Despite international conventions and human rights declarations, millions of people have suffered and continue to suffer torture, slavery, or violent deaths, with no remedy or recourse. They have fallen, in essence, “below the law,” outside of law’s protection. Often violated by their own governments, sometimes with support from transnational corporations, or nations benefiting from human rights violations, how can these victims find justice?  Lawyers Beyond Borders reveals the inner workings of the advances and retreats in the quest for redress and restoration of human rights for those whom international legal-political systems have failed. The process of justice begins in the US, with a handful of human rights lawyers steeped in the American tradition of advancing civil rights through civil litigation. As the civil rights movement gained traction and an ample supply of lawyers, this small cadre turned their attention toward advancing international human rights, via the US legal system. They sought to build another piece of the rights revolution, this time for survivors of egregious human rights violations in faraway lands. These cases were among the most unlikely to be slated for victory: The abuses occurred abroad; the victims are aliens, usually with few, if any, resources; the perpetrators are politically powerful, resourced, and well connected, often members of governments, militaries, or multinational corporations. The legal and political systems’ structures are mostly stacked against these survivors, many who bear the scars of trauma and terror.

Lawyers Beyond Borders is about agency. It is about how, in the face of powerful interests and seemingly insurmountable obstacles—political, psychological, economic, geographical, and physical—a small group of lawyers and survivors navigated a terrain of daunting barriers to begin building, case-by-case, new pathways to justice for those who otherwise would have none.

The conventional way of understanding what musicians do as performers is to treat them as producers of sound; some even argue that it is unnecessary to see musicians in performance as long as one can hear them.  But musical performance, counters Philip Auslander, is also a social interaction between musicians and their audiences, appealing as much to the eye as to the ear. In Concert: Performing Musical Persona he addresses not only the visual means by which musicians engage their audiences through costume and physical gesture, but also spectacular aspects of performance such as light shows.

Although musicians do not usually enact fictional characters on stage, they nevertheless present themselves to audiences in ways specific to the performance situation.  Auslander’s term to denote the musician’s presence before the audience is musical persona.  While presence of a musical persona may be most obvious within rock and pop music, the book’s analysis extends to classical music, jazz, blues, country, electronic music, laptop performance, and music made with experimental digital interfaces. The eclectic group of performers discussed include the Beatles, Miles Davis, Keith Urban, Lady Gaga, Nicki Minaj, Frank Zappa, B. B. King, Jefferson Airplane, Virgil Fox, Keith Jarrett, Glenn Gould, and Laurie Anderson.

Grief and the Hero examines Achilles’ experience of the futility of grief in the context of the Iliad’s study of anger. No action can undo his friend Patroklos’ death, but the experience of death drives him to behave as though he can achieve something restorative. Rather than assuming that grief gives rise to anger, as most scholars have done, Grief and the Hero pays close attention to the poem’s representation of the origin of these emotions. In the Iliad, only Achilles’ grief for Patroklos is joined with the word pothê, “longing”; no other grief in the poem is described with this term. The Iliad depicts Achilles’ grief as the rupture of shared life—an insight that generates a new way of reading the epic. Achilles’ anguish drives him to extremes, oscillating between self-isolation and seeking communal expressions of grief; between weeping abundantly and relentlessly pursuing battle; between varied threats of mutilation, deeds of vengeance, and other vows. Yet his yearning for life shared with Patroklos is the common denominator. Here lies the profound insight of the Iliad. All of Achilles’ grief-driven deeds arise from his longing for life with Patroklos, and thus all of these deeds are, in a deep sense, futile. He yearns for something unattainable—undoing the reality of death. Grief and the Hero will appeal not only to scholars and students of Homer but to all humanists. Loss, longing, and even revenge touch many human lives, and the insights of the Iliad have broad resonance.

Analysts and pundits from across the American political spectrum describe Islamic fundamentalism as one of the greatest threats to modern, Western-style democracy. Yet very few non-Muslims would be able to venture an accurate definition of political Islam. Fully revised and updated, The Many Faces of Political Islam thoroughly analyzes the many facets of this political ideology and shows its impact on global relations.