Using economic models and empirical analysis, this volume examines a wide range of agricultural and biofuel policy issues and their effects on American agricultural and related agrarian insurance markets. Beginning with a look at the distribution of funds by insurance programs—created to support farmers but often benefiting crop processors instead—the book then examines the demand for biofuel and the effects of biofuel policies on agricultural price uncertainty. Also discussed are genetically engineered crops, which are assuming an increasingly important role in arbitrating tensions between energy production, environmental protection, and the global food supply. Other contributions discuss the major effects of genetic engineering on worldwide food markets. By addressing some of the most challenging topics at the intersection of agriculture and biotechnology, this volume informs crucial debates.
The paleoecological history of the Americas is as complex as the region is broad: stretching from the Arctic Circle to Tierra del Fuego, the New World features some of the most extraordinary vegetation on the planet. But until now it has lacked a complete natural history. Alan Graham remedies that with A Natural History of the New World. With plants as his scientific muse, Graham traces the evolution of ecosystems, beginning in the Late Cretaceous period (about 100 million years ago) and ending in the present, charting their responses to changes in geology and climate.
By highlighting plant communities’ roles in the environmental history of the Americas, Graham offers an overdue balance to natural histories that focus exclusively on animals. Plants are important in evolution’s splendid drama. Not only are they conspicuous and conveniently stationary components of the Earth’s ecosystems, but their extensive fossil record allows for a thorough reconstruction of the planet’s paleoenvironments. What’s more, plants provide oxygen, function as food and fuel, and provide habitat and shelter; in short, theirs is a history that can speak to many other areas of evolution.
A Natural History of the New World is an ambitious and unprecedented synthesis written by one of the world’s leading scholars of botany and geology.
Like nearly every area of scholarly inquiry today, the biological sciences are broken into increasingly narrow fields and subfields, its practitioners divided into ecologists, evolutionary biologists, taxonomists, paleontologists, and much more. But all these splintered pieces have their origins in the larger field of natural history—and in this era where climate change and relentless population growth are irrevocably altering the world around us, perhaps it’s time to step back and take a new, fresh look at the larger picture.
The Essential Naturalist offers exactly that: a wide-ranging, eclectic collection of writings from more than eight centuries of observations of the natural world, from Leeuwenhoek to E. O. Wilson, from von Humboldt to Rachel Carson. Featuring commentaries by practicing scientists that offer personal accounts of the importance of the long tradition of natural history writing to their current research, the volume serves simultaneously as an overview of the field’s long history and as an inspirational starting point for new explorations, for trained scientists and amateur enthusiasts alike.
A dispatch from a foreign land, when crafted by an attentive and skilled writer, can be magical, transmitting pleasure, drama, and seductive strangeness.
In The Moon, Come to Earth, Philip Graham offers an expanded edition of a popular series of dispatches originally published on McSweeney’s, an exuberant yet introspective account of a year’s sojourn in Lisbon with his wife and daughter. Casting his attentive gaze on scenes as broad as a citywide arts festival and as small as a single paving stone in a cobbled walk, Graham renders Lisbon from a perspective that varies between wide-eyed and knowing; though he’s unquestionably not a tourist, at the same time he knows he will never be a local. So his lyrical accounts reveal his struggles with (and love of) the Portuguese language, an awkward meeting with Nobel laureate José Saramago, being trapped in a budding soccer riot, and his daughter’s challenging transition to adolescence while attending a Portuguese school—but he also waxes loving about Portugal’s saudade-drenched music, its inventive cuisine, and its vibrant literary culture. And through his humorous, self-deprecating, and wistful explorations, we come to know Graham himself, and his wife and daughter, so that when an unexpected crisis hits his family, we can’t help but ache alongside them.
A thoughtful, finely wrought celebration of the moment-to-moment excitement of diving deep into another culture and confronting one’s secret selves, The Moon, Come to Earth is literary travel writing of a rare intimacy and immediacy.
In big cities, major museums and elite galleries tend to dominate our idea of the art world. But beyond the cultural core ruled by these moneyed institutions and their patrons are vibrant, local communities of artists and art lovers operating beneath the high-culture radar. Producing Local Color is a guided tour of three such alternative worlds that thrive in the Chicago neighborhoods of Bronzeville, Pilsen, and Rogers Park.
These three neighborhoods are, respectively, historically African American, predominantly Mexican American, and proudly ethnically mixed. Drawing on her ethnographic research in each place, Diane Grams presents and analyzes the different kinds of networks of interest and support that sustain the making of art outside of the limelight. And she introduces us to the various individuals—from cutting-edge artists to collectors to municipal planners—who work together to develop their communities, honor their history, and enrich the experiences of their neighbors through art. Along with its novel insights into these little examined art worlds, Producing Local Color also provides a thought-provoking account of how urban neighborhoods change and grow.
Gems are objects of wealth, icons of beauty, and emblems of the very best of everything. They are kept as signs of prestige or power. Given as tokens of love and affection, they also come in a kaleidoscopic array of hues and can be either mineral or organic. Gems can command a person’s gaze in the way they play with light and express rich color. And they can evoke feelings of passion, greed, mystery, and warmth.
For millennia, gems have played an important role in human culture: they have significant value, both financially and within folklore and mythology. But just what are gems, exactly? This lavishly illustrated volume—the most ambitious publication of its kind—provides a general introduction to gems and natural gemstones, conveying their timeless beauty and exploring similarities among different species and varieties. Gems and Gemstones features nearly 300 color images of the cut gems, precious and semiprecious stones, gem-quality mineral specimens, and fine jewelry to be unveiled in a new Grainger Hall of Gems at The Field Museum in Chicago this October. The book and exhibition’s overarching theme will be the relationship between finished gems and their natural origin: while beautiful as faceted and polished pieces of jewelry, gems are often just as lovely—or even more so—as gemstones in their natural state. For example, an aquamarine or emerald as originally found in a mine with its natural crystal faces can be as stunning as any cut and polished gem prepared for a ring, bracelet, or charm.
Thoughtful of both ancient and modern times, Gems and Gemstones also includes fun-filled facts and anecdotes that broaden the historical portrait of each specimen. When Harry Winston, for instance, donated the Hope Diamond to the Smithsonian in 1958, he sent it through the U.S. mail wrapped in plain brown paper. And for anyone who has ever marveled at the innovations of top jewelry designers, Gems and Gemstones features a dazzling array of polished stones, gold objects, and creations from around the world. Diamonds, sapphires, rubies, amethysts, pearls, topaz, amber—every major gem gets its due in what will be an invaluable source on the subject for years to come.
Gems and Gemstones is the basis for the iPad app, available in the Apple iTunes App Store, Gems and Jewels.
After decades of bloodshed and political terror, many lament the rise of the left in Latin America. Since the triumph of Castro, politicians and historians have accused the left there of rejecting democracy, embracing communist totalitarianism, and prompting both revolutionary violence and a right-wing backlash. Through unprecedented archival research and gripping personal testimonies, Greg Grandin powerfully challenges these views in this classic work. In doing so, he uncovers the hidden history of the Latin American Cold War: of hidebound reactionaries holding on to their power and privilege; of Mayan Marxists blending indigenous notions of justice with universal ideas of equality; and of a United States supporting new styles of state terror throughout the region.
With Guatemala as his case study, Grandin argues that the Latin American Cold War was a struggle not between political liberalism and Soviet communism but two visions of democracy—one vibrant and egalitarian, the other tepid and unequal—and that the conflict’s main effect was to eliminate homegrown notions of social democracy. Updated with a new preface by the author and an interview with Naomi Klein, The Last Colonial Massacre is history of the highest order—a work that will dramatically recast our understanding of Latin American politics and the role of the United States in the Cold War and beyond.
“This work admirably explains the process in which hopes of democracy were brutally repressed in Guatemala and its people experienced a civil war lasting for half a century.”—International History Review
“A richly detailed, humane, and passionately subversive portrait of inspiring reformers tragically redefined by the Cold War as enemies of the state.”—Journal of American History
The recent spate of books and articles reflecting on the question of evil might make one forget that the question of just what constitutes goodness is no less urgent or perplexing. Everyone wants to think of him- or herself as good. But what does a good life look like? And how do people become good? Are there multiple, competing possibilities for what counts as a good life, all equally worthy? Or, is there a unified and transcendent conception of the good that should guide our judgment of the possibilities? What does a good life look like when it is guided by God? How is a good life involved with the lives of others? And, finally, how good is good enough?
These questions are the focus of In Search of Goodness, the product of a year-long conversation about goodness. The eight essays in this volume challenge the dichotomies that usually govern how goodness has been discussed in the past: altruism versus egoism; reason versus emotion; or moral choice versus moral character. Instead, the contributors seek to expand the terms of the discussion by coming at goodness from a variety of perspectives: psychological, philosophic, literary, religious, and political. In each case, they emphasize the lived realities and particulars of moral phenomena, taking up examples and illustrations from life, literature, and film. From Achilles and Billy Budd, to Oskar Schindler and Shel Silverstein’s The Giving Tree, to Iris Murdoch and the citizens of Flagstaff, Arizona, readers will find a wealth of thought-provoking insights to help them better understand this most basic, but complex, element of human life and happiness.
Is it more dangerous to call something evil or not to? This fundamental question deeply divides those who fear that the term oversimplifies grave problems and those who worry that, to effectively address such issues as terrorism and genocide, we must first acknowledge them as evil. Recognizing that the way we approach this dilemma can significantly affect both the harm we suffer and the suffering we inflict, a distinguished group of contributors engages in the debate with this series of timely and original essays.
Drawing on Western conceptions of evil from the Middle Ages to the present, these pieces demonstrate that, while it may not be possible to definitively settle moral questions, we are still able—and in fact are obligated—to make moral arguments and judgments. Using a wide variety of approaches, the authors raise tough questions: Why is so much evil perpetrated in the name of good? Could evil ever be eradicated? How can liberal democratic politics help us strike a balance between the need to pass judgment and the need to remain tolerant? Their insightful answers exemplify how the sometimes rarefied worlds of political theory, philosophy, theology, and history can illuminate pressing contemporary concerns.
A far-reaching examination of how America came to treat street and corporate crime so differently.
While America incarcerates its most marginalized citizens at an unparalleled rate, the nation has never developed the capacity to consistently prosecute corporate wrongdoing. Dual Justice unearths the intertwined histories of these two phenomena and reveals that they constitute more than just modern hypocrisy.
By examining the carceral and regulatory states’ evolutions from 1870 through today, Anthony Grasso shows that America’s divergent approaches to street and corporate crime share common, self-reinforcing origins. During the Progressive Era, scholars and lawmakers championed naturalized theories of human difference to justify instituting punitive measures for poor offenders and regulatory controls for corporate lawbreakers. These ideas laid the foundation for dual justice systems: criminal justice institutions harshly governing street crime and regulatory institutions governing corporate misconduct.
Since then, criminal justice and regulatory institutions have developed in tandem to reinforce politically constructed understandings about who counts as a criminal. Grasso analyzes the intellectual history, policy debates, and state and federal institutional reforms that consolidated these ideas, along with their racial and class biases, into America’s legal system.
David Grazian’s riveting tour of downtown Philadelphia and its newly bustling nightlife scene reveals the city as an urban playground where everyone dabbles in games of chance and perpetrates elaborate cons. Entertainment in the city has evolved into a professional industry replete with set designers, stage directors, and method actors whose dazzling illusions tempt even the shrewdest of customers. As entertaining and illuminating as the confessional stories it recounts, On the Make is a fascinating exposé of the smoke and mirrors employed in the city at night.
Ever since the reelection of President Bush, conservative Christians have been stereotyped in the popular media: Bible-thumping militants and anti-intellectual zealots determined to impose their convictions on such matters as evolution, school prayer, pornography, abortion, and homosexuality on the rest of us. But conservative Christians are not as fanatical or intractable as many people think, nor are they necessarily the monolithic voting block or political base that kept Bush in power.
Andrew M. Greeley and Michael Hout's eye-opening book expertly conveys the complexity, variety, and sensibilities of conservative Christians, dispelling the myths that have long shrouded them in prejudice and political bias. For starters, Greeley and Hout reveal that class and income have trumped moral issues for these Americans more often than we realize: a dramatic majority of working-class and lower-class conservative Christians backed liberals such as Jimmy Carter and Bill Clinton during their runs for president. And when it comes to abortion, most conservative Christians are not consistently pro-life in the absolute fashion usually assumed: they are still more likely to oppose the practice than other Americans, but 86 percent of them are willing to tolerate it to protect the health of the mother or when the woman has been raped, and 22 percent of them are even pro-choice.
What do conservative Christians really think about evolution, homosexuality, or even the meaning of the word of God? Answering these questions and more, The Truth about Conservative Christians will interest—and surprise—a broad range of readers, especially in this heated election year.
In Selling the Race, Adam Green tells the story of how black Chicagoans were at the center of a national movement in the 1940s and ’50s, a time when African Americans across the country first started to see themselves as part of a single culture. Along the way, he offers fascinating reinterpretations of such events as the 1940 American Negro Exposition, the rise of black music and the culture industry that emerged around it, the development of the Associated Negro Press and the founding of Johnson Publishing, and the outcry over the 1955 lynching of Emmett Till.
By presenting African Americans as agents, rather than casualties, of modernity, Green ultimately reenvisions urban existence in a way that will resonate with anyone interested in race, culture, or the life of cities.
Mies van der Rohe once commented, “Only skyscrapers under construction reveal their bold constructive thoughts, and then the impression made by their soaring skeletal frames is overwhelming.” Never has this statement resonated more than in recent years, when architectural design has undergone a radical transformation, and when powerful computers allow architects and engineers to design and construct buildings that were impossible just a few years ago. At the same time, what lies underneath these surfaces is more mysterious than ever before.
In Architecture under Construction, photographer Stanley Greenberg explores the anatomy and engineering of some of our most unusual new buildings, helping us to understand our own fascination with what makes buildings stand up, and what makes them fall down. As designs for new constructions are revealed and the public watches closely as architects and engineers challenge each other with provocative new forms and equally audacious ideas, Greenberg captures penetrating images that reveal the complex mystery—and beauty—found in the transitory moments before the skin of a building covers up the structures that hold it together.
Framed by a historical and critical essay by Joseph Rosa and including an afterword by the author, the eighty captivating and thought-provoking images collected here—which focus on some of the most high-profile design projects of the past decade, including buildings designed by Norman Foster, Frank Gehry, Steven Holl, Daniel Libeskind, Thom Mayne, and Renzo Piano, among others —are not to be missed by anyone with an eye for the almost invisible mechanisms that continue to define our relationship with the built world.
Shakespeare lived in a world of absolutes—of claims for the absolute authority of scripture, monarch, and God, and the authority of fathers over wives and children, the old over the young, and the gentle over the baseborn. With the elegance and verve for which he is well known, Stephen Greenblatt, author of the best-selling Will in the World, shows that Shakespeare was strikingly averse to such absolutes and constantly probed the possibility of freedom from them. Again and again, Shakespeare confounds the designs and pretensions of kings, generals, and churchmen. His aversion to absolutes even leads him to probe the exalted and seemingly limitless passions of his lovers.
Greenblatt explores this rich theme by addressing four of Shakespeare’s preoccupations across all the genres in which he worked. He first considers the idea of beauty in Shakespeare’s works, specifically his challenge to the cult of featureless perfection and his interest in distinguishing marks. He then turns to Shakespeare’s interest in murderous hatred, most famously embodied in Shylock but seen also in the character Bernardine in Measure for Measure. Next Greenblatt considers the idea of Shakespearean authority—that is, Shakespeare’s deep sense of the ethical ambiguity of power, including his own. Ultimately, Greenblatt takes up Shakespearean autonomy, in particular the freedom of artists, guided by distinctive forms of perception, to live by their own laws and to claim that their creations are singularly unconstrained.
A book that could only have been written by Stephen Greenblatt, Shakespeare’s Freedom is a wholly original and eloquent meditation by the most acclaimed and influential Shakespearean of our time.
When used in conjunction with corporations, the term “public” is misleading. Anyone can purchase shares of stock, but public corporations themselves are uninhibited by a sense of societal obligation or strict public oversight. In fact, managers of most large firms are prohibited by law from taking into account the interests of the public in decision making, if doing so hurts shareholders. But this has not always been the case, as until the beginning of the twentieth century, public corporations were deemed to have important civic responsibilities.
With The Failure of Corporate Law, Kent Greenfield hopes to return corporate law to a system in which the public has a greater say in how firms are governed. Greenfield maintains that the laws controlling firms should be much more protective of the public interest and of the corporation’s various stakeholders, such as employees. Only when the law of corporations is evaluated as a branch of public law—as with constitutional law or environmental law—will it be clear what types of changes can be made in corporate governance to improve the common good. Greenfield proposes changes in corporate governance that would enable corporations to meet the progressive goal of creating wealth for society as a whole rather than merely for shareholders and executives.
Epic poets of the Renaissance looked to emulate the poems of Greco-Roman antiquity, but doing so presented a dilemma: what to do about the gods? Divine intervention plays a major part in the epics of Homer and Virgil—indeed, quarrels within the family of Olympian gods are essential to the narrative structure of those poems—yet poets of the Renaissance recognized that the cantankerous Olympians could not be imitated too closely. The divine action of their classical models had to be transformed to accord with contemporary tastes and Christian belief.
From Many Gods to One offers the first comparative study of poetic approaches to the problem of epic divine action. Through readings of Petrarch, Vida, Ariosto, Tasso, and Milton, Tobias Gregorydescribes the narrative and ideological consequences of the epic’s turn from pagan to Christian. Drawing on scholarship in several disciplines—religious studies, classics, history, and philosophy, as well as literature—From Many Gods to One sheds new light on two subjects of enduring importance in Renaissance studies: the precarious balance between classical literary models and Christian religious norms and the role of religion in drawing lines between allies and others.
Vittorio Gregotti—the architect of Barcelona’s Olympic Stadium, Milan’s Arcimboldi Opera Theater, and Lisbon’s Centro Cultural de Belém, among many other noted constructions—is not only a designer of international repute but an acclaimed theorist and critic. Architecture, Means and Ends is his practical and imaginative reflection on the role of the technical aspects of architectural design, both as part of the larger process of innovation and in relation to the mythic opposition between vision and construction.
Interweaving the seemingly irreconcilable concerns of aesthetics, meaning, and construction, Architecture, Means and Ends reflects Gregotti’s overarching claim that buildings always have a symbolic, cultural content. In this book, he argues that by making symbolic expression a primary objective in the design of a project, the designer will produce a practical aesthetic as well as an ethical solution. Architecture, Means and Ends embraces that philosophy and will appeal to those, like Gregotti, working at the intersections of the history of design, art criticism, and architectural theory.
A fiercely independent thinker, colorful storyteller, and spirited teacher, David Grene devoted his life to two things: farming, which he began as a boy in Ireland and continued into old age; and classics, which he taught for several decades that culminated in his translating and editing, with Richmond Lattimore, of The Complete Greek Tragedies.
In this charming memoir, which he wrote during the years leading up to his death in 2002 at the age of eighty-nine, Grene weaves together these interests to tell a quirky and absorbing story of the sometimes turbulent and always interesting life he split between the University of Chicago—where he helped found the Committee on Social Thought—and the farm he kept back in Ireland.
Charting the path that took him from Europe to Chicago in 1937, and encompassing his sixty-five-year career at the university, Grene’s book draws readers into the heady and invigorating climate of his time there. And it is elegantly balanced with reflections stemming from his work on the farm where he hunted, plowed and regularly traveled on horseback to bring his cows home for milking. Grene’s form and humor are quite his own, and his brilliant storytelling will enthrall anyone interested in the classics, rural Ireland, or twentieth-century intellectual history, especially as it pertains to the University of Chicago.
Along with his childhood friend Sir Philip Sidney, Fulke Greville (1554–1628) was an important member of the court of Queen Elizabeth I. Although his poems, long out of print, are today less well known than those of Sidney, Spenser, or Shakespeare, Greville left an indelible mark on the world of Renaissance poetry, both in his love poems, which ably work within the English Petrarchan tradition, and in his religious meditations, which, along with the work of Donne and Herbert, stand as a highpoint of early Protestant poetics.
Back in print for a new generation of scholars and readers, Thom Gunn’s selection of Greville’s short poems includes the whole of Greville’s lyric sequence, Caelica, along with choruses from some of Greville’s verse dramas. Gunn’s introduction places Greville’s thought in historical context and in relation to the existential anxieties that came to preoccupy writers in the twentieth century. It is as revealing about Gunn himself, and the reading of earlier English verse in the 1960s, as it is about Greville’s own poetic achievement. This reissue of Selected Poems of Fulke Greville is an event of the first order both for students of early British literature and for readers of Thom Gunn and English poetry generally.
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