Advocates a cybersecurity “social contract” between government and business in seven key economic sectors

Cybersecurity vulnerabilities in the United States are extensive, affecting everything from national security and democratic elections to critical infrastructure and economy. In the past decade, the number of cyberattacks against American targets has increased exponentially, and their impact has been more costly than ever before. A successful cyber-defense can only be mounted with the cooperation of both the government and the private sector, and only when individual corporate leaders integrate cybersecurity strategy throughout their organizations.

A collaborative effort of the Board of Directors of the Internet Security Alliance, Fixing American Cybersecurity is divided into two parts. Part One analyzes why the US approach to cybersecurity has been inadequate and ineffective for decades and shows how it must be transformed to counter the heightened systemic risks that the nation faces today. Part Two explains in detail the cybersecurity strategies that should be pursued by each major sector of the American economy: health, defense, financial services, utilities and energy, retail, telecommunications, and information technology.

Fixing American Cybersecurity will benefit industry leaders, policymakers, and business students. This book is essential reading to prepare for the future of American cybersecurity.

• An overhaul of state pension systems that includes more reasonable benefits and raising of the retirement age, among other changes;
• Broadening of the tax base to include services and reductions in rates;
• Raising funds with capital construction bonds to update and integrate the antiquated information systems used by state agencies;
• Uprooting the state's entrenched culture of corruption via public financing of elections, redistricting reform, and revolving door prohibitions for lawmakers

Pointed, honest, and pragmatic, Fixing Illinois is a plan for effective and honest government that seeks an even nobler end: restoring our faith in Illinois's institutions and reviving a sense of citizenship and state pride.

Medical care prices in the United States are not only the most expensive in the world, but there are wide variations in what physicians are paid. Doctors at the frontlines of medical care who manage complex conditions argue that they receive disproportionately lower fees than physicians performing services such as minor surgeries and endoscopies. Fixing Medical Prices goes to the heart of the U.S. medical pricing process: to a largely unknown yet influential committee of medical organizations affiliated with the American Medical Association that advises Medicare. Medicare’s ready acceptance of this committee’s recommendations typically sets off a chain reaction across the entire American health care system.

For decades, the U.S. policymaking structure for pricing has reflected the influence of physician organizations. What Miriam Laugesen’s rich analysis shows is how these organizations navigate the arcane and complex work of this advisory committee. Contradicting the story of a profession in political decline, Fixing Medical Prices demonstrates that the power of physician organizations has simply become more subtle.

Laugesen’s investigation into the exorbitant cost of American medical care will be of interest to those who follow the politics of health care policy, the influence of interest groups on rate setting, and the medical profession’s past and future role in our health care system.

A combination of button accordion and bajo sexto, conjunto originated in the Texas-Mexico borderlands as a popular dance music and became a powerful form of regional identity. Today, listeners and musicians around the world have embraced the genre and the work of conjunto masters like Flaco Jiménez and Mingo Saldívar.

Erin E. Bauer follows conjunto from its local origins through three processes of globalization--migration via media, hybridization, and appropriation--that boosted the music’s reach. As Bauer shows, conjunto’s encounter with globalizing forces raises fundamental questions. What is conjunto stylistically and socioculturally? Does context change how we categorize it? Do we consider the music to be conjunto based on its musical characteristics or due to its performance by Jiménez and other regional players? How do similar local genres like Tejano and norteño relate to ideas of categorization?

A rare look at a fascinating musical phenomenon, Flaco’s Legacy reveals how conjunto came to encompass new people, places, and styles.

In a new perspective on the formation of national identity in Central Europe, Nancy Wingfield analyzes what many historians have treated separately--the construction of the Czech and German nations--as a larger single phenomenon.

Czech and German nationalism worked off each other in dynamic ways. As external conditions changed, Czech and German nationalists found new uses for their pasts and new ways to stage them in public spaces for their ongoing national projects. These grassroots confrontations transformed public culture by reinforcing the centrality of nationality to everyday life and by tying nationalism to the exercise of power. The battles in the public sphere produced a cultural geography of national conflict associated with the unveiling of Joseph II statues that began in 1881, the Badeni Language Ordinances of 1897, the 1905 debate over a Czech-language university in Moravia, and the celebration of the emperor's sixtieth jubilee in 1908. The pattern of impassioned national conflict would be repeated for the duration of the monarchy and persist with even more violence into the First Czechoslovak Republic.

Numerous illustrations show how people absorbed, on many levels, visual clues that shaped how they identified themselves and their groups. This nuanced analysis is a valuable contribution to our understanding of Central European history, nationalism, and the uses of collective memory.

Exposes a stylistic tradition of flamboyantly failed passing in queer literature and film

This book posits formal experimentation as an index for evolving expressions of male homosexuality from literary modernism to the German New Wave and the present day. Ian Fleishman exposes a tradition of flamingly failed passing that is itself a surreptitious mode of passing: the flaunting of queer style as an intentionally unconvincing cover for queer content. Exploring a corpus of films and novels by André Gide, Jean Genet, Rainer Werner Fassbinder, Werner Schroeter, François Ozon, and Xavier Dolan, among others, Flamboyant Fictions: The Failed Art of Passing intervenes in trenchant debates about queer agency, visibility, negativity, and disidentification. Mapping queer strategies of storytelling onto queer practices of self-invention, Flamboyant Fictions wagers that it is precisely in instances of conflict between these auteurs and their inventions that narrative becomes a laboratory for testing the sovereignty and self-determination of queer identity.

An iconic symbol of Spain, flamenco has become a global phenomenon. Peter Manuel offers English-language readers a rare portrait of the music’s history, styles, and cultural impact. Beginning with flamenco’s Moorish and Roma influences, Manuel follows the music’s evolution through its consolidation in the mid-1800s and on to the vibrant contemporary scene. An investigation of flamenco’s major song-types looks at rhythm and compás, guitar technique, and many other aspects of the music while Manuel’s description and analysis of the repertoire range from soleares and bulerías to tangos. His overview of contemporary flamenco culture provides insight into issues that surround the music, including globalization, gender dynamics, notions of ownership, and the ongoing debates on purity versus innovation and the relative roles played by Gitanos and non-Gitanos.

Multifaceted and entertaining, Flamenco Music is an in-depth study of the indelible art form that inspires enthusiasts and practitioners around the world.

What happened in Kirven, Texas, in May 1922, has been forgotten by the outside world. It was a coworker's whispered words, "Kirven is where they burned the [Negroes]," that set Monte Akers to work at discovering the true story behind a young white woman's brutal murder and the burning alive of three black men who were almost certainly innocent of it. This was followed by a month-long reign of terror as white men killed blacks while local authorities concealed the real identity of the white probable murderers and allowed them to go free.

Writing nonfiction with the skill of a novelist, Akers paints a vivid portrait of a community desolated by race hatred and its own refusal to face hard truths. He sets this tragedy within the story of a region prospering from an oil boom but plagued by lawlessness, and traces the lynching's repercussions down the decades to the present day. In the new epilogue, Akers adds details that have come to light as a result of the book's publication, including an eyewitness account of the burnings from an elderly man who claimed to have castrated two of the men before they were lynched.

Asks who gets the right to call themselves a good person in a morally bankrupt world

In The Flat Woman, women exclusively are blamed for the climate crisis. Seagulls drop dead from the sky, and the government, instead of taking responsibility, scapegoats a group of female ecoterrorists. When a girl’s mother is incarcerated for climate crimes, she is forced to raise herself alone. As a young woman, she begins a romance with an environmental activist whose passion makes her question her own role in the world. By turns hilarious, deadly serious, and completely absurd, The Flat Woman asks who gets the right to call themselves a good person in a world ripe with disaster.

Driven by complex academic and moral questions, The Flat Woman is certain to appeal to fans of feminist and experimental literature, as well as fans of Margaret Atwood, Renee Gladman, Bhanu Kapil, Maggie Nelson, Kelly Link, and Anne Carson.

English-Korean Bilingual Edition 
영-한 이중언어판

A group of three friends who made music in a house in Lubbock, Texas, recorded an album that wasn’t released and went their separate ways into solo careers. That group became a legend and then—twenty years later—a band. The Flatlanders—Joe Ely, Jimmie Dale Gilmore, and Butch Hancock—are icons in American music, with songs blending country, folk, and rock that have influenced a long list of performers, including Robert Earl Keen, the Cowboy Junkies, Ryan Bingham, Terry Allen, John Hiatt, Hayes Carll, Lucinda Williams, Steve Earle, and Lyle Lovett.

In The Flatlanders: Now It’s Now Again, Austin author and music journalist John T. Davis traces the band’s musical journey from the house on 14th Street in Lubbock to their 2013 sold-out concert at Carnegie Hall. He explores why music was, and is, so important in Lubbock and how earlier West Texas musicians such as Buddy Holly and Roy Orbison, as well as a touring Elvis Presley, inspired the young Ely, Gilmore, and Hancock. Davis vividly recreates the Lubbock countercultural scene that brought the Flatlanders together and recounts their first year (1972–1973) as a band, during which they recorded the songs that, decades later, were released as the albums More a Legend Than a Band and The Odessa Tapes. He follows the three musicians through their solo careers and into their first decade as a (re)united band, in which they cowrote songs for the first time on the albums Now Again and Hills and Valleys and recovered their extraordinary original demo tape, lost for forty years. Many roads later, the Flatlanders are finally both a legend and a band.

Michel Winock’s biography situates Gustave Flaubert’s life and work in France’s century of great democratic transition. Flaubert did not welcome the egalitarian society predicted by Tocqueville. Wary of the masses, he rejected the universal male suffrage hard won by the Revolution of 1848, and he was exasperated by the nascent socialism that promoted the collective to the detriment of the individual. But above all, he hated the bourgeoisie. Vulgar, ignorant, obsessed with material comforts, impervious to beauty, the French middle class embodied for Flaubert every vice of the democratic age. His loathing became a fixation—and a source of literary inspiration.

Flaubert depicts a man whose personality, habits, and thought are a stew of paradoxes. The author of Madame Bovary and Sentimental Education spent his life inseparably bound to solitude and melancholy, yet he enjoyed periodic escapes from his “hole” in Croisset to pursue a variety of pleasures: fervent friendships, society soirées, and a whirlwind of literary and romantic encounters. He prided himself on the impersonality of his writing, but he did not hesitate to use material from his own life in his fiction. Nowhere are Flaubert’s contradictions more evident than in his politics. An enemy of power who held no nostalgia for the monarchy or the church, he was nonetheless hostile to collectivist utopias.

Despite declarations of the timelessness and sacredness of Art, Flaubert could not transcend the era he abominated. Rejecting the modern world, he paradoxically became its celebrated chronicler and the most modern writer of his time.

Finalist, 2006 National Book Critics Circle Awards, Biography Category | A New York Times Notable Book of 2006 | A Publishers Weekly Best Book of 2006

In this riveting landmark biography, Frederick Brown illuminates the life and career of the author of Madame Bovary. He describes Flaubert’s fraught relationship with his longtime mistress Louise Colet, his liaisons with many other women, and his friendships with luminaries such as Turgenev and Zola. Here too is Brown’s description of Flaubert’s meticulous compositional habits, his painstaking search for the sentence that is deeply, rhythmically right.

Brown brings his subject remarkably and fully to life, illuminating not only the novelist but also his milieu—the Paris and Normandy of the revolution of 1848 and of the Second Empire—with arresting clarity and a deepening sense of Flaubert’s time and place. Flaubert is a sophisticated, thorough, and utterly absorbing re-creation of the life and times of the man who is arguably the architect of the modern novel.

Distinguished by its unconventional approach and extraordinary range, this beautifully written book offers new insights into the works—and times—of poets writing between the death of Shakespeare and the execution of Charles I. Well over a hundred original readings provide illuminating discussions of the “canonical” poets such as Milton, Herbert, and Jonson, as well as enlightening reevaluations of many “minor” poets, including Herrick, Waller, and Lovelace. The discussion is organized around five themes: Counselors and Kings, Poets, Life and Death, The Commonwealth, and Men and Women. This organization allows Hammond to use shared references and images in the works to reveal previously unsuspected connections between poems of very different schools, and to illustrate in considerable depth how seventeenth-century poetry reflects the political, social, religious, and sexual experience of the uncertain pre-Restoration years. The book has a subtle, almost musical structure; each chapter quietly picks up the threads of discussion in previous chapters. The result is a seamlessly woven narrative that guides the reader lightly, never intruding on the reading of the poetry itself.

Seventeenth-century poets betray a reluctance to separate life from art; many of their poems are about apparently trivial or unfamiliar things—the “fleeting things” of the title. Gerald Hammond has used his rare knowledge of the period to unlock images and references that have previously been overlooked or misunderstood, creating a fresh view of the poetry—and poets—of this fascinating period.

For centuries, anatomy was a fundamental component of artistic training, as artists such as Leonardo da Vinci and Michelangelo sought to skillfully portray the human form. In Europe, illustrations that captured the complex structure of the body—spectacularly realized by anatomists, artists, and printmakers in early atlases such as Andreas Vesalius’s De humani corporis fabrica libri septem of 1543—found an audience with both medical practitioners and artists.

Flesh and Bones examines the inventive ways anatomy has been presented from the sixteenth through the twenty-first century, including an animated corpse displaying its own body for study, anatomized antique sculpture, spectacular life-size prints, delicate paper flaps, and 3-D stereoscopic photographs. Drawn primarily from the vast holdings of the Getty Research Institute, the over 150 striking images, which range in media from woodcut to neon, reveal the uncanny beauty of the human body under the skin.

In the fourth century a new narrative genre captured the imagination of the faithful—the moving accounts of the lives of Christian saints. Willing to die gruesome deaths or endure constant suffering, saints conveyed a powerful message: God was still present in the world. He continues to manifest His powers and communicate His messages through His special friends—the saints. What kind of Christianity do we find in these stories? In this original and provocative work, Aviad Kleinberg argues that the saints’ stories of medieval Europe were more than edifying entertainment; they retain an alternative theology, often quite different from the formal theology of the Church. By telling and retelling the story of virtue and salvation, by expanding the religious imagination of the West, they were shaping and reshaping Christianity itself.

In this study of stories from the fourth through the fourteenth centuries, we meet the tender Perpetua bidding farewell to her infant son, Simeon Stylites turning himself into a rotting corpse, Francis of Assisi finding joy in suffering, and Fra Ginepro playing the fool, for Christ. We meet holy anchorites, headstrong virgins, fearless dragon slayers, and scheming politicians. Kleinberg unveils the inner contradictions, the subversive ideas, and the deadly power games that lay behind the making of the Western imagination. People, ideas, and passions—often relegated to the back pews—take center stage in this daring book. This is a story of how stories change lives.

How animation can reconnect us with bodily experiences
 

Film and media studies scholarship has often argued that digital cinema and CGI provoke a sense of disembodiment in viewers; they are seen as merely fantastic or unreal. In her in-depth exploration of the phenomenology of animation, Sandra Annett offers a new perspective: that animated films and digital media in fact evoke vivid embodied sensations in viewers and connect them with the lifeworld of experience. 

Starting with the emergence of digital technologies in filmmaking in the 1980s, Annett argues that contemporary digital media is indebted to the longer history of animation. She looks at a wide range of animation—from Disney films to anime, electro swing music videos to Vocaloids—to explore how animation, through its material forms and visual styles, can evoke bodily sensations of touch, weight, and orientation in space. Each chapter discusses well-known forms of animation from the United States, France, Japan, South Korea, and China, examining how they provoke different sensations in viewers, such as floating and falling in Howl’s Moving Castle and My Beautiful Girl Mari, and how the body is mediated in films that combine animation and live action, as seen in Who Framed Roger Rabbit and Song of the South. These films set the stage for an exploration of how animation and embodiment manifest in contemporary global media, from CGI and motion capture in Disney’s “live action remakes” to new media installations by artists like Lu Yang.

Leveraging an array of case studies through a new approach to film phenomenology, The Flesh of Animation offers an enlightening discussion of why animation provides a sensational experience for viewers not replicable through other media forms.

The history of the Chicana por mi Raza Digital Memory Collective, an archive dedicated to preserving Chicana feminist knowledge of the 1970s and memory work.

The late 1960s and early 1970s witnessed an explosion of publishing by Chicana activists as they took part in the Movimiento against oppression of ethnic Mexicans in the United States. Today, thousands of these documents, including written works and oral histories, have been assembled by the Chicana por mi Raza Digital Memory Collective. Drawing on these unique resources, Fleshing the Archive traces the innovative Chicana knowledge projects of the Movimiento years.

Seeking to think with the past rather than about it, María Cotera explores transgressive sites and discourses of Chicana knowledge, from poems and essays to newspapers, bibliographies, and testimonies. Often published independently and distributed by readers themselves, these works embodied a praxis of feminist and queer consciousness-raising. Observing the startling convergences between Chicana praxis of the 1970s and digital knowledge production in the present, Cotera argues that the Chicana archive enables transformative moments of recognition across time that unsettle supposedly objective accounts of history. The materials preserved by Chicana por mi Raza offer Chicana scholars a model of teaching and learning liberated from a corporate academy that is increasingly hostile to intellectual inquiry.

A novel of love, revenge, and redemption set during three crucial years of the Mexican Revolution (1910–13).

When an eccentric Mexican general dies and leaves his entire fortune to Isabel Brentt, the American daughter-in-law he never met, his widow suspects foul play and seeks revenge against the young woman.

This is a story of love, the backlash of revenge, and the choices that define us: A young lawyer sets off on a quest to find the truth about the general’s death. A bodyguard is ordered to murder the man he is supposed to protect. A ruthless criminal falls in love with a prostitute. A priest is forced to maintain an elaborate lie. An accused patricide seeks redemption through a brotherhood of criminals. Above all, it is Isabel’s exploration of the problem of evil and of prayer as a pathway to inner freedom.

Sylvia Montgomery Shaw invites readers to follow the continuing romance of Benjamín and Isabel as both seek their freedom against the backdrop of a brutal war and learn the unexpected strength that can come from one’s inner will.

Flintknapping is an ancient craft enjoying a resurgence of interest among both amateur and professional students of prehistoric cultures. John C. Whitaker's bestselling guide is a detailed handbook on flintknapping, written from the archaeological perspective of interpreting stone tools as well as making them.

Flintknapping contains detailed, practical information on making stone tools. Whittaker starts at the beginner level and progresses to discussion of a wide range of techniques. He includes information on necessary tools and materials, as well as step-by-step instructions for making several basic stone tool types. Numerous diagrams allow the reader to visualize the flintknapping process, and drawings of many stone tools illustrate the discussions and serve as models for beginning knappers.

Written for a wide amateur and professional audience, Flintknapping will be essential for practicing knappers as well as for teachers of the history of technology, experimental archaeology, and stone tool analysis.

Who gets to speak for China? During the interwar years, when American condescension toward “barbarous” China yielded to a fascination with all things Chinese, a circle of writers sparked an unprecedented public conversation about American-Chinese relations. Hua Hsu tells the story of how they became ensnared in bitter rivalries over which one could claim the title of America’s leading China expert.

The rapturous reception that greeted The Good Earth—Pearl Buck’s novel about a Chinese peasant family—spawned a literary market for sympathetic writings about China. Stories of enterprising Americans making their way in a land with “four hundred million customers,” as Carl Crow said, found an eager audience as well. But on the margins—in Chinatowns, on Ellis Island, and inside FBI surveillance memos—a different conversation about the possibilities of a shared future was taking place.

A Floating Chinaman takes its title from a lost manuscript by H. T. Tsiang, an eccentric Chinese immigrant writer who self-published a series of visionary novels during this time. Tsiang discovered the American literary market to be far less accommodating to his more skeptical view of U.S.-China relations. His “floating Chinaman,” unmoored and in-between, imagines a critical vantage point from which to understand the new ideas of China circulating between the world wars—and today, as well.