drawing on the history of commercial whaling and Antarctic exploration, the development of Greenpeace, and broader scientific and political efforts to conserve marine life. He presents a rich portrait of the current struggles and makes an impassioned plea for protection of some of the world’s most spectacular creatures.
For armchair adventurers, polar enthusiasts, and anyone concerned about marine conservation and continued hunting of the world’s whales, The Whaling Season is an engrossing and informative tale of adventure set in one of the Earth’s last great wilderness areas.
Examining the personal library and the making of self
When writer Edith Wharton died in 1937, without any children, her library of more than five thousand volumes was divided and subsequently sold. Decades later, it was reassembled and returned to The Mount, her historic Massachusetts estate. What a Library Means to a Woman examines personal libraries as technologies of self-creation in modern America, focusing on Wharton and her remarkable collection of books.
Sheila Liming explores the connection between libraries and self-making in late nineteenth- and early twentieth-century American culture, from the 1860s to the 1930s. She tells the story of Wharton’s library in concert with Wharton scholarship and treatises from this era concerning the wider fields of book history, material and print culture, and the histories (and pathologies) of collecting. Liming’s study blends literary and historical analysis while engaging with modern discussions about gender, inheritance, and hoarding. It offers a review of the many meanings of a library collection, while reading one specific collection in light of its owner’s literary celebrity.
What a Library Means to a Woman was born from Liming’s ongoing work digitizing the Wharton library collection. It ultimately argues for a multifaceted understanding of authorship by linking Wharton’s literary persona to her library, which was, as she saw it, the site of her self-making.
As Asia has become more prominent on the international scene in recent decades—economically, politically, and culturally—the scholarly discipline of Asian studies has grown commensurately. But major questions remain about the scope of the discipline and its goals. What about Asia? both surveys the current state of the debate on Asian studies and suggests several fruitful directions for future exploration, especially through the use of multiregional and interdisciplinary approaches.
In the dense, shady rain forest, it's easy for a little guy to get lost from his mother. When a young okapi wanders away from his mom, he discovers the world of people and learns that he is a very special animal, different from all the rest. But still he misses his mother and their home in the forest. How can he get back?
This heartwarming tale with a happy ending introduces children from ages three to eight to the okapi, a graceful, elusive animal native to the Ituri Forest of Congo-Zaire. Based on the true story of an okapi calf that escaped from captivity, it is sure to delight young animal lovers, while teaching them basic facts about the family life of the okapi. A brief afterword provides more information for parents and older children.
We generally suppose that it is our right to freedom which allows us to make the choices that shape our lives. The right to have an abortion is called "freedom of choice" because, it is said, a woman should be free to choose between giving birth and not doing so. Freedom of speech protects us whether we want to salute the flag or burn it. There is a correlative principle: one choice is as good as another. Freedom is not a right that makes moral judgments. It lets us do what we want.
John Garvey disputes both propositions. We should understand freedom, he maintains, as a right to act, not a right to choose; and furthermore, we should view freedom as a right to engage in actions that are good and valuable. This may seem obvious, but it inverts a central principle of liberalism--the idea that the right is prior to the good. Thus friendship is a good thing; and one reason the Constitution protects freedom of association is that it gives us the space to form friendships.
This book casts doubt on the idea that freedoms are bilateral rights that allow us to make contradictory choices: to speak or remain silent, to believe in God or to disbelieve, to abort or to give birth to a child. Garvey argues that the goodness of childbearing does not entail the goodness of abortion; and if freedom follows from the good, then freedom to do the first does not entail the freedom to do the second. Each action must have its own justification. Garvey holds that if the law is to protect freedoms, it is permissible--indeed it is necessary--to make judgments about the goodness and badness of actions.
The author's keen insights into important rights issues, communicated with verve and a variety of both real and hypothetical cases, will be of interest to all who care about the meaning of freedoms.
Conceptions and practices of poetry change not only from time to time and from place to place but also from poet to poet. This has never been more the case than in recent years. Gerald Bruns’s magisterial What Are Poets For? explores typographical experiments that distribute letters randomly across a printed page, sound tracks made of vocal and buccal noises, and holographic poems that recompose themselves as one travels through their digital space. Bruns surveys one-word poems, found texts, and book-length assemblies of disconnected phrases; he even includes descriptions of poems that no one could possibly write, but which are no less interesting (or no less poetic) for all of that. The purpose of the book is to illuminate this strange poetic landscape, spotlighting and describing such oddities as they appear, anomalies that most contemporary poetry criticism ignores.
What Art Is Like is a comic, serious inquiry into the nature of art. It provides welcome relief from prevailing modes of explaining art that involve definitions, philosophical claims, and critical judgments put forth by third parties. Scrapping all such chatter, Miguel Tamen’s aphoristic lark with aesthetic questions proceeds by taking its technical vocabulary only from Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass.
According to Tamen, it would be ridiculous to think of poems or paintings or films or any variety of artistic production as distinct from other things in the world, including people. Talking about art should be contiguous with talking about many other relevant and important matters. Tamen offers a series of analogies and similes to help us imagine these connected experiences. One, taken from the analytical table of contents where the book is writ small, suggests that “understanding a poem is like understanding a cat; neither ever says anything back and you can’t keep a conversation with them. All art is like this, but not only art is like this; nature, the past, numbers are also like this.”
Tamen takes up many central issues in aesthetics and the philosophy of art, including the connection between art and having fuzzy ideas about art, the mistake of imagining that art-decisions are put forth by art-courts where you are both judge and jury, and the notion that what happens with art also happens to you.
Is race something we know when we see it? In 1857, Alexina Morrison, a slave in Louisiana, ran away from her master and surrendered herself to the parish jail for protection. Blue-eyed and blond, Morrison successfully convinced white society that she was one of them. When she sued for her freedom, witnesses assured the jury that she was white, and that they would have known if she had a drop of African blood. Morrison’s court trial—and many others over the last 150 years—involved high stakes: freedom, property, and civil rights. And they all turned on the question of racial identity.
Over the past two centuries, individuals and groups (among them Mexican Americans, Indians, Asian immigrants, and Melungeons) have fought to establish their whiteness in order to lay claim to full citizenship in local courtrooms, administrative and legislative hearings, and the U.S. Supreme Court. Like Morrison’s case, these trials have often turned less on legal definitions of race as percentages of blood or ancestry than on the way people presented themselves to society and demonstrated their moral and civic character.
Unearthing the legal history of racial identity, Ariela Gross’s book examines the paradoxical and often circular relationship of race and the perceived capacity for citizenship in American society. This book reminds us that the imaginary connection between racial identity and fitness for citizenship remains potent today and continues to impede racial justice and equality.
Of the seven sacraments of the Roman Catholic Church, matrimony is the most discussed, debated, disputed, and adjudicated in all of canon law. In this book, Brendan Killeen employs the fundamental question “What brings a marriage into existence?” as the legal and scholarly means to explore the very nature of marriage within the framework of the canon law of the Catholic Church.
Killeen conducts his exploration in two phases. First he scrutinizes the canon law’s primary sources—texts dating as far back as the Roman Empire—and gives readers a fresh perspective of the law’s historical progression. He then examines the papers from the Second Vatican Council and offers both an objective evaluation of the law at present and some possible amendments for its future.
Noteworthy for its diligent research and in-depth analysis, What Brings a Marriage into Existence? will be useful to both newcomers to the canon law of marriage as well as seasoned scholars.
Over the past thirty years, visionary anthropologist Michael Taussig has crafted a highly distinctive body of work. Playful, enthralling, and whip-smart, his writing makes ingenious connections between ideas, thinkers, and things. An extended meditation on the mysteries of color and the fascination they provoke, What Color Is the Sacred? is the next step on Taussig’s remarkable intellectual path.
Following his interest in magic and surrealism, his earlier work on mimesis, and his recent discussion of heat, gold, and cocaine in My Cocaine Museum,this book uses color to explore further dimensions of what Taussig calls “the bodily unconscious” in an age of global warming. Drawing on classic ethnography as well as the work of Benjamin, Burroughs, and Proust, he takes up the notion that color invites the viewer into images and into the world. Yet, as Taussig makes clear, color has a history—a manifestly colonial history rooted in the West’s discomfort with color, especially bright color, and its associations with the so-called primitive. He begins by noting Goethe’s belief that Europeans are physically averse to vivid color while the uncivilized revel in it, which prompts Taussig to reconsider colonialism as a tension between chromophobes and chromophiliacs. And he ends with the strange story of coal, which, he argues, displaced colonial color by giving birth to synthetic colors, organic chemistry, and IG Farben, the giant chemical corporation behind the Third Reich.
Nietzsche once wrote, “So far, all that has given colour to existence still lacks a history.” With What Color Is the Sacred? Taussig has taken up that challenge with all the radiant intelligence and inspiration we’ve come to expect from him.
The convergence of activists in Seattle during the World Trade Organization meetings captured the headlines in 1999. These demonstrations marked the first major expression on U.S. soil of worldwide opposition to inequality, privatization, and political and intellectual repression. This turning point in world politics coincided with an ongoing quandary in academia-particularly in the humanities where the so-called "death of theory" has left the field on tenuous footing.
In What Democracy Looks Like, the editors and twenty-seven contributors argue that these crises-in the world and the academy-are not unrelated. The essays insist that, in the wake of "Seattle," teachers and scholars of American literature and culture are faced with the challenge of addressing new points of intersection between American studies and literary studies. The narrative, the poem, the essay, and the drama need to be reexamined in ways that are relevant to the urgent social and political issues of our time.
Collectively urging scholars and educators to pay fresh attention to the material conditions out of which literature arises, this path-breaking book inaugurates a new critical realism in American literary studies. It provides a crucial link in the growing need to merge theory and practice with the goal of reconnecting the ivory tower elite to the activists on the street.
In her introduction to the novel, Charlotte J. Rich highlights Gilman’s engagement with such hotly debated Progressive Era issues as the “servant question,” the rise of domestic science, and middle-class efforts to protect and aid the working girl. She illuminates the novel’s connections to Gilman’s other feminist works, including “The Yellow Wall-Paper” and Herland; to her personal life; and to her commitment to women’s social and economic freedom. Rich contends that the novel’s engagement with class and race makes it particularly significant to the newly complex understanding of Gilman that has emerged in recent scholarship. What Diantha Did provides essential insight into Charlotte Perkins Gilman’s important legacy of social thought.
“Compelling, timely, and provocative. The writing is sleek and exhilarating. It doesn’t waste time telling us what it will do or what it has just done—it just does it.”
—Don Kulick, Professor of Anthropology, New York University
How we can talk about sex and risk in the age of barebacking—or condomless sex—without invoking the usual bogus and punitive clichés about gay men’s alleged low self-esteem, lack of self-control, and other psychological “deficits”? Are there queer alternatives to psychology for thinking about the inner life of homosexuality? What Do Gay Men Want? explores some of the possibilities.
Unlike most writers on the topic of gay men and risky sex, David Halperin liberates gay male subjectivity from psychology, demonstrating the insidious ways in which psychology’s defining opposition between the normal and the pathological subjects homosexuality to medical reasoning and revives a whole set of unexamined moral assumptions about “good” sex and “bad” sex.
In particular, Halperin champions neglected traditions of queer thought, including both literary and popular discourses, by drawing on the work of well-known figures like Jean Genet and neglected ones like Marcel Jouhandeau. He shows how the long history of of gay men’s uses of “abjection” can offer an alternative, nonmoralistic model for thinking about gay male subjectivity, something which is urgently needed in the age of barebacking.
Anyone searching for nondisciplinary ways to slow the spread of HIV/AIDS among gay men—or interested in new modes of thinking about gay male subjectivity—should read this book.
David M. Halperin is W. H. Auden Collegiate Professor of the History and Theory of Sexuality, Professor of English, Professor of Women’s Studies, Professor of Comparative Literature, and Adjunct Professor of Classical Studies at the University of Michigan.
The debate between the two friends is presented here in the form of a correspondence they conducted over a period of two years (and did not originally intend for publication). It has undergone very little editing and revision; the authors have wanted to preserve the spontaneous give and take of their exchange. Together they have produced a work of philosophical dialogue that is unusually fruitful in its ability to clarify some fundamental issues of religion.
Students do months of research before choosing just the right college, but once theyre on campus, how many of them actually research the professors who are teaching their classes? To optimize your college education you need to find your schools best teachers but how?
What Every College Student Should Know is a guide to discovering the best teachers at your school and learning everything you can from them. Here, the unique writing combination of a professor and a student provides you with perspectives from both sides of the equation. You'll learn:
This book teaches English language learners about language learning and classroom expectations. It is a compilation of advice, experiences, suggestions, strategies, and learning theories collected over many years of teaching this population.
What Every ESL Student Should Know was written to help English language learners be successful in community college and college classrooms—specifically, how to prepare students for expectations and behavior within the classroom and how to help them to be good students, how to participate in class, what to expect from the class, and what to do to learn English. Learning strategies and language theories are presented in brief.
From reviews of earlier editions:
“Young people get into legal trouble for two reasons: they do not know what the law is, and they do not stop to think about the consequences of their actions. This book would make a good text for a preparation for life class. . . . The book is written in plain language, unencumbered by a lot of legal citations, and with no expectation that the reader will have any working knowledge of the law.”
—Texas Bar Journal
“A book any parent should consider giving their child. . . . But before you do, take a look at it yourself. No matter the title, Wallace’s book . . . contains information everyone . . . should know.”
—Austin American-Statesman
What Every Teen Should Know about Texas Law is the only single-source guide for accurate, easy-to-understand information about most areas of civil law in Texas. L. Jean Wallace drew on years of experience as a students’ attorney at Texas Tech University to inform young adults about the areas of law that affect them most: driving and car ownership, pranks and crimes (including alcohol and drug offenses), personal relationships, employment and consumer concerns, and living on their own. She illustrated her points with true, sometimes humorous, stories of young adults’ encounters with the law.
For this new edition, municipal judge Christopher F. Cypert has completely updated the book to reflect the current state of the law. He covers specific topics that are now mandated to be taught in schools, including the proper way to interact with peace officers during traffic stops and other in-person encounters, as well as internet-era misbehaviors such as sexting and cyberbullying. Like Wallace, Cypert has helped many young people navigate the sometimes confusing processes of the legal world, often loaning earlier editions of this book to young offenders in his court. Both authors’ real-world experience and legal expertise ensure that What Every Teen Should Know about Texas Law is indeed a complete and practical guide for assuming the responsibilities of adulthood—as well as a good refresher course for all legal-age Texans.
What Freud Didn't Know, well-supported by research and groundbreaking in theory, combines neuroscience and psychology to explain how the amygdala region of the brain evolved to unconsciously record, store, and activate emotional memory loops and imagery associated with painful events, especially those of childhood. This book is the first to bring together diverse, post-Freudian discoveries to produce a coherent three-step practice for understanding problematic aspects of the human mind which can be mastered easily, in a clinical or self-help setting. Stokes explores recent breakthroughs, many in marked contrast to Freud's views, which will change how we view psychological and emotional problems and their treatments.
Grounded in current theories about brain circuitry, What Freud Didn't Know integrates ideas about mindfulness, habitual thinking, and insight imagery and provides readers with the tools to rescript their personal narratives for psychological well-being. As an alternative approach to treating stress, most types of depression, anxiety, and phobias without prescription drugs, Stokes's three-step practice can be used to build resiliency and inner peace.
What Gender Is, What Gender Does provides a forceful new paradigm for considering genders. With depth and insight, Judith Roof argues that genders are much more than binary. And they are constantly morphing: they are conscious and unconscious, simultaneously conventional and idiosyncratic. At any moment, more than one gender dynamic is at work in any individual.
Roof’s interpretation of genders isn’t content with either biological duality or endlessly open performativity, and what results is a nuanced and surprising representation of gender—an account that captures the complexities of lived experience as well as lived ideology. For Roof, genders are interacting sets of operations that link individual desires to multiple, shifting manifestations of sociocultural positioning and self-presentation. Thus, “to gender” is to signal, mask, suggest, mislead, and simplify the uncontainable chaos of desires characteristic of subjects but roundly contained by society.
Drawing illustrative material from contemporary popular culture productions, including My Big Fat Greek Wedding, Spider-Man, Shrek, Shallow Hal, Sex and the City, Bridesmaids, Bond films, and “bromance” movies, What Gender Is, What Gender Does demonstrates how the persistent conflation of gender and sexual difference is, on the one hand, a simple taxonomic urge and, on the other, a cover that offers the security of identity in place of the frustrations and fears of the real asymmetries of personal power dynamics.
This first book on the director of The Silence of the Lambs and Philadelphia is comprehensive, analyzing each of Jonathan Demme’s thirteen films.
Demme received the 1980 New York Film Critics Award as Best Director for Melvin and Howard. Subsequent Demme films such as Something Wild and the Talking Heads concert film Stop Making Sense, which won the National Society of Film Critics Award for Best Documentary, made Demme a cult favorite in the league of Roger Corman.
With 199l’s The Silence of the Lambs, Demme moved into a different league. The top-grossing film of the year, Silence won five Academy Awards, becoming the first film to sweep the Best Director, Actor, Actress, and Picture categories since 1975’s One Flew Over the Cuckoo’s Nest. Philadelphia also has been a top-grossing film, with Tom Hanks winning 1994’s Best Actor Oscar.
Michael Bliss and Christina Banks include a wealth of biographical and critical data; an exclusive interview with Demme; the only on-set report on the filming of The Silence of the Lambs; an interview with Craig McKay, Demme’s Emmy-winning film editor; a bibliography; and a Demme filmography. Many of the book’s movie still illustrations have never been published.
We shriek about them, slap and spray them, and generally think of insects (when we think of them at all) as pests. Yet, if all insects, or even a critical few, were to disappear--if there were none to pollinate plants, serve as food for other animals, dispose of dead organisms, and perform other ecologically essential tasks--virtually all the ecosystems on earth, the webs of life, would unravel. This book, the first to catalogue ecologically important insects by their roles, gives us an enlightening look at how insects work in ecosystems--what they do, how they live, and how they make life as we know it possible.
In What Good Are Bugs? Gilbert Waldbauer combines anecdotes from entomological history with insights into the intimate workings of the natural world, describing the intriguing and sometimes amazing behavior of these tiny creatures. He weaves a colorful, richly textured picture of beneficial insect life on earth, from ants sowing their "hanging gardens" on Amazonian shrubs and trees to the sacred scarab of ancient Egypt burying balls of cattle dung full of undigested seeds, from the cactus-eating caterpillar (aptly called Cactoblastis) controlling the spread of the prickly pear to the prodigious honey bee and the "sanitary officers of the field"--the fly maggots, ants, beetles, and caterpillars that help decompose and recycle dung, carrion, and dead plants. As entertaining as it is informative, this charmingly illustrated volume captures the full sweep of insects' integral place in the web of life.
To go by today’s critics of the news media—who have created a virtual cottage industry—American journalism has reached a nadir. Yet with all its well-documented faults, journalism is vital to the health of our democracy, the glue of information that holds this complex nation together. This book shows the most important roles that journalism plays in the world’s oldest democracy. Two seasoned educators and practitioners of journalism have assembled a team of writers who look beyond the critics to show that there is much to be praised about the state of American journalism today.
Journalism tells us most of what we know about the world beyond our own experience by going where its audience cannot or will not. It keeps watch on the government and other powerful institutions, exposes wrongdoing and injustice, and shares the endless fascinations of everyday life. Through stories of real people, this book forcefully argues that American journalism is better than its critics admit and a force for good in the lives of both individuals and the nation. Like the exemplary journalism it describes, it offers dozens of instances that show how good journalistic practices enrich the daily lives of citizens and enable them to play their own roles in the democracy.
These essays offer a multifaceted view of the press, tracing the development of free expression through American history and showing how the principles of journalism that we take for granted are playing a revolutionary role in emerging democracies. They report the results of a unique national survey—undertaken for this book—revealing how Americans really view and use the press, and cite the successes of good reporting, from hometown newspapers to NPR. They show how investigative journalism and computer-assisted reporting unearth important truths and even create new knowledge and suggest how citizens can demand the good journalism they need.
What good is journalism? This book spells out the answer through a conversation about journalism and democracy that offers both an antidote to the recent storm of ideologically based criticism of “liberal media” and a demonstration of the true worth of an institution essential to the protection of freedom. It provides today’s readers—and tomorrow’s journalists—a fresh perspective on the press to remind us where we would be without it.
During four years in session, Vatican Council II held television audiences rapt with its elegant, magnificently choreographed public ceremonies, while its debates generated front-page news on a near-weekly basis. By virtually any assessment, it was the most important religious event of the twentieth century, with repercussions that reached far beyond the Catholic church. Remarkably enough, this is the first book, solidly based on official documentation, to give a brief, readable account of the council from the moment Pope John XXIII announced it on January 25, 1959, until its conclusion on December 8, 1965; and to locate the issues that emerge in this narrative in their contexts, large and small, historical and theological, thereby providing keys for grasping what the council hoped to accomplish.
What Happened at Vatican II captures the drama of the council, depicting the colorful characters involved and their clashes with one another. The book also offers a new set of interpretive categories for understanding the council’s dynamics—categories that move beyond the tired “progressive” and “conservative” labels. As we approach the fiftieth anniversary of the calling of the council, this work reveals in a new way the spirit of Vatican II. A reliable, even-handed introduction to the council, the book is a critical resource for understanding the Catholic church today, including the pontificate of Benedict XVI.
A tragedy and a trial placed Ann-Janine Morey in an ideal position to write this wrenching exploration of the havoc wreaked on a family by Shaken Baby Syndrome. As an alternate juror in a 1995 murder trial in Murphysboro, Illinois, she observed a case that has become too common: that of an adult caregiver shaking to death a baby. A seasoned researcher and published scholar, in this book Morey witnesses the court proceedings firsthand, comes to know the families of the toddler intimately, and augments her observations and interviews through research into Shaken Baby Syndrome. The result is an agonizingly human tale supported by the evidence of science, sociology, and criminology.
Morey's What Happened to Christopher memorializes the short life of nineteen-month-old Christopher Attig (1992–1994). To reveal what Christopher meant to those closest to him, Morey conducts extensive interviews with the child's parents and grand-parents. She also interviews the officials involved in the case to set the scene from a legal and police angle. Gary Lynn Gould, who was convicted of and imprisoned for killing Christopher, did not answer Morey's requests for interviews.
Morey characterizes her investigation as a "story of quiet horror because it takes place in a way and a setting that could be any town and many families." Nonetheless, Morey's narrative skill transforms Christopher into much more than an ordinary child, senselessly slain. He is Christopher, irreplaceable and unique. And by the time she reconstructs Christopher's final days and the aftermath of his murder, Morey has depicted the principals in the case so deftly and imbued them with such humanity that we experience their torment and their hope.
Morey also provides a juror's insight into the trial. By showing what happened to Christopher Attig and by presenting the accumulated findings relative to Shaken Baby Syndrome, she seeks through education to help prevent future deaths like Christopher's.
What if we desire what harms us? What if we learn to mimic that harm, hurting ourselves to stay safe from external assaults? What if we cannot give this harm a name but know from the injury that something has happened to us? What if? What if the Invader Is Beautiful? The acute titular question of Louise Mathias’ third collection of poetry establishes the stakes for these poems, puncturing the silence around the nuances of abusive relationships.
Mathias delves into a brackish psyche, attempting to process these intimate violences while wrestling with the self-doubt that she has been a participant in her own suffering. f poetry is truth, then Mathias achieves the purest form in this book, a catechism that affirms that willingness can be compromised, that consent to physical pain is not consent to cruelty, and that we can forgive ourselves self-abandoning coping mechanisms to reclaim a righteous anger. The existence of these poems has not just a conceptual but a functional materiality, as bricks lain to pave a path out. What if the poet leaves the woods where once she “ate needles for love” and “pried the poison from a flower?” Perhaps she will stumble into the clearing where a “moonlit kindness” can touch her skin.
An imagination of possibilities, of miscalculations, of futures off-kilter
“Probability is a chimera, its head is true, its tail a suggestion. Futurologists attempt to compel the head to eat the tail (ouroboros). Here, though, we will try to wag the tail.” —Vilém Flusser
Two years after his Vampyroteuthis Infernalis, the philosopher Vilém Flusser engaged in another thought experiment: a collection of twenty-two “scenarios for the future” to be produced as computer-generated media, or technical images, that would break the imaginative logjam in conceiving the social, political, and economic future of the universe. What If? is not just an “impossible journey” to which Flusser invites us in the first scenario; it functions also as a distorting mirror held up to humanity.
Flusser’s disarming scenarios of an Anthropocene fraught with nightmares offer new visions that range from the scientific to the fantastic to the playful and whimsical. Each essay reflects our present sense of understanding the world, considering the exploitation of nature and the dangers of global warming, overpopulation, and blind reliance on the promises of scientific knowledge and invention. What If? offers insight into the radical futures of a slipstream Anthropocene that have much to do with speculative fiction, with Flusser’s concept of design as “crafty” or slippery, and with art and the immense creative potential of failure versus reasonable, “good” computing or calculability. As such, the book is both a warning and a nudge to imagine what we may yet become and be.
What if there were three sexes?
What if men could have babies?
What if the earth didn’t have a moon?
What if all the air in the room went into one corner?
What if you fell into a black hole?
What if you could unscramble an egg?
Eavesdrop on these free-wheeling conversations and stretch your imagination in 120 different directions! In these flippant “what if” dialogues about everything from sex, aliens, dogs, and dinosaurs to space, matter, and time, Robert Ehrlich blurs the boundaries between science fact and science fiction. Come travel through these zany alternative universes––and understand our own a bit better!
“In a display of rationality uncommon to discussions of the Israeli-Palestinian conflict, Nusseibeh takes an impartial vantage point, trying to sort out a mess largely generated by overblown and hyperactive political identities.”—Boston Review
“[This] philosophical and balanced book is unfailingly sensitive and empathetic to both sides.”—Publishers Weekly
Can a devout Jew be a devout Jew and drop the belief in the rebuilding of the Temple? Can a devout Muslim be a devout Muslim and drop the belief in the sacredness of the Rock? Can one right (the right of return) be given up for another (the right to live in peace)? Can one claim Palestinian identity and still retain Israeli citizenship? What is a Palestinian state worth? For over sixty years, the Israeli-Palestinian conflict has been subjected to many solutions and offered many answers by diverse parties. Yet, answers are only as good as the questions that beget them. It is with this simple, but powerful idea, the idea of asking the basic questions anew, that the renowned Palestinian philosopher and activist Sari Nusseibeh begins his book.
What Is a Palestinian State Worth? poses questions about the history, meaning, future, and resolution of the Israel/Palestine conflict. Deeply informed by political philosophy and based on decades of personal involvement with politics and social activism, Nusseibeh’s moderate voice—global in its outlook, yet truly grounded in his native city of Jerusalem—points us toward a future which, as George Lamming once put it, is colonized by our acts in this moment, but which must always remain open.
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