A SCHOLARLY BOOK REPOSITORY
At the turn of the twentieth century W.E.B. DuBois predicted that the central problem facing the United States in the new century would be that of the “color line.” Now, at the beginning of a new century, we find many people straddling the color line. These people come from the growing number of multiracial families in America, families who search for places of comfort and familiarity in a racially polarized society whose educational system, places of worship, and neighborhoods continue to suffer a de facto segregation. This group has provoked an ever-widening debate and an upheaval in traditional racial thinking in the United States.
Through in-depth interviews with individuals from black–white multiracial families, and insightful sociological analysis, Heather M. Dalmage examines the challenges faced by people living in such families and explores how their experiences demonstrate the need for rethinking race in America. She examines the lived reality of race in the ways multiracial family members construct and describe their own identities and sense of community and politics. She shows how people whose own very lives complicate the idea of the color line must continually negotiate and contest it in order not to reproduce it. Their lack of language to describe their multiracial existence, along with their experience of coping with racial ambiguity and with institutional demands to conform to a racially divided, racist system is the central theme of Tripping on the Color Line. By connecting the stories to specific issues, such as census categories, transracial adoption, intermarriage, as well as the many social responses to violations of the color line, Dalmage raises the debate to a broad discussion on racial essentialism and social justice.
Exploring the dynamic of race as it pervades the lives of those close to the color line, Dalmage argues that the struggle for racial justice must include an understanding that race is a complex construct that is constantly shifting, and is something we do rather than something we simply are.
At the turn of the twentieth century W.E.B. DuBois predicted that the central problem facing the United States in the new century would be that of the “color line.” Now, at the beginning of a new century, we find many people straddling the color line. These people come from the growing number of multiracial families in America, families who search for places of comfort and familiarity in a racially polarized society whose educational system, places of worship, and neighborhoods continue to suffer a de facto segregation. This group has provoked an ever-widening debate and an upheaval in traditional racial thinking in the United States.
Through in-depth interviews with individuals from black–white multiracial families, and insightful sociological analysis, Heather M. Dalmage examines the challenges faced by people living in such families and explores how their experiences demonstrate the need for rethinking race in America. She examines the lived reality of race in the ways multiracial family members construct and describe their own identities and sense of community and politics. She shows how people whose own very lives complicate the idea of the color line must continually negotiate and contest it in order not to reproduce it. Their lack of language to describe their multiracial existence, along with their experience of coping with racial ambiguity and with institutional demands to conform to a racially divided, racist system is the central theme of Tripping on the Color Line. By connecting the stories to specific issues, such as census categories, transracial adoption, intermarriage, as well as the many social responses to violations of the color line, Dalmage raises the debate to a broad discussion on racial essentialism and social justice.
Exploring the dynamic of race as it pervades the lives of those close to the color line, Dalmage argues that the struggle for racial justice must include an understanding that race is a complex construct that is constantly shifting, and is something we do rather than something we simply are.
Charles Baxter
David H. Lynn
Marie Myung-Ok Lee
Barbara Hamby
Mary Morris
Debora Greger
Reginald Shepherd
Amit Majmudar
Page Hill Starzinger
Ricardo Pau-Llosa
Julianna Baggott
G.E. Murray
Patrice de La Tour du Pin--translated from the French by Jennifer Grotz
R.T. Smith
Rebecca Rasmussen
Steven A. Dabrowski
Celeste Ng
Nancy Eimers
Chard deNiord
Laura Kasischke
Derek Mong
Judith Valente
Debra Nystrom
John J. Clayton
Erika Dreifus
David Wagoner
Charlie Smith
Pimone Triplett
Megan Harlan
Jonathan Fink
Corey Marks
Anne Harding Woodwortth
After a seven-day journey on the South Atlantic Ocean aboard a lobster boat servicing Cape Town, Ida arrives on the island of Tristan. In the little island community, a village nestled on the slopes of a volcano whose only limits are the immense sky and the ocean, her bearings are gradually shifted as time slowly begins to expand.
When a cargo ship runs aground near a neighboring island, spilling massive amounts of oil, there is suddenly frantic activity in the town. Ida eagerly joins a team of three men who go to the small island to rescue oil-drenched penguins. One night, one of the men walks her back to the cabin where she is staying. They experience a night of love that continues to grow on the secluded island. For two weeks away from the world—the sea is rough, no boat can come to pick them up—the dance of their bodies and their all-consuming love is their only horizon.
Following the rhythm of the ocean and the untamed wind, Clarence Boulay brilliantly gives flesh to a dizzying sensation of sensual abandonment. Tristan raises emotional sails and upends all certainty.
Das Rheingold, Die Walküre, and Siegfried. Parsifal. Tristan und Isolde. Both revered and reviled, Richard Wagner conceived some of the nineteenth century’s most influential operas—and created some of the most indelible characters ever to grace the stage. But over the course of his polarizing career, Wagner also composed volumes of essays and pamphlets, some on topics seemingly quite distant from the opera house. His influential concept of Gesamtkunstwerk—the “total work of art”—famously and controversially offered a way to unify the different media of an opera into a coherent whole. Less well known, however, are Wagner’s strange theories on sexuality—like his ideas about erotic acoustics and the metaphysics of sexual difference.
Drawing on the discourses of psychoanalysis, evolutionary biology, and other emerging fields of study that informed Wagner’s thinking, Adrian Daub traces the dual influence of Gesamtkunstwerk and eroticism from their classic expressions in Tristan und Isolde into the work of the generation of composers that followed, including Zemlinsky, d’Albert, Schreker, and Strauss. For decades after Wagner’s death, Daub writes, these composers continued to grapple with his ideas and with his overwhelming legacy, trying in vain to write their way out from Tristan’s shadow.
The poet in exile.
Ovid (Publius Ovidius Naso, 43 BC–AD 17), born at Sulmo, studied rhetoric and law at Rome. Later he did considerable public service there, and otherwise devoted himself to poetry and to society. Famous at first, he offended the emperor Augustus by his Ars amatoria, and was banished because of this work and some other reason unknown to us, and dwelt in the cold and primitive town of Tomis on the Black Sea. He continued writing poetry, a kindly man, leading a temperate life. He died in exile.
Ovid’s main surviving works are the Metamorphoses, a source of inspiration to artists and poets including Chaucer and Shakespeare; the Fasti, a poetic treatment of the Roman year of which Ovid finished only half; the Amores, love poems; the Ars amatoria, not moral but clever and in parts beautiful; Heroides, fictitious love letters by legendary women to absent husbands; and the dismal works written in exile: the Tristia, appeals to persons including his wife and also the emperor; and similar Epistulae ex Ponto. Poetry came naturally to Ovid, who at his best is lively, graphic and lucid.
The Loeb Classical Library edition of Ovid is in six volumes.
A powerful case that the economic shocks of the 1970s hastened both the end of the Cold War and the rise of neoliberalism by forcing governments to impose austerity on their own people.
Why did the Cold War come to a peaceful end? And why did neoliberal economics sweep across the world in the late twentieth century? In this pathbreaking study, Fritz Bartel argues that the answer to these questions is one and the same. The Cold War began as a competition between capitalist and communist governments to expand their social contracts as they raced to deliver their people a better life. But the economic shocks of the 1970s made promises of better living untenable on both sides of the Iron Curtain. Energy and financial markets placed immense pressure on governments to discipline their social contracts. Rather than make promises, political leaders were forced to break them.
In a sweeping narrative, The Triumph of Broken Promises tells the story of how the pressure to break promises spurred the end of the Cold War. In the West, neoliberalism provided Western leaders like Ronald Reagan and Margaret Thatcher with the political and ideological tools to shut down industries, impose austerity, and favor the interests of capital over labor. But in Eastern Europe, revolutionaries like Lech Walesa in Poland resisted any attempt at imposing market discipline. Mikhail Gorbachev tried in vain to reform the Soviet system, but the necessary changes ultimately presented too great a challenge.
Faced with imposing economic discipline antithetical to communist ideals, Soviet-style governments found their legitimacy irreparably damaged. But in the West, politicians could promote austerity as an antidote to the excesses of ideological opponents, setting the stage for the rise of the neoliberal global economy.
“A genuinely bracing and innovative history of Rome.”
—Times Literary Supplement
The Triumph of Empire takes us into the political heart of imperial Rome and recounts the extraordinary challenges overcome by a flourishing empire. Roman politics could resemble a blood sport: rivals resorted to assassination as emperors rose and fell with bewildering speed, their reigns sometimes measured in weeks. Factionalism and intrigue sapped the empire from within, and imperial succession was never entirely assured.
Michael Kulikowski begins with the reign of Hadrian, who visited the farthest reaches of his domain and created a stable frontier, and takes us through the rules of Marcus Aurelius and Diocletian to Constantine, who overhauled the government, introduced a new state religion, and founded a second Rome. Despite Rome’s political volatility, imperial forces managed to defeat successive attacks from Goths, Germans, Persians, and Parthians.
“This is a wonderfully broad sweep of Roman history. It tells the fascinating story of imperial rule from the enigmatic Hadrian through the dozens of warlords and usurpers who fought for the throne in the third century AD to the Christian emperors of the fourth—after the biggest religious and cultural revolution the world has ever seen.”
—Mary Beard, author of SPQR
“This was an era of great change, and Kulikowski is an excellent and insightful guide.”
—Adrian Goldsworthy, Wall Street Journal
Progressivism, James Connolly shows us, was a language and style of political action available to a wide range of individuals and groups. A diverse array of political and civic figures used it to present themselves as leaders of a communal response to the growing power of illicit interests and to the problems of urban-industrial life. As structural reforms weakened a ward-based party system that helped mute ethnic conflict, this new formula for political mobilization grew more powerful. Its most effective variation in Boston was an “ethnic progressivism” that depicted the city’s public life as a clash between its immigrant majority—“the people”—and a wealthy Brahmin elite—“the interests.” As this portrayal took hold, Bostonians came to view their city as a community permanently beset by ethnic strife.
In showing that the several reform visions that arose in Boston included not only the progressivism of the city’s business leaders but also a series of ethnic progressivisms, Connolly offers a new approach to urban public life in the early twentieth century. He rejects the assumption that ethnic politics was machine politics and employs both institutional and rhetorical analysis to reconstruct the inner workings of neighborhood public life and the social narratives that bound the city together. The result is a deeply textured picture that differs sharply from the traditional view of machine–reform conflict.
The tumultuous last decades of British colonialism in India were catalyzed by more than the work of Mahatma Gandhi and violent conflicts. The concurrent upheavals in Western art driven by the advent of modernism provided Indian artists in post-1920 India a powerful tool of colonial resistance. Distinguished art historian Partha Mitter now explores in this brilliantly illustrated study this lesser known facet of Indian art and history.
Taking the 1922 Bauhaus exhibition in Calcutta as the debut of European modernism in India, The Triumph of Modernism probes the intricate interplay of Western modernism and Indian nationalism in the evolution of colonial-era Indian art. Mitter casts his gaze across a myriad of issues, including the emergence of a feminine voice in Indian art, the decline of “oriental art,” and the rise of naturalism and modernism in the 1920s. Nationalist politics also played a large role, from the struggle of artists in reconciling Indian nationalism with imperial patronage of the arts to the relationship between primitivism and modernism in Indian art. An engagingly written study anchored by 150 lush reproductions, The Triumph of Modernism will be essential reading for scholars of art, British studies, and Indian history.
A distinguished historian chronicles the rise of music and musicians in the West from lowly balladeers to masters employed by fickle patrons, to the great composers of genius, to today’s rock stars. How, he asks, did music progress from subordinate status to its present position of supremacy among the creative arts? Mozart was literally booted out of the service of the Archbishop of Salzburg “with a kick to my arse,” as he expressed it. Yet, less than a hundred years later, Europe’s most powerful ruler—Emperor William I of Germany—paid homage to Wagner by traveling to Bayreuth to attend the debut of The Ring. Today Bono, who was touted as the next president of the World Bank in 2006, travels the world, advising politicians—and they seem to listen.
The path to fame and independence began when new instruments allowed musicians to showcase their creativity, and music publishing allowed masterworks to be performed widely in concert halls erected to accommodate growing public interest. No longer merely an instrument to celebrate the greater glory of a reigning sovereign or Supreme Being, music was, by the nineteenth century, to be worshipped in its own right. In the twentieth century, new technological, social, and spatial forces combined to make music ever more popular and ubiquitous.
In a concluding chapter, Tim Blanning considers music in conjunction with nationalism, race, and sex. Although not always in step, music, society, and politics, he shows, march in the same direction.
With bold revisionist strokes, Cowart traces this strain of artistic dissent through the comedy-ballets of Jean-Baptiste Lully and Molière, the late operatic works of Lully and the operas of his sons, the opera-ballets of André Campra and his contemporaries, and the related imagery of Antoine Watteau’s well-known painting The Pilgrimage to Cythera. She contends that through a variety of means, including the parody of old-fashioned court entertainments, these works reclaimed traditional allegories for new ideological aims, setting the tone for the Enlightenment. Exploring these arts from the perspective of spectacle as it emerged from the court into the Parisian public sphere, Cowart ultimately situates the ballet and related genres as the missing link between an imagery of propaganda and an imagery of political protest.
Between 1948 and 1956, the United States government planned an enormous project to build fourteen permanent overseas military cemeteries in Europe. These park-like burial grounds eventually would hold the graves of approximately 80,000 American soldiers and nurses who died during or immediately after World War II. Five of these cemeteries are located in France, more than any other nation: two in Normandy; one in Provence; and two in Lorraine.
In Triumph of the Dead: American World War II Cemeteries, Monuments, and Diplomacy in France, Kate Clarke Lemay explores the relationship between art, architecture, war memory, and Franco-American relations. She addresses the many functions, both original and more recent, that the American war cemeteries have performed, such as: war memorials, diplomatic gestures, Cold War political statements, prompts for debate about Franco-American relations, and the nature of French identity itself. Located on or near former battlefields, the American war cemeteries are at once history lessons, sites of memory, and commemorative monuments. As places of mourning, war cemeteries are considerably different than civic cemeteries in their rituals, designs, and influences on collective memory. As transatlantic sites, the cemeteries both construct and sustain an American memory of World War II for a Francophile and European audience.
The book features ten color photographs, fifty black and white photographs, and four maps. Scholars as well as enthusiasts of World War II history, mid-century art and architecture, and cultural diplomacy will be interested in reading this richly researched book, the first in-depth history of some of the most important sites of American World War II remembrance.
The most striking feature of British colonialism in the twentieth century was the confidence it expressed in the use of science and expertise, especially when joined with the new bureaucratic capacities of the state, to develop natural and human resources of the empire.
Triumph of the Expert is a history of British colonial doctrine and its contribution to the emergence of rural development and environmental policies in the late colonial and postcolonial period. Joseph Morgan Hodge examines the way that development as a framework of ideas and institutional practices emerged out of the strategic engagement between science and the state at the climax of the British Empire. Hodge looks intently at the structural constraints, bureaucratic fissures, and contradictory imperatives that beset and ultimately overwhelmed the late colonial development mission in sub-Saharan Africa, south and southeast Asia, and the Caribbean.
Triumph of the Expert seeks to understand the quandaries that led up to the important transformation in British imperial thought and practice and the intellectual and administrative legacies it left behind.
Snakes exist in the myths of most societies, often embodying magical, mysterious forces. Snake cults were especially important in eastern India and Bangladesh, where for centuries worshippers of the indigenous snake goddess Manasa resisted the competing religious influences of Indo-Europeans and Muslims. The result was a corpus of verse texts narrating Manasa’s struggle to win universal adoration.
The Triumph of the Snake Goddess is the first comprehensive retelling of this epic tale in modern English. Scholar and poet Kaiser Haq offers a composite prose translation of Manasa’s story, based on five extant versions. Following the tradition of mangalkavyas—Bengali verse narratives celebrating the deeds of deities in order to win their blessings—the tale opens with a creation myth and a synopsis of Indian mythology, zooming in on Manasa, the miraculous child of the god Shiva. Manasa easily wins the allegiance of everyone except the wealthy merchant Chand, who holds fast in his devotion to Shiva despite seeing his sons massacred. A celestial couple is incarnated on earth to fulfill Manasa’s design: Behula, wife to one of Chand’s slain sons, undertakes a harrowing odyssey to restore him to life with Manasa’s help, ultimately persuading Chand to bow to the snake goddess.
A prologue by Haq explores the Bengali oral, poetic, and manuscript traditions behind this Hindu folk epic—a vibrant part of popular Bengali culture, Hindu and Muslim, to this day—and an introduction by Wendy Doniger examines the history and significance of snake worship in classical Sanskrit texts.
"A triumphantly successful exploration of certain key themes in cultural life. Rieff's incidental remarks are not only illuminating in themselves; they suggest whole new areas of inquiry."—Alasdair MacIntyre, Guardian
Tauber, a leading figure in history and philosophy of science, offers a unique autobiographical overview of how science as a discipline of thought has been characterized by philosophers and historians over the past century. He frames his account through science’s – and his own personal – quest for explanatory certainty.
During the 20th century, that goal was displaced by the probabilistic epistemologies required to characterize complex systems, whether in physics, biology, economics, or the social sciences. This “triumph of uncertainty” is the inevitable outcome of irreducible chance and indeterminate causality. And beyond these epistemological limits, the interpretative faculties of the individual scientist (what Michael Polanyi called the “personal” and the “tacit”) invariably affects how data are understood. Whereas positivism had claimed radical objectivity, post-positivists have identified how a web of non-epistemic values and social forces profoundly influence the production of knowledge.
Tauber presents a case study of these claims by showing how immunology has incorporated extra-curricular social elements in its theoretical development and how these in turn have influenced interpretive problems swirling around biological identity, individuality, and cognition. The correspondence between contemporary immunology and cultural notions of selfhood are strong and striking. Just as uncertainty haunts science, so too does it hover over current constructions of personal identity, self knowledge, and moral agency. Across the chasm of uncertainty, science and selfhood speak.
Triumph Over Containment offers an uncompromising look at some of the era’s greatest films and directors, from household names like Alfred Hitchcock and Stanley Kubrick to lesser-known iconoclasts like Samuel Fuller and Ida Lupino. Taking in everything from The Thing from Another World (1951) to Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), acclaimed film scholar Robert P. Kolker scours a variety of different genres to find pockets of resistance to the repressive and oppressive norms of Cold War culture. He devotes special attention to two quintessential 1950s genres—the melodrama and the science fiction film—that might seem like polar opposites, but each offered pointed responses to containment culture.
This book takes a fresh look at such directors as Nicholas Ray, John Ford, and Orson Welles, while giving readers a new appreciation for the depth and artistry of 1950s Hollywood films.
At a time when many people around the world are living into their tenth decade, the longest longitudinal study of human development ever undertaken offers some welcome news for the new old age: our lives continue to evolve in our later years, and often become more fulfilling than before.
Begun in 1938, the Grant Study of Adult Development charted the physical and emotional health of over 200 men, starting with their undergraduate days. The now-classic Adaptation to Life reported on the men’s lives up to age 55 and helped us understand adult maturation. Now George Vaillant follows the men into their nineties, documenting for the first time what it is like to flourish far beyond conventional retirement.
Reporting on all aspects of male life, including relationships, politics and religion, coping strategies, and alcohol use (its abuse being by far the greatest disruptor of health and happiness for the study’s subjects), Triumphs of Experience shares a number of surprising findings. For example, the people who do well in old age did not necessarily do so well in midlife, and vice versa. While the study confirms that recovery from a lousy childhood is possible, memories of a happy childhood are a lifelong source of strength. Marriages bring much more contentment after age 70, and physical aging after 80 is determined less by heredity than by habits formed prior to age 50. The credit for growing old with grace and vitality, it seems, goes more to ourselves than to our stellar genetic makeup.
Trixy is a 1904 novel by the best-selling but largely forgotten American author and women’s rights activist Elizabeth Stuart Phelps. The book decries the then common practice of vivisection, or scientific experiments on live animals. In Trixy, contemporary readers can trace the roots of the early animal rights movement in Phelps’s influential campaign to introduce legislation to regulate or end this practice. Phelps not only presents a narrative polemic against the cruelty of vivisection but argues that training young doctors in it makes them bad physicians. Emily E. VanDette’s introduction demonstrates that Phelps’s protest writing, which included fiction, pamphlets, essays, and speeches, was well ahead of its time.
Though not well known today, Phelps’s 1868 spiritualist novel, The Gates Ajar, which offered a comforting view of the afterlife to readers traumatized by the Civil War, was the century’s second best-selling American novel, surpassed only by Uncle Tom’s Cabin. Recently scholars and readers have begun to reexamine Phelps’s significance. As contemporary authors, including Peter Singer, Jonathan Safran Foer, Donna J. Haraway, Gary L. Francione, and Carol J. Adams, have extended her vision, they have also created new audiences for her work.
One of the most obscure plays in Shakespeare’s canon, Troilus and Cressida may also be the Bard’s darkest comedy. Exploring some of the events of Homer’s Iliad, the play juxtaposes the carnage of the Trojan War with a love story between its two titular characters. Lillian Groag’s translation brings this ancient world to modern audiences. Replacing the archaisms with new and accessible phrasing, Shakespeare’s lines regain their meaning and humor in the twenty-first century. This translation illuminates Troilus and Cressida as one of Shakespeare’s funniest, saddest, and most bitterly modern plays.
This translation of Troilus and Cressida was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present work from “The Bard” in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era.
Francis Blessington combines his work as a poet, translator, and teacher of literature and Greek with his theatrical experience to create fresh and faithful verse translations suitable for the stage, the classroom, or the general reader. The three plays are augmented by introductions, notes, and an appendix on elements of Greek tragedy. Blessington glosses historical and mythological terms, identifies Greek themes in the texts, offers literary interpretations, and suggests topics for discussion.
Three plays by ancient Greece’s third great tragedian.
One of antiquity's greatest poets, Euripides has been prized in every age for the pathos, terror, and intellectual probing of his dramatic creations. The new Loeb Classical Library edition of his plays is in six volumes.
Three plays are in Volume IV. Trojan Women concerns the tragic unpredictability of life; Iphigenia among the Taurians and Ion exhibit tragic themes and situations but end happily with joyful reunions.
The comic mode as Herbert describes it was antagonistic to the repressive moral ethos widely prevalent in Victorian England. Herbert shows how Trollope, under a mask of self-proclaimed conventionality, employed this mode in a steady, sometimes scandalous critique of the Victorian subversion of pleasure. Drawing on Trollope's unpublished notes on seventeenth-century drama and bringing to light many instances in the novels of direct borrowings from old plays, Herbert demonstrates the inventiveness and subtlety of Trollope's deployment of comic materials. Thematically organized around such subjects as Trollope's investigations of sex, his formal structures, and his principles of "realism," Herbert's study includes detailed readings of two of the nineteenth century's most ambitious exercises in comedy: The Way We Live Now and Trollope's neglected masterpiece, Ayala's Angel.
Of primary importance for readers of Trollope and students of comedy, Herbert's study will also prove valuable to those interested more generally in Victorian and modern fiction and the cultural history of the Victorian age.
To explain why trolls still hold our interest, John Lindow goes back to their first appearances in Scandinavian folklore, where they were beings in nature living beside a preindustrial society of small-scale farming and fishing. He explores reports of actual encounters with trolls—meetings others found plausible in spite of their better judgment—and follows trolls’ natural transition from folktales to other domains in popular culture. Trolls, Lindow argues, would not continue to appeal to our imaginations today if they had not made the jump to illustrations in Nordic books and Scandinavian literature and drama. From the Moomins to Brothers Grimm and Three Billy Goats Gruff to cartoons, fantasy novels, and social media, Lindow considers the panoply of trolls that surround us and their sometimes troubling connotations in the contemporary world.
Taking readers into Norwegian music and film and even Yahoo Finance chat rooms, Trolls is a fun and fascinating book about these strange creatures.
The book, released during the bicentennial of the early wars for Latin American independence, boldly places Rodriguez in the pantheon of important writers who influenced philosophical thought during the upheavals of the eighteenth and nineteenth centuries, including Ralph Waldo Emerson, Noah Webster, and Tom Paine. Beyond merely providing the first in-depth analysis of Rodriguez's writings and life work, Briggs also reveals an innovator of style as Rodriguez shaped the utility and vitality of the essay as an emerging form of argument.
Tropes of Enlightenment in the Age of Bolivar is an essential study of a unique and playful writer who is finally revealed as a foundational figure in Spanish American independence and an influential thinker in the larger field of hemispheric studies.
Talk is of central importance to politics of almost every kind—it’s no accident that when the ancient Greeks first attempted to examine politics systematically, they developed the study of rhetoric. In Tropes of Politics, John Nelson applies rhetorical analysis first to political theory, and then to politics in practice. He offers a full and deep critical examination of political science and political theory as fields of study, and then undertakes a series of creative examinations of political rhetoric, including a deconstruction of deliberation and debate by the U.S. Senate prior to the Gulf War.
Using the neglected arts of argument refined by the rhetoric of inquiry, Nelson traces how everyday words like consent and debate construct politics in much the same way that poets such as Mamet and Shakespeare construct plays, and he shows how we are remaking our politics even as we speak. Tropes of Politics explores how politicians take stands and political scientists probe representation, how experts become informed even as citizens become authorities, how students actually reinvent government while professors merely model politics, how senators wage war yet keep comity among themselves.
The action, Nelson shows, is in the tropes: these figures of speech and images of deed can persuade us to turn from ideologies like liberalism toward spectacles about democracy or movements into environmentalism and feminism. His argument is that inventive attention to tropes can mean better participation in politics. And the argument is in the tropes—evidence itself as sights or citations, governments as machines or men, politics as hardball or softball, deliberations as freedoms or constraints, borders as fringes or friends.
Intervening in the multidisciplinary debate on emotion, Tropes of Transport offers a fresh analysis of Hegel’s work that becomes an important resource for Pahl’s cutting-edge theory of emotionality. If it is usually assumed that the sincerity of emotions and the force of affects depend on their immediacy, Pahl explores to what extent mediation—and therefore a certain degree of manipulation but also of sympathy—is constitutive of emotionality. Hegel serves as a particularly helpful interlocutor not only because he offers a sophisticated analysis of mediation, but also because, rather than locating emotion in the heart, he introduces impersonal tropes of transport, such as trembling, release, and shattering.
Throughout these essays Miller is fascinated with the tropological dimension of literary language, with the way figures of speech turn aside the telling of a story or the presentation of a literary theme. The exploration of this turning leads to the recognition that all works of literature are parabolic, “thrown beside” their real meaning. They tell one story but call forth something else.
Miller further agrees that all parables are fundamentally performative. They do not merely name something or give knowledge, but rather use words to make something happen, to get the reader from here to there. Each essay here attempts to formulate what, in a given case, the reader perfomatively enters by way of parabolic trope.
Trophic Cascades is the first comprehensive presentation of the science on this subject. It brings together some of the world’s leading scientists and researchers to explain the importance of large animals in regulating ecosystems, and to relate that scientific knowledge to practical conservation.
Chapters examine trophic cascades across the world’s major biomes, including intertidal habitats, coastal oceans, lakes, nearshore ecosystems, open oceans, tropical forests, boreal and temperate ecosystems, low arctic scrubland, savannas, and islands. Additional chapters consider aboveground/belowground linkages, predation and ecosystem processes, consumer control by megafauna and fire, and alternative states in ecosystems. An introductory chapter offers a concise overview of trophic cascades, while concluding chapters consider theoretical perspectives and comparative issues.
Trophic Cascades provides a scientific basis and justification for the idea that large predators and top-down forcing must be considered in conservation strategies, alongside factors such as habitat preservation and invasive species. It is a groundbreaking work for scientists and managers involved with biodiversity conservation and protection.
It turns out that the cliché is true—at the moment of death, your life does flash before your eyes. Trophy, the account of a man’s final, fleeting instant on earth, joins Vada as he attempts to make that flash last as long as possible. As he lies dying, too soon and too absurdly, Vada tries to unravel the mysteries of his life. He first bargains with God, then rages against the dying of the light. Exhausted, Vada proceeds to prolong, in every way available to a man in his dire circumstances, the time he has remaining.
Just beneath Griffith’s dark humor and witty take on our present-day culture lies a meditation on memory and identity and the power of language over both.
While today’s Greenland is largely covered in ice, in the time of the dinosaurs the area was a lushly forested, tropical zone. Tropical Arctic tracks a ten-million-year window of Earth’s history when global temperatures soared and the vegetation of the world responded.
A project over eighteen years in the making, Tropical Arctic is the result of a unique collaboration between two paleobotanists, Jennifer C. McElwain and Ian J. Glasspool, and award-winning scientific illustrator Marlene Hill Donnelly. They began with a simple question: “What was the color of a fossilized leaf?” Tropical Arctic answers that question and more, allowing readers to experience Triassic Greenland through three reconstructed landscapes and an expertly researched catalog of extinct plants. A stunning compilation of paint and pencil art, photos, maps, and engineered fossil models, Tropical Arctic blends art and science to bring a lost world to life. Readers will also enjoy a front-row seat to the scientific adventures of life in the field, with engaging anecdotes about analyzing fossils and learning to ward off polar bear attacks.
Tropical Arctic explains our planet’s story of environmental upheaval, mass extinction, and resilience. By looking at Earth’s past, we see a glimpse of the future of our warming planet—and learn an important lesson for our time of climate change.
Only a day's drive south of the U.S.-Mexico border, a tropical deciduous forest opens up a world of exotic trees and birds that most people associate with tropical forests of more southerly latitudes. Like many such forests around the world, this diverse ecosystem is highly threatened, especially by large-scale agricultural interests that are razing it in order to plant grass for cattle.
This book introduces the tropical deciduous forest of the Alamos region of Sonora, describing its biodiversity and the current threats to its existence. The book's contributors present the most up-to-date scientific knowledge of this threatened ecosystem. They review the natural history and ecology of its flora and fauna and explore how native peoples use the forest's many resources.
Included in the book's coverage is a comprehensive plant list for the Río Cuchujaqui area that well illustrates the diversity of the forest. Other contributions examine tree species used by Mayo Indians and the numerous varieties of domesticated plants that have been developed over the centuries by the Mayos and other indigenous peoples. Also examined are the diversity and distribution of reptiles, amphibians, mammals, and birds in the region.
The Tropical Deciduous Forest of Alamos provides critical information about a globally important biome. It complements other studies of similar forests and allows a better understanding of a diverse but vanishing ecosystem.
Country case studies investigate key factors that influence the economics of tropical deforestation and land use. Articles illustrate how innovative economic models can be used effectively to investigate a range of important influences on tropical land use changes in a variety of representative developing countries. The countries covered are: Brazil, India, Malaysia, Panama, the Philippines, Thailand, and Uganda.
Robert Frost's ovenbird question was, "What to make of a diminished thing?" This new volume of poetry by Elton Glaser answers that question on a personal level, by broadening the sense of loss and exile until it envelops our common concerns of the twentieth century: the loss of love, faith, civility—all the old verities diminished and distorted.
While the first two sections of the book raise exuberant laments for the domestic, artistic, amatory, and religious life, the third section of poems moves beyond complaint to celebration. The complainer, purged of his grievances, leaves behind a northern exile and moves somewhere closer to home. In these final poems, Glaser returns to the South and his native city of New Orleans. Without nostalgia for the romance of moonlit magnolias, without denial of the region's dark past, he voices a more measured, more settled view of the world, one of balance and hard-won acceptance.
Written by experts in the field of tropical ecology, Tropical Forest Diversity and Dynamism will appeal to students and professionals with an interest in community ecology and patterns of diversity.
Tropical Forest Remnants provides the best information available to help us
understand, manage, and conserve the remaining fragments. Covering geographic areas from Southeast Asia and Australia to Madagascar and the New World, this volume summarizes what is known about the ecology, management, restoration, socioeconomics, and conservation of fragmented forests. Thirty-three papers present results of recent research as
well as updates from decades-long projects in progress. Two final chapters synthesize the state of research on tropical forest fragmentation and identify key priorities for future work.
Tropical Lung shows how apocalypses can give us the keys to new futures and how aloneness and silence can lead us to live multidimensionally, beyond the boundaries of time and space. The screen makes itself known and offers a means of kinship, but it is also removed by song and born in the red of encounter and the dark of seven pupils. These wild visions coalesce into a fantastic vision of a future both technological and communal.
Stam examines the broad historical and cultural links that connect Brazil and the United States before considering multicultural imagery in Brazilian film as it has changed from the silent era to the present. His analysis moves through the comic chanchadas of the 1930s and 1940s, to the Hollywood-style films from Sao Paulo in the 1950s, and the diverse phases of Cinema Novo beginning in the 1960s. He explores a wealth of subjects, including the submerged "blackness" of Carmen Miranda, the anti-racist agenda of Orson Welles’s never-released Brazilian film It’s All True, the international background behind Black Orpheus, the career of Grande Otelo (Brazil’s greatest black film star), the allegorical "cannibalistic" films like How Tasty Was My Frenchman, and "indigenous media"—the attempt by Brazilian "indians" to use camcorders and VCRs for their own cultural and political purposes. Tropical Multiculturalism is simultaneously a history of Brazilian cinema from the standpoint of race, a history of Brazil itself through its cinematic representations, a comparative study of racial formations in Brazil and the United States, and a theorized analysis of racialized representations.
In 1800, the highlands of Sri Lanka had some of the most biologically diverse primary tropical rainforest ecosystems in the world. By 1900, only a few craggy corners and mountain caps had been spared the fire stick. Highland villagers, through the extension of slash-and-burn agriculture, and British managers, through the creation of plantations—first of coffee, then cinchona, and finally tea—had removed virtually the entire primary forest cover.
Tropical Pioneers documents the conversion of a tropical rainforest biome and the collision between what previously had been more discrete ecological zones within South Asia. The ecological impacts were transformational. Author James L. A. Webb, Jr., demonstrates that profound ecological disruption occurred in the central highlands of Sri Lanka during the nineteenth century and suggests that the theme of ecological crisis brought about by the integration of tropical ecological zones during precolonial and colonial periods alike is an important one for historians to investigate elsewhere.
Tropical Pioneers is based on extensive research in the National Archives of Sri Lanka, the National Agricultural Library at Gannaruwa, the Library of the Royal Asiatic Society-Ceylon Branch, the Royal Botanic Gardens at Kew, the Public Record Office of the United Kingdom, and the British Library.
Brazilian popular culture, including music, dance, theater, and film, played a key role in transnational performance circuits—inter-American and transatlantic—from the latter nineteenth century to the middle of the twentieth century. Brazilian performers both drew inspiration from and provided models for cultural production in France, Portugal, Argentina, the United States, and elsewhere. These transnational exchanges also helped construct new ideas about, and representations of, “racial” identity in Brazil. Tropical Travels fruitfully examines how perceptions of “race” were negotiated within popular performance in Rio de Janeiro and how these issues engaged with wider transnational trends during the period.
Lisa Shaw analyzes how local cultural forms were shaped by contact with imported performance traditions and transnational vogues in Brazil, as well as by the movement of Brazilian performers overseas. She focuses specifically on samba and the maxixe in Paris between 1910 and 1922, teatro de revista (the Brazilian equivalent of vaudeville) in Rio in the long 1920s, and a popular Brazilian female archetype, the baiana, who moved to and fro across national borders and oceans. Shaw demonstrates that these transnational encounters generated redefinitions of Brazilian identity through the performance of “race” and ethnicity in popular culture. Shifting the traditional focus of Atlantic studies from the northern to the southern hemisphere, Tropical Travels also contributes to a fuller understanding of inter-hemispheric cultural influences within the Americas.
Bringing together a group of distinguished contributors from disciplines across the arts and humanities, this volume contains eleven beautifully illustrated essays—arranged in three sections devoted to voyages, mappings, and sites—that consider the ways that tropical places were encountered, experienced, and represented in visual form. Covering a wide range of tropical sites in the Pacific, South Asia, West Africa, the Caribbean, and Latin America, the book will appeal to a broad readership: scholars of postcolonial studies, art history, literature, imperial history, history of science, geography, and anthropology.
Why did a dictator admit these desperate refugees when so few nations would accept those fleeing fascism? Eager to mollify international critics after his army had massacred 15,000 unarmed Haitians, Trujillo sent representatives to Évian, France, in July, 1938 for a conference on refugees from Nazism. Proposed by FDR to deflect criticism from his administration’s restrictive immigration policies, the Évian Conference proved an abject failure. The Dominican Republic was the only nation that agreed to open its doors. Obsessed with stemming the tide of Haitian migration across his nation’s border, the opportunistic Trujillo sought to “whiten” the Dominican populace, welcoming Jewish refugees who were themselves subject to racist scorn in Europe.
The Roosevelt administration sanctioned the Sosúa colony. Since the United States did not accept Jewish refugees in significant numbers, it encouraged Latin America to do so. That prodding, paired with FDR’s overriding preoccupation with fighting fascism, strengthened U.S. relations with Latin American dictatorships for decades to come. Meanwhile, as Jewish organizations worked to get Jews out of Europe, discussions about the fate of worldwide Jewry exposed fault lines between Zionists and Non-Zionists. Throughout his discussion of these broad dynamics, Wells weaves vivid narratives about the founding of Sosúa, the original settlers and their families, and the life of the unconventional beach-front colony.
“Tropicalization” is the central metaphor of this analysis, a term that incorporates both the construction of various dynamic tropes by which the colonized are viewed and the site of the study, primarily the tropics. Tropicopolitans, then, are those people who bear and resist the representations of colonialist discourse. In readings that expose new relationships between literary representation and colonialism in the eighteenth century, Aravamudan considers such texts as Behn’s Oroonoko, Defoe’s Robinson Crusoe and Captain Singleton, Addison’s Cato, and Swift’s Gulliver’s Travels and The Drapier’s Letters. He extends his argument to include analyses of Johnson’s Rasselas, Beckford’s Vathek, Montagu’s travel letters, Equiano’s autobiography, Burke’s political and aesthetic writings, and Abbé de Raynal’s Histoire des deux Indes. Offering a radical approach to literary history, this study provides new mechanisms for understanding the development of anticolonial agency.
Introducing eighteenth-century studies to a postcolonial hermeneutics, Tropicopolitans will interest scholars engaged in postcolonial studies, eighteenth-century literature, and literary theory.
Troping the Body: Gender, Etiquette, and Performance is an interdisciplinary study of etiquette texts, conduct literature, and advice books and films. GwendolynAudrey Foster analyzes the work of such women authors as Emily Post, Christine de Pizan, Hannah Webster Foster, Emily Brontë, Frances E. W. Harper, and Martha Stewart as well as such women filmmakers as Lois Weber and Kasi Lemmons.
“Specifically,” Foster notes, “I was interested in the possibility of locating power and agency in the voices of popular etiquette writers.” Her investigation led her to analyze etiquette and conduct literature from the Middle Ages to the present. Within this wide scope, she redefines the boundaries of conduct literature through a theoretical examination of the gendered body as it is positioned in conduct books, etiquette texts, poetry, fiction, and film.
Drawing on Bakhtin, Gates, Foucault, and the new school of performative feminism to develop an interdisciplinary approach to conduct literature—and literature as conduct—Foster brings a unique perspective to the analysis of ways in which the body has been gendered, raced, and constructed in terms of class and sexuality.
Even though women writers have been actively writing conduct and etiquette texts since the medieval period, few critical examinations of such literature exist in the fields of cultural studies and literary criticism. Thus, Foster’s study fills a gap and does so uniquely in the existing literature. In examining these voices of authority over the body, Foster identifies the dialogic in the texts of this discipline that both supports and disrupts the hegemonic discourse of a gendered social order.
Robert Service completes his masterful trilogy on the founding figures of the Soviet Union in an eagerly anticipated, authoritative biography of Leon Trotsky.
Trotsky is perhaps the most intriguing and, given his prominence, the most understudied of the Soviet revolutionaries. Using new archival sources including family letters, party and military correspondence, confidential speeches, and medical records, Service offers new insights into Trotsky. He discusses Trotsky’s fractious relations with the leaders he was trying to bring into a unified party before 1914; his attempt to disguise his political closeness to Stalin; and his role in the early 1920s as the progenitor of political and cultural Stalinism. Trotsky evinced a surprisingly glacial and schematic approach to making revolution. Service recounts Trotsky’s role in the botched German revolution of 1923; his willingness to subject Europe to a Red Army invasion in the 1920s; and his assumption that peasants could easily be pushed onto collective farms. Service also sheds light on Trotsky’s character and personality: his difficulties with his Jewish background, the development of his oratorical skills and his preference for writing over politicking, his inept handling of political factions and coldness toward associates, and his aversion to assuming personal power.
Although Trotsky’s followers clung to the stubborn view of him as a pure revolutionary and a powerful intellect unjustly hounded into exile by Stalin, the reality is very different. This illuminating portrait of the man and his legacy sets the record straight.
This diary of the exiled Trotsky is a powerfully evocative fragment of history and human personality. Of all the great figures of the Russian revolution Leon Trotsky touches our senses as the one who lived, and felt, and died as other men. He breaks through, or is forced through the screen of dialectic and bombast that conceals his colleagues. Understandably, we feel curiosity about and some sympathy for the man who was driven out as he had driven others, who wandered the world in danger foreseeing assassination, and who was struck down by his enemies in his last sanctuary so close to us. His life as a fugitive is a single human tragedy and he is, simply, more interesting than the others.
This extremely personal record is no disappointment. Written in France and Norway, it gives the day-to-day reflections of a fallen leader, of one who had wielded power and was now in an exceptional position to observe it in the hands of others. Naturally there are penetrating comments here on local and international politics, often timeless in their relevance, but with them comes admission to the private world of the revolutionary intellectual. Here Trotsky lived with anguish, was beset by loneliness, and sustained himself by pride and fanaticism.
But his concern was not wholly with himself and the impersonalities of politics. He set down his continuing anxiety for the safety of his beloved son, Sergei, and of his first wife to whom he was still deeply attached. They were in Russia, their fate unknown to him. In extraordinarily moving and unaffected words, he wrote, too, of his tender, still youthful passion for his adored second wife, Natasha (Natalia Ivanovna Sedov), the wise and courageous companion of his fighting years, the loyal woman who accompanied him into exile.
Finally, and until now unknown, there is his Testament, written in Mexico in February 1940 near the close of his life. Knowing that death was near, from illness if not from Stalin’s agents, he envisaged the form it might take, restated his defiance of Stalin and his imperishable confidence in the triumph of the People, and once more affirmed his love for Natasha. At the end there is the discontinued and unexplained sentence, “In case we both die...”
Lorton’s work is revealing and entertaining. It captures glimpses of a growing Salt Lake City, the hardships of Death Valley, and the extraordinary and mundane aspects of daily life on the road to gold. With resilience and a droll sense of humor, Lorton shares accounts of life-threatening stampedes, dangerous hailstorms, mysteriously moving rocks, and slithering sidewinders. The inclusion of images, maps, and the editors’ detailed notes make this a volume that will entertain and inform.
Composing songs of love and war in medieval Western and Southern Europe, troubadours spanned the social spectrum from powerful nobles to penniless minstrels. This book delves into the everyday worlds of these remarkable poet-musicians, famed for their innovative use of language and music as well as the lasting impact of their work on audiences then and now. The troubadours’ songs explored ideas about courtly love as well as medieval perceptions of gender, class, war, and chivalry. Linda M. Paterson examines the troubadours’ music, performance, and legacy, pairing fresh translations with the original texts to highlight the enduring beauty of their songs and poetry.
Lee’s broad definition of lyric includes the work of poets, amateur versifiers, and all manner of popular songwriters, and his inclusive sense of nation refers to all Chinese communities regardless of geographic location. Whether examining the globalized consumption of satellite-broadcast pop music or the heroic efforts of little-known poets on the margins of the Chinese diaspora, he finds a questioning and contesting of both the Orientalist construction of a mythic monolithic China invented by the West and the Chinese obsession with ideas of authenticity and purity of nationhood. Lee explores the lyrical transgression of these ideological boundaries in China, in the Chinese communities of America and Britain, and in other marginalized communities, before using the examples of Hong Kong and other non-nationalistic sites to discuss the creative possibilities of hybrid cultures and societies.
Now, for the first time, K-12 educators from across the nation give readers a teacher’s-eye view of the radical right crusade to take down public education, coordinated by well-funded, well-connected far-right political interests. Christian nationalists hell-bent on erasing the line between church and state, white supremacists opposed to a curriculum that teaches the enduring effects of anti-Black racism, political action committees, such as Moms for Liberty, calling for the banning of novels featuring LGBTQ+ people, and profiteers eager to divert taxpayer dollars into private schools are mounting a relentless attack on teachers, the students they serve, and the commitment to public education that is a cornerstone of democracy. “It’s a phenomenal, unprecedented moment that we’re in,” says a librarian, recently retired from her Texas school. “It’s surprising how many people don’t know what’s going on. I talk to reporters who have no idea. And they’re reporters.”
In Trouble in Censorville, public school teachers from states as far-flung as Florida, Texas, Kentucky, New Jersey, Tennessee, Wisconsin, and Washington describe, in their own words, being threatened, stalked, doxxed, ostracized, smeared as “pedophiles" and "Marxists," placed on leave, and fired for teaching historical truth and racial justice, supporting LGBTQ+ students and, in one case, for wearing "insufficiently" feminine attire. Their stories bring readers face-to-face with the human cost of these attacks, which range from social isolation to pent-up anger over institutional betrayal to the terrible toll on teachers’ mental and physical health.
And yet, teachers are fighting back. They’re mobilizing colleagues, parents, and community members who share their faith in the freedom to read, the freedom to think critically, the freedom to challenge small-minded provincialism. Their stories of frontline resistance, collected here, provide a battle plan for confronting censorship, rallying support, and mobilizing a grassroots defense of public schools.
Their gripping testimonials are enhanced by a timeline that situates today’s far-right war on public education in the context of American history, moving briskly from Reconstruction to the anti-left and anti-gay fearmongering of the McCarthy era to the Black Lives Matter movement to the Trump presidency.
Terrifying, infuriating, and inspiring, Trouble in Censorville sounds the alarm for a democracy on fire.
Wars over natural resources have been fiercely fought in the Humboldt Bay redwood region of Northern California, a situation made devastatingly urgent in recent decades of timber war that raised questions of economic sustainability and ecological preservation. In Trouble in the Forest, Richard Widick narrates the long and bloody history of this hostility and demonstrates how it exemplifies the key contemporary challenge facing the modern societies-the collision of capitalism, ecology, and social justice.
An innovative blend of social history, cultural theory, and ethnography, Trouble in the Forest traces the origins of the redwood conflict to the same engines of modernity that drove the region's colonial violence against American Indians and its labor struggles during the industrial revolution. Widick describes in vivid detail the infamous fight that ensued when Maxxam Inc. started clearing ancient forests in Humboldt after acquiring the Pacific Lumber Company in 1985, but he also reaches further back and investigates the local Indian clashes and labor troubles that set the conditions of the timber wars. Seizing on public flash points of each confrontation-including the massacre of Wiyot on Indian Island in 1860, the machine-gunning of redwood strikers by police and company thugs during the great lumber strike of 1935, and the car bombing of forest defenders in 1990-Widick maps how the landscape has registered the impact of this epochal struggle, and how the timber wars embody the forces of market capitalism, free speech, and liberal government.
Showing how events such as an Indian massacre and the death of a protester at the hands of a logger create the social memory and culture of timber production and environmental resistance now emblematic of Northern California's redwood region, Trouble in the Forest ultimately argues that the modern social imaginary produced a perpetual conflict over property that fueled the timber wars as it pushed toward the western frontier: first property in land, then in labor, and now in environment.
— Publisher’s Weekly
Jordan's estranged father also returns to Pee Dee on a quest of his own restoring his good name in a community which blames him for Chloe Henry's death in childbirth. Chloe was Jordan's mother and his grandmother's only child. Unresolved hostility in the family and in the community breaks out, making Jordan the unsuspecting pawn in a plot of revenge against his father. Jordan may be the only one who can free his family from the past and the equally troubled present.
Trouble the Water gains resonance from its unflinching confrontation with dualities common in the Afro-American experience: reality and myth, folklore and sophistication, North and South, rural and cosmopolitan. While sacrificing none of its complexities for the sake of simplicity, it has the relentless movement of a fairy tale that reaches deep into the unconscious roots of behavior. It is intensely lyrical and dense in realism. Trouble the Water is magical in the way it reveals the Afro-American psyche and symbolizes fundamental truths about American life.
While Crouse’s prize-winning collection of short fiction The Man Back There offered up insights into a kind of self-destructive masculinity, these novellas now sensitively and persuasively capture the inner landscapes of women struggling with grief and isolation. Trouble Will Save You is a unique and fully realized work from a keenly empathetic writer.
Praise for The Man Back There:
“In this virtuoso collection of stories, David Crouse guides us directly to where the shadow lies—the disorienting loss, the surprising heartache, the forgotten wound—those inevitable areas of the psyche we all share and through which only truth, illuminated with a such a light touch here, can deliver us; The Man Back There is the work of the real thing.”
—Andre Dubus III, author of House of Sand and Fog
“I chose these stories because they made me feel. I felt the characters like I would feel a stranger in a room or on a bus with me, with an irrational sympathy more animal than moral in its nature.”
—Mary Gaitskill, 2007 Mary McCarthy Prize judge
In recent years, discoveries brought to light through analysis of ancient DNA—or aDNA—have made headlines around the world. While ancient DNA studies may appear to focus on laboratory science and objective results, the findings have also relied heavily on storytelling and can be influenced by political interests.
In The Trouble with Ancient DNA, Anna Källén explores how the parameters of genetic science influence the stories we tell about our ancient ancestors, questioning what narratives we can and should take at face value. Through accounts of migrations, warriors, and figures like Cheddar Man, we see enticing and potent narratives that reach far beyond what can be gathered from the scientific study of molecules alone. Rather, by privileging certain narratives and questions—like those about sex or eye and skin color—our stories of ancient DNA are spun around the structure of today’s methodologies, technologies, and popular and political interests. Källén considers how DNA is used to sensationalize stories, how its use poses questions of ethics and care, and who is responsible if stories of ancient DNA are adopted for dangerous political projects.
Blame society. Blame a bad upbringing. Blame the circumstances. Blame the victim--she may even blame herself. But what about the perpetrator? When the blame is all assigned, will anyone be left to take responsibility?
This powerful book takes up the disturbing topic of victimization and blame as a pathology of our time and its consequences for personal responsibility. By probing the psychological dynamics of victims and perpetrators of rape, sexual abuse, and domestic violence, Sharon Lamb seeks to answer some crucial questions: How do victims become victims and sometimes perpetrators? How can we break the psychological circle of perpetrators blaming others and victims blaming themselves? How do victims and perpetrators view their actions and reactions? And how does our social response to them facilitate patterns of excuse?
With clarity and compassion, Lamb examines the theories, excuses, and psychotherapies that strip both victims of their power and perpetrators of their agency--and thus deprive them of the means to human dignity, healing, and reparation. She shows how the current practice of painting victims as pure innocents may actually help perpetrators of abuse to shirk responsibility for their actions; they too can claim to be victims in their own right, passive and will-less in their wrongdoing.
The Trouble with Blame clarifies the social cost (quickly becoming so apparent) of letting perpetrators off too easily, and points out the dangers of over-emphasizing victimization, two problems which eclipse our dire need for accountability and recovery.
The trouble with 'community' is that this is not necessarily so; the personal social networks of individuals' actual experience crosscut collective categories, situations and institutions. Communities can prove unviable or imprisoning; the reality of community life and identity can often be very different from the ideology and the ideal.
In this provocative new book, anthropologists Vered Amit and Nigel Rapport draw on their various ethnographic experiences to reappraise the concept and the reality of 'community', in the light of globalization, religious fundamentalism, identity politics, and renascent localisms. How might anthropology better apprehend social identities which are intrinsically plural, transgressive and ironic? What has anthropology to say about the way in which civil society might hope to accommodate the on-going construction and the rightful expression of such migrant identities? Nigel Rapport and Vered Amit give their own answers to these questions before entering into dialogue to assess each other's positions.
Nigel Rapport is Professor of Anthropological and Philosophical Studies at the University of St. Andrews. He is author of Transcendent Individual (1997). Vered Amit is an Associate Professor at Concordia University in Montreal. She is the editor of Realizing Community (2002).
In the past thirty years, Americans have lost faith in their government and the politicians who lead it. They have blamed Washington for a long list of problems, ranging from poor schools to costly medical care to high rates of violent crime. After investigating these complaints and determining that many are justified, Derek Bok seeks to determine the main reasons for the failings and frustrations associated with government.
Discounting three common explanations--deteriorating leadership, the effect of the media on the political process, and the influence of interest groups--Bok identifies four weaknesses that particularly need explaining: a persistent tendency by Congress to design programs poorly; to impose expensive and often quixotic regulations that produce only modest results; to do less than other leading democracies to protect working people from illness, unemployment, and other basic hazards of life; and to leave large numbers of people, especially children, living in poverty.
Bok goes on to explore the reasons for these fundamental weaknesses and to discuss popular remedies such as term limits, devolution, "reinventing" government, and campaign finance reform. While some of these proposals have merit, Bok finds a deeper, more troubling paradox: Americans want to gain more power over their government, but are devoting less time to exerting a constructive influence. Their dissatisfaction with government is growing as their participation in the political process is declining. These contradictory trends, Bok argues, contribute to the problems of our democracy. Fortunately, there are many concrete steps that Americans can take to be politically engaged and to help their government improve its performance.
"Democracy," Bok concludes, "is a collective venture which falters or flourishes depending on the efforts citizens invest in its behalf."
"As engaging a tale as I have encountered in months of looking for something really amusing to read.”—Kelsey Guilfoil, Chicago Tribune
“A pleasantly muted mystery that is genuinely funny fantasy as well.”—New York Times
On the outskirts of a small English town, young Arnie discovers the body of a middle-aged man in the woods. Three people are convinced they are responsible for the death: the captain thinks he accidentally shot the man while hunting rabbits; the local spinster thinks she may have done more damage than she intended when she hit him with her shoe—and Arnie’s mother, most damningly of all, reveals that the man is her long-lost husband, Harry, and that she had smashed a bottle over his head when he suddenly reappeared.
The police are called in to investigate the crime, but free-thinking artist Sam Marlowe becomes a good-natured sleuth, helping the townspeople to bury, dig up, and rebury the corpse in an effort to evade the authorities and discover the truth. While no one is particularly troubled by Harry’s death, everyone feels some guilt over the apparent murder. In the end, two couples fall in love, Arnie has a new father, and the mystery is happily solved.
First published in 1949, The Trouble with Harry was one of Jack Trevor Story’s early successes. Written with wit and insight, the novel was a bestseller and praised for both its succinct style and its original blend of mystery and humor. The story was adapted by Alfred Hitchcock for his film of the same name in 1955.
Stanley Fish is an equal opportunity antagonist. A theorist who has taken on theorists, an academician who has riled the academy, a legal scholar and political pundit who has ruffled feathers left and right, Fish here turns with customary gusto to the trouble with principle. Specifically, Fish has a quarrel with neutral principles. The trouble? They operate by sacrificing everything people care about to their own purity. And they are deployed with equal highmindedness and equally absurd results by liberals and conservatives alike.
In this bracing book, Fish argues that there is no realm of higher order impartiality--no neutral or fair territory on which to stake a claim--and that those who invoke one are always making a rhetorical and political gesture. In the end, it is history and context, the very substance against which a purportedly abstract principle defines itself, that determines a principle's content and power. In the course of making this argument, Fish takes up questions about academic freedom and hate speech, affirmative action and multiculturalism, the boundaries between church and state, and much more. Sparing no one, he shows how our notions of intellectual and religious liberty--cherished by those at both ends of the political spectrum--are artifacts of the very partisan politics they supposedly transcend. The Trouble with Principle offers a provocative challenge to the debates of our day that no intellectually honest citizen can afford to ignore.
Drawing on decades of engagement with Wagner and of experience teaching opera across disciplines, The Trouble with Wagner is packed with novel insights for experts and interested readers alike.
Herbst contends that the idea that there was a public—whose opinions mattered—emerged during the Great Depression, with the diffusion of radio, the devastating impact of the economic collapse on so many people, the appearance of professional pollsters, and Franklin Roosevelt’s powerful rhetoric. She argues that public opinion about issues can only be seen as a messy mixture of culture, politics, and economics—in short, all the things that influence how people live. Herbst deftly pins down contours of public opinion in new ways and explores what endures and what doesn’t in the extraordinarily troubled, polarized, and hyper-mediated present. Before we can ask the most important questions about public opinion in American democracy today, we must reckon yet again with the politics and culture of the 1930s.
These essays examine the ways in which the consideration of ethical questions is shaped by the structures of knowledge and communication at work in clinical practice, by current assumptions regarding the concept of the body, and by the social and political implications of both. Representing various perspectives including medicine, nursing, philosophy, and sociology, these essays look anew at issues of abortion, reproductive technologies, the doctor-patient relationship, the social construction of illness, the cultural assumptions and consequences of medicine, and the theoretical presuppositions underlying modern psychiatry. Diverging from the tenets of mainstream bioethics, Troubled Bodies suggests that, rather than searching for the correct "coherent perspective" from which to draw ethical principles, we must apprehend the complexity and diversity of the discursive systems within which we dwell.
Drawing on his own experience, and on literature, philosophy, and medicine, Daniel Callahan offers great insight into how to deal with the rewards of modern medicine without upsetting our perception of death. He examines how we view death and the care of the critically ill or dying, and he suggests ways of understanding death that can lead to a peaceful acceptance. Callahan's thoughtful perspective notably enhances the legal and moral discussions about end-of-life issues.
Originally published in 1993 by Simon and Schuster.
Using extensive interviews and a wealth of statistical information, Bankston and Caldas examine the failed desegregation efforts in Louisiana as a case study to show how desegregation has followed the same unsuccessful pattern across the United States. Strong supporters of the dream of integration, Bankston and Caldas show that the practical difficulty with desegregation is that academic environments are created by all the students in a school from the backgrounds that all the students bring with them. Unfortunately, the disadvantages that minority children have to overcome affect schools more than schools can help remedy these disadvantages.
It was one heck of a resume. Yet with the exception of the wagon road to California, in none of these roles was Burnett considered successful or well remembered. Indeed, he resigned from many of his most important positions, including the governorship, where he was widely perceived a failure.
Burnett’s weakness was that he refused to take advice from others. He insisted on marching to his own drum, even when it led to some terrible decisions. A former slaveholder, he could never seem to get beyond his single-minded goal of banning blacks and other minorities from the West.
The Troubled Life of Peter Burnett is the first full-length biography of this complicated character. Historians, scholars, and general readers with an interest in Western history will welcome R. Gregory Nokes’ accessible and deeply researched account.
Troubled Lovers in History demonstrates an exhilarating range: from the briefest of lyrics to rich and multipartite narrative adventures in exotic realms; from a comic monologue spoken in immigrant “Yinglish” to a soulful elegy set in San Antonio’s Pearl Beer brewery plant; from Martian invaders, through polar explorers, to all of us busy inflicting “words with edges” on those we love.
Goldbarth sets his unflinching study of individual hope and grief against the backdrop of history: the travels of Marco Polo; Bertha and Wilhelm Rontgen’s discovery of X-rays; an 1800 battle “twixt Dragon Sam, the great Exhaler of Gouts of Amazing Flame . . . and Liquid Dan, the Living Geyser.”
From the night stars to the little starring parts we all play every day, Troubled Lovers in History takes us into the text of our dreams and despairs, as witnessed by the writer whom Joyce Carol Oates called “a poet of remarkable gifts—a dazzling virtuoso who can break your heart.”
Despite the extensive critical attention that has been paid to the work of W. B. Yeats, we are still very much in the process of understanding both the greatness and the modernity of this poet. The assessment of his poetry has rested primarily on the scope, intensity, and memorability of his lyrics, but his romantic beginnings have made it problematic to acknowledge him as a modernist, while his failure to produce a long poem has for some time raised questions about his greatness. Don’t major poets, the argument runs, produce major poems?
In this meticulous analysis of The Tower, David Young addresses both these issues, showing that this powerful volume represents Yeats at his best and most modern, and that its careful construction makes it the deliberate equivalent to the long poems of tradition.
By tracing the careful ordering of the poems in The Tower, Young demonstrates the volume’s overall vision, giving careful readings of each poem and illustrating the growing repetition of images that create a whole which is both emotionally and dramatically greater than the sum of its parts. Young contends that the best way to read Yeat’s lyrics is through attention to the context he created for them. Their interdependence, he asserts, is the true key to their modernity.
This eminently readable study appears at a time when most readers are in danger of losing touch with the particular achievement of Yeat’s individual volumes as he conceived them. Most students and readers now encounter Yeats in anthologies, in a volume of selected poems, or in a somewhat misleadingly presented complete Poems. Young convinces us that by persisting in this approach we will lose sight of a significant aspect of a foremost modern poet and the very elements that make him a true modern.
When U.S. Cavalry troops rode onto the Ute Indian Reservation in northwestern Colorado on September 29, 1879, they triggered a chain of events that cost the Utes their homeland: a deadly battle at Milk Creek, the killing of all men at the Indian agency headed by Nathan Meeker, and the taking of three women and two children who were held hostage for 23 days. The Utes didn’t seek a fight with the whites, most of whom they viewed as friends. However, powerful whites in Colorado wanted the Utes expelled. The Meeker affair was an opportunity to achieve that.
In Troubled Trails, Robert Silbernagel casts new light on the story of the Meeker Affair. Using details from historical interview transcripts and newspaper articles, he reveals the personalities of the major characters—both Indian and non-Indian. He tells the story from many perspectives, including that of Indian Agent Nathan Meeker; the U.S. military; Nicaagat, a leader of the White River Utes; and Josephine Meeker, Nathan Meeker’s daughter, who was held hostage by the Utes. Silbernagel took great pains to tell a complete story, even following on horseback the trail taken by the Utes. As a result, his book paints a multifaceted picture of what took place and, most importantly, his portrayal brings the Ute side of the story into focus.
Fringing the Black Sea is a diverse array of countries, some centuries old and others emerging only after the collapse of the Soviet Union. Jens Mühling travels through this region, telling the stories of the people he meets along the way in order to paint a picture of the mix of cultures found here and to understand the present against a history stretching back to the arrival of Ancient Greek settlers and beyond.
A fluent Russian speaker with a knack for gaining the trust of those he meets, Mühling brings together a cast of characters as diverse as the stories he hears, all of whom are willing to tell him their complex, contradictory, and often fantastical tales full of grief and legend. He meets descendants of the so-called Pontic Greeks, whom Stalin deported to Central Asia and who have now returned; Circassians who fled to Syria a century ago and whose great-great-grandchildren have returned to Abkhazia; and members of ethnic minorities like the Georgian Mingrelians or Bulgarian Muslims, expelled to Turkey in the summer of 1989. Mühling captures the region’s uneasy alliance of tradition and modernity and the diverse humanity of those who live there.
Troublemakers is an often hilarious, sometimes frightening, occasionally off-the-wall collection of stories about men living on the edge. From the streets of Chicago's southwest side to the rural roads of Nebraska to the small towns of southern Illinois, these men tread a very fine line between right and wrong, love and hate, humor and horror.
Each story is a Pandora's box waiting to be opened: a high school boy with a new driver's license picks his brother up from jail; a UPS driver suspects his wife of having an affair but cannot find any tangible evidence of her indiscretion; an unemployed man's life begins to unravel after he discovers a dead man in a tree in his own backyard; two boys spend Halloween with an older thug; a young college teacher's patience is tested by both his annoying colleagues and the criminals who haunt his neighborhood. In story after story, McNally's troublemakers lead readers to a place no less thrilling or dangerous than the human heart itself.
Troublemakers fuses photography and history to demonstrate how racial and economic inequality gave rise to a decades-long struggle for justice in one American city.
In dialogue with 275 of Art Shay’s photographs, Erik S. Gellman takes a new look at major developments in postwar US history: the Second Great Migration, “white flight,” and neighborhood and street conflicts, as well as shifting party politics and the growth of the carceral state. The result is a visual and written history that complicates—and even upends—the morality tales and popular memory of postwar freedom struggles.
Shay himself was a “troublemaker,” seeking to unsettle society by illuminating truths that many middle-class, white, media, political, and businesspeople pretended did not exist. Shay served as a navigator in the US Army Air Forces during World War II, then took a position as a writer for Life Magazine. But soon after his 1948 move to Chicago, he decided to become a freelance photographer. Shay wandered the city photographing whatever caught his eye—and much did. His lens captured everything from private moments of rebellion to era-defining public movements, as he sought to understand the creative and destructive energies that propelled freedom struggles in the Windy City.
Shay illuminated the pain and ecstasy that sprung up from the streets of Chicago, while Gellman reveals their collective impact on the urban fabric and on our national narrative. This collaboration offers a fresh and timely look at how social conflict can shape a city—and may even inspire us to make trouble today.
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