Revisiting the high-stakes politics of 1922, G.H. Bennett unveils how one election transformed Britain’s electoral system and redefined party alliances for decades to come.

The 1922 General Election was more than just another political contest; it was the turning point that shaped the modern British electoral landscape. In The 1922 General Election Reconsidered, G.H. Bennett revisits this pivotal moment with fresh insight, drawing on newly available archival materials and digitized resources to decipher the high-stakes maneuvering and backroom negotiations that defined the campaign. Covering the dramatic collapse of the Lloyd George coalition and the intricate web of party alliances and local political machinations, this book captures the election in unprecedented detail.

Bennett studies the key players and the seismic shifts that emerged in the wake of the vote. He also looks into how informal cooperation between parties blurred political lines and how media speculation shaped public perceptions. By placing the election in both its immediate and long-term context,  The 1922 General Election Reconsidered is a compelling reconsideration of an often-overlooked moment in British political history that continues to influence elections a century later.

In the light of the deepening crisis of capitalism and continued non-Western capitalist accumulation, Henry Heller re-examines the debates surrounding the transition from feudalism to capitalism in Europe and elsewhere.

Focusing on arguments about the origin, nature and sustainability of capitalism, Heller offers a new reading of the historical evidence and a critical interrogation of the transition debate. He advances the idea that capitalism must be understood as a political as well as an economic entity. This book breathes new life into the scholarship, taking issue with the excessively economistic approach of Robert Brenner, which has gained increasing support over the last ten years. It concludes that the future of capitalism is more threatened than ever before.

The new insights in this book make it essential reading for engaged students and scholars of political economy and history.

A revealing genealogy of image-recognition techniques and technologies
 

Today’s most advanced neural networks and sophisticated image-analysis methods come from 1950s and ’60s Cold War culture—and many biases and ways of understanding the world from that era persist along with them. Aerial surveillance and reconnaissance shaped all of the technologies that we now refer to as computer vision, including facial recognition. The Birth of Computer Vision uncovers these histories and finds connections between the algorithms, people, and politics at the core of automating perception today.

James E. Dobson reveals how new forms of computerized surveillance systems, high-tech policing, and automated decision-making systems have become entangled, functioning together as a new technological apparatus of social control. Tracing the development of a series of important computer-vision algorithms, he uncovers the ideas, worrisome military origins, and lingering goals reproduced within the code and the products based on it, examining how they became linked to one another and repurposed for domestic and commercial uses. Dobson includes analysis of the Shakey Project, which produced the first semi-autonomous robot, and the impact of student protest in the early 1970s at Stanford University, as well as recovering the computer vision–related aspects of Frank Rosenblatt’s Perceptron as the crucial link between machine learning and computer vision.

Motivated by the ongoing use of these major algorithms and methods, The Birth of Computer Vision chronicles the foundations of computer vision and artificial intelligence, its major transformations, and the questionable legacy of its origins.


Cover alt text: Two overlapping circles in cream and violet, with black background. Top is a printed circuit with camera eye; below a person at a 1977 computer.

A systematic attempt to understand the rabbinic world through its approach to confronting uncertainty

In the history of halakhah, the treatment of uncertainty became one of the most complex fields of intense study. In his latest book, Moshe Halbertal focuses on examining the point of origin of the study of uncertainty in early rabbinic literature, including the Mishnah, Tosefta, and halakhic midrashim. Halbertal explores instructions concerning how to behave in situations of uncertainty ranging from matters of ritual purity, to lineage and marriage, to monetary law, and to the laws of forbidden foods. This examination of the rules of uncertainty introduced in early rabbinic literature reveals that these rules were not aimed at avoiding but rather at dwelling in the midst of uncertainty, thus rejecting the sectarian isolationism that sought to minimize a community’s experience of and friction with uncertainty.

Features:

• A thorough investigation of the principles concerning how to behave in cases of uncertainty
• An examination of two distinct modes for coping with uncertainty

An inventive collection of stories by one of the most prominent and acclaimed writers in Hungary today.
 
The Birth of Emma K., a collection of twelve short stories rich with magic, introduces English-language readers to one of the most vibrant and original voices in contemporary Hungarian literature. Zsolt Láng’s new collection opens with God sitting on a bench looking over Budapest; later, a Hungarian man who has stumbled into a Romanian music theory class suddenly finds he is able to speak expertly about Hungarian composer Béla Bartok—and in perfect Romanian; and even later, against all odds, the embryo of Emma fights for her future life from within the womb. Drifting between melancholic and witty, in sentences that are winding, subtle, and colloquial, Láng’s stories are deeply rooted in Transylvanian culture and history. Reminiscent of the best writings of Irish modernist masters such as Samuel Beckett and Flann O’Brien, The Birth of Emma K. presents an unforgettable collage of human nature.

In The Birth of Energy Cara New Daggett traces the genealogy of contemporary notions of energy back to the nineteenth-century science of thermodynamics to challenge the underlying logic that informs today's uses of energy. These early resource-based concepts of power first emerged during the Industrial Revolution and were tightly bound to Western capitalist domination and the politics of industrialized work. As Daggett shows, thermodynamics was deployed as an imperial science to govern fossil fuel use, labor, and colonial expansion, in part through a hierarchical ordering of humans and nonhumans. By systematically excavating the historical connection between energy and work, Daggett argues that only by transforming the politics of work—most notably, the veneration of waged work—will we be able to confront the Anthropocene's energy problem. Substituting one source of energy for another will not ensure a habitable planet; rather, the concepts of energy and work themselves must be decoupled.

Insight meditation, which claims to offer practitioners a chance to escape all suffering by perceiving the true nature of reality, is one of the most popular forms of meditation today. The Theravada Buddhist cultures of South and Southeast Asia often see it as the Buddha’s most important gift to humanity. In the first book to examine how this practice came to play such a dominant—and relatively recent—role in Buddhism, Erik Braun takes readers to Burma, revealing that Burmese Buddhists in the colonial period were pioneers in making insight meditation indispensable to modern Buddhism.

Braun focuses on the Burmese monk Ledi Sayadaw, a pivotal architect of modern insight meditation, and explores Ledi’s popularization of the study of crucial Buddhist philosophical texts in the early twentieth century. By promoting the study of such abstruse texts, Braun shows, Ledi was able to standardize and simplify meditation methods and make them widely accessible—in part to protect Buddhism in Burma after the British takeover in 1885. Braun also addresses the question of what really constitutes the “modern” in colonial and postcolonial forms of Buddhism, arguing that the emergence of this type of meditation was caused by precolonial factors in Burmese culture as well as the disruptive forces of the colonial era. Offering a readable narrative of the life and legacy of one of modern Buddhism’s most important figures, The Birth of Insight provides an original account of the development of mass meditation.

François Ewald's landmark The Birth of Solidarity—first published in French in 1986, revised in 1996, with the revised edition appearing here in English for the first time—is one of the most important historical and philosophical studies of the rise of the welfare state. Theorizing the origins of social insurance, Ewald shows how the growing problem of industrial accidents in France throughout the nineteenth century tested the limits of classical liberalism and its notions of individual responsibility. As workers and capitalists confronted each other over the problem of workplace accidents, they transformed the older practice of commercial insurance into an instrument of state intervention, thereby creating an entirely new conception of law, the state, and social solidarity. What emerged was a new system of social insurance guaranteed by the state. The Birth of Solidarity is a classic work of social and political theory that will appeal to all those interested in labor power, the making and dismantling of the welfare state, and Foucauldian notions of governmentality, security, risk, and the limits of liberalism.

Opening a new area in Latin American studies, The Birth of the Penitentiary in Latin America showcases the most recent historical outlooks on prison reform and criminology in the Latin American context. The essays in this collection shed new light on the discourse and practice of prison reform, the interpretive shifts induced by the spread of criminological science, and the links between them and competing discourses about class, race, nation, and gender. The book shows how the seemingly clear redemptive purpose of the penitentiary project was eventually contradicted by conflicting views about imprisonment, the pervasiveness of traditional forms of repression and control, and resistance from the lower classes.

The essays are unified by their attempt to view the penitentiary (as well as the variety of representations conveyed by the different reform movements favoring its adoption) as an interpretive moment, revealing of the ideology, class fractures, and contradictory nature of modernity in Latin America. As such, the book should be of interest not only to scholars concerned with criminal justice history, but also to a wide range of readers interested in modernization, social identities, and the discursive articulation of social conflict. The collection also offers an up-to-date sampling of new historical approaches to the study of criminal justice history, illuminates crucial aspects of the Latin American modernization process, and contrasts the Latin American cases with the better known European and North American experiences with prison reform.

In one remarkable quarter-century, thirteen quarrelsome colonies were transformed into a nation. Edmund S. Morgan's classic account of the Revolutionary period shows how the challenge of British taxation started the Americans on a search for constitutional principles to protect their freedom and eventually led to the Revolution.

Morgan demonstrates that these principles were not abstract doctrines of political theory but grew instead out of the immediate needs and experiences of the colonists. They were held with passionate conviction, and incorporated, finally, into the constitutions of the new American states and of the United States.

Though the basic theme of the book and his assessment of what the Revolution achieved remain the same, Morgan has updated the revised edition of The Birth of the Republic (1977) to include some textual and stylistic changes as well as a substantial revision of the Bibliographic Note.

In 1831, Stevens T. Mason was named Secretary of the Michigan Territory at the tender age of 19, two years before he could even vote. The youngest presidential appointee in American history, Mason quickly stamped his persona on Michigan life in large letters. After championing the territory's successful push for statehood without congressional authorization, he would defend his new state's border in open defiance of the country's political elite and then orchestrate its expansion through the annexation of the Upper Peninsula---all before his official election as Michigan's first governor at age 24, the youngest chief executive in any state's history.

The Boy Governor tells the complete story of this dominant political figure in Michigan's early development. Capturing Mason's youthful idealism and visionary accomplishments, including his advocacy for a strong state university and legislating for the creation of the Soo Locks, this biography renders a vivid portrait of Michigan's first governor---his conflicts, his desires, and his sense of patriotism. This book will appeal to anyone with a love of American history and interest in the many, larger-than-life personalities that battled on the political stage during the Jacksonian era.

In Breaks in the Air John Klaess tells the story of rap’s emergence on New York City’s airwaves by examining how artists and broadcasters adapted hip hop’s performance culture to radio. Initially, artists and DJs brought their live practice to radio by buying time on low-bandwidth community stations and building new communities around their shows. Later, stations owned by New York’s African American elite, such as WBLS, reluctantly began airing rap even as they pursued a sound rooted in respectability, urban sophistication, and polish. At the same time, large commercial stations like WRKS programmed rap once it became clear that the music attracted a demographic that was valuable to advertisers. Moving between intimate portraits of single radio shows and broader examinations of the legal, financial, cultural, and political forces that indelibly shaped the sound of rap radio, Klaess shows how early rap radio provides a lens through which to better understand the development of rap music as well as the intertwined histories of sounds, institutions, communities, and legal formations that converged in the post-Civil Rights era.

In A City Called Heaven, Robert M. Marovich follows gospel music from early hymns and camp meetings through its growth into the sanctified soundtrack of the city's mainline black Protestant churches. Marovich mines print media, ephemera, and hours of interviews with artists, ministers, and historians--as well as relatives and friends of gospel pioneers--to recover forgotten singers, musicians, songwriters, and industry leaders. He also examines the entrepreneurial spirit that fueled gospel music's rise to popularity and granted social mobility to a number of its practitioners. As Marovich shows, the music expressed a yearning for freedom from earthly pains, racial prejudice, and life's hardships. Yet it also helped give voice to a people--and lift a nation.

A City Called Heaven celebrates a sound too mighty and too joyous for even church walls to hold.

Digital Rebellion examines the impact of new media and communication technologies on the spatial, strategic, and organizational fabric of social movements.

Todd Wolfson reveals how aspects of the mid-1990s Zapatistas movement--network organizational structure, participatory democratic governance, and the use of communication tools as a binding agent--became essential parts of Indymedia and other Cyber Left organizations. From there he uses oral interviews and other rich ethnographic data to chart the media-based think tanks and experiments that continued the Cyber Left's evolution through the Independent Media Center's birth around the 1999 WTO protests in Seattle.

Melding virtual and traditional ethnographic practice to explore the Cyber Left's cultural logic, Wolfson maps the social, spatial and communicative structure of the Indymedia network and details its operations on the local, national and global level. He looks at the participatory democracy that governs global social movements and the ways democracy and decentralization have come into tension, and how "the switchboard of struggle" conducts stories from the hyper-local and disperses them worldwide. As he shows, understanding the intersection of Indymedia and the Global Social Justice Movement illuminates their foundational role in the Occupy struggle and other emergent movements that have re-energized radical politics.

During the early decades of the twentieth century symphonic jazz involved an expansive family of music that emulated, paralleled, and intersected the jazz tradition. Though now largely forgotten, symphonic jazz was both a popular music -- arranging tradition and a repertory of hybrid concert works, both of which reveled in the mildly irreverent interbreeding of white and black and high and low music. While the roots of symphonic jazz can be traced to certain black ragtime orchestras of the teens, the idiom came to maturation in the music of 1920s white dance bands. Through a close examination of the music of Duke Ellington and James P. Johnson, Ellington Uptown uncovers compositions that have usually fallen in the cracks between concert music, jazz, and popular music. It also places the concert works of these two iconic figures in context through an investigation both of related compositions by black and white peers and of symphonic jazz---style arrangements from a diverse number of early sound films, Broadway musicals, Harlem nightclub floor shows, and select interwar radio programs. Both Ellington and Johnson were part of a close-knit community of several generations of Harlem musicians. Older figures like Will Marion Cook, Will Vodery, W. C. Handy, and James Reese Europe were the generation of black musicians that initially broke New York entertainment's racial barriers in the first two decades of the century. By the 1920s, Cook, Vodery, and Handy had become mentors to Harlem's younger musicians. This generational connection is a key for understanding Johnson’s and Ellington's ambitions to use the success of Harlem's white-oriented entertainment trade as a springboard for establishing a black concert music tradition based on Harlem jazz and popular music.

2025 Choice Outstanding Academic Title

First Fruits offers a fascinating look at the lives of Pacific Coast horticulturists Henderson, Jonathan, and Seth Lewelling. Traveling across the Overland Trail—Henderson to Oregon in 1847, with a wagonload of fruit trees, and Seth and John to California three years later—the brothers would establish themselves as pioneers in the West’s growing fruit industry. By recounting how Henderson planted the first orchard of grafted fruit trees in Oregon, how Seth originated the Black Republican and Bing cherries, and how John led the development of the Napa Valley wine industry, First Fruits preserves the Lewellings’ place in history.

However, the Lewellings were not simply planters, grafters, and breeders. They were also adventurers, colonists, gold seekers, reformists, and explorers—experiencing firsthand the westward expansion of the nation. Their stories provide a unique glimpse into the social, economic, and political history of the day. From their Quaker upbringing in North Carolina and Indiana to Henderson’s attempt to start a utopian colony in Honduras, John’s efforts to grow the Grange in California, and Seth’s contribution to democratic reforms in Oregon, the Lewellings’ legacy extends far beyond their agricultural endeavors.

In the first biography to reclaim the brothers’ histories, Linda Ziedrich splendidly captures their dedicated support of one another and their communities, their contributions to the development of the modern fruit industry, and their lasting influence on the cultivation of fruits synonymous with the Pacific Coast region.

Winner of the Ralph J. Gleason Music Book Award
Winner of the ASCAP Deems Taylor Award

On November 28, 1925, a white-bearded man sat before one of Nashville radio station WSM's newfangled carbon microphones to play a few old-time fiddle tunes. Uncle Jimmy Thompson played on the air for an hour that night, and throughout the region listeners at their old crystal sets suddenly perked up. Back in Nashville the response at the offices of National Life Insurance Company, which owned radio station WSM ("We Shield Millions"), was dramatic; phone calls and telegrams poured into the station, many of them making special requests. It was not long before station manager George D. Hay was besieged by pickers and fiddlers of every variety, as well as hoedown bands, singers, and comedians--all wanting their shot at the Saturday night airwaves. "We soon had a good-natured riot on our hands," Hay later recalled. And, thus, the Opry was born.

Or so the story goes. In truth, the birth of the Opry was a far more complicated event than even Hay, "the solemn old Judge," remembered. The veteran performers of that era are all gone now, but since the 1970s pioneering country music historian Charles K. Wolfe has spent countless hours recording the oral history of the principals and their families and mining archival materials from the Country Music Foundation and elsewhere to understand just what those early days were like. The story that he has reconstructed is fascinating. Both a detailed history and a group biography of the Opry's early years, A Good-Natured Riot provides the first comprehensive and thoroughly researched account of the personalities, the music, and the social and cultural conditions that were such fertile ground for the growth of a radio show that was to become an essential part of American culture.

Wolfe traces the unsure beginnings of the Opry through its many incarnations, through cast tours of the South, the Great Depression, commercial sponsorship by companies like Prince Albert Tobacco, and the first national radio linkups. He gives colorful and engaging portraits of the motley assembly of the first Opry casts--amateurs from the hills and valleys surrounding Nashville, like harmonica player Dr. Humphrey Bate ("Dean of the Opry") and fiddler Sid Harkreader, virtuoso string bands like the Dixieliners, colorful hoedown bands like the Gully Jumpers and the Fruit Jar Drinkers, the important African American performer DeFord Bailey, vaudeville acts and comedians like Lasses and Honey, through more professional groups such as the Vagabonds, the Delmore Brothers, Bill Monroe and the Blue Grass Boys, and perennial favorite Roy Acuff and his Smoky Mountain Boys.

With dozens of wonderful photographs and a complete roster of every performer and performance of these early Opry years, A Good-Natured Riot gives a full and authoritative portrayal of the colorful beginnings of WSM's barn dance program up to 1940, by which time the Grand Ole Opry had found its national audience and was poised to become the legendary institution that it remains to this day.

In Japonisme and the Birth of Cinema, Daisuke Miyao explores the influence of Japanese art on the development of early cinematic visual style, particularly the actualité films made by the Lumière brothers between 1895 and 1905. Examining nearly 1,500 Lumière films, Miyao contends that more than being documents of everyday life, they provided a medium for experimenting with aesthetic and cinematic styles imported from Japan. Miyao further analyzes the Lumière films produced in Japan as a negotiation between French Orientalism and Japanese aesthetics. The Lumière films, Miyao shows, are best understood within a media ecology of photography, painting, and cinema, all indebted to the compositional principles of Japonisme and the new ideas of kinetic realism it inspired. The Lumière brothers and their cinematographers shared the contemporaneous obsession among Impressionist and Post-Impressionist artists about how to instantly and physically capture the movements of living things in the world. Their engagement with Japonisme, he concludes, constituted a rich and productive two-way conversation between East and West.

A groundbreaking history of African Americans in the early recording industry, Lost Sounds examines the first three decades of sound recording in the United States, charting the surprising roles black artists played in the period leading up to the Jazz Age and the remarkably wide range of black music and culture they preserved.

Drawing on more than thirty years of scholarship, Tim Brooks identifies key black recording artists and profiles forty audio pioneers. Brooks assesses the careers and recordings of George W. Johnson, Bert Williams, George Walker, Noble Sissle, Eubie Blake, the Fisk Jubilee Singers, W. C. Handy, James Reese Europe, Wilbur Sweatman, Harry T. Burleigh, Roland Hayes, Booker T. Washington, and boxing champion Jack Johnson, plus a host of lesser-known voices. Many of these pioneers struggled to be heard in an era of rampant discrimination. Their stories detail the forces––black and white––that gradually allowed African Americans to enter the mainstream entertainment industry.

Lost Sounds includes Brooks's selected discography of CD reissues and an appendix by Dick Spottswood describing early recordings by black artists in the Caribbean and South America.

Although few of his plays exist in full today, the fourth-century BCE Greek dramatist Menander was known far and wide throughout antiquity. He was one of the first to locate his dramas in the common household, rather than the mythic world of gods and heroes, and is now recognized as one of the pioneering figures of ancient Greek “New Comedy.” 

The design of the Greek stage was such that the interiors of houses were almost never shown, which posed difficulties for a playwright interested in staging the domestic lives of ordinary people. Here, Mitch Brown dissects how Menander responded to this challenge. As Brown demonstrates, Menander successfully conjured offstage action and even characters in the audiences’ imaginations; these offstage universes, Brown argues, are fundamental to understanding Menander’s dramaturgy and its reception in later centuries. Menander’s offstage methods and the new type of play (domestic drama) that he inaugurated directly influenced Western theater into the early modern period—and the impact of his innovations can still be seen indirectly today.

Surveying the range of Sun Ra’s extraordinary creativity, this book explores how the father of Afrofuturism brought “space music” to a planet in need of transformation, supporting the aspirations of black people in an inhospitable white world.

Sun Ra said he came from Saturn. Known on earth for his inventive music and extravagant stage shows, he pioneered free-form improvisation in an ensemble setting with the devoted band he called the “Arkestra.” Sun Ra took jazz from the inner city to outer space, infusing traditional swing with far-out harmonies, rhythms, and sounds. Described as the father of Afrofuturism, Sun Ra created “space music” as a means of building a better future for American blacks here on earth.

A Pure Solar World: Sun Ra and the Birth of Afrofuturism offers a spirited introduction to the life and work of this legendary but underappreciated musician, composer, and poet. Paul Youngquist explores and assesses Sun Ra’s wide-ranging creative output—music, public preaching, graphic design, film and stage performance, and poetry—and connects his diverse undertakings to the culture and politics of his times, including the space race, the rise of technocracy, the civil rights movement, and even space-age bachelor-pad music. By thoroughly examining the astro-black mythology that Sun Ra espoused, Youngquist masterfully demonstrates that he offered both a holistic response to a planet desperately in need of new visions and vibrations and a new kind of political activism that used popular culture to advance social change. In a nation obsessed with space and confused about race, Sun Ra aimed not just at assimilation for the socially disfranchised but even more at a wholesale transformation of American society and a more creative, egalitarian world.

This handsomely illustrated volume traces the intersections of art history and paintings restoration in nineteenth-century Europe.

Repairing works of art and writing about them—the practices that became art conservation and art history—share a common ancestry. By the nineteenth century the two fields had become inseparably linked. While the art historical scholarship of this period has been widely studied, its restoration practices have received less scrutiny—until now.

This book charts the intersections between art history and conservation in the treatment of Italian Renaissance paintings in nineteenth-century Europe. Initial chapters discuss the restoration of works by Giotto and Titian, framed by the contemporary scholarship of art historians such as Jacob Burckhardt, G. B. Cavalcaselle, and Joseph Crowe that was redefining the earlier age. Subsequent chapters recount how paintings conservation was integrated into museum settings. The narrative uses period texts, unpublished archival materials, and historical photographs in probing how paintings looked at a time when scholars were writing the foundational texts of art history, and how contemporary restorers were negotiating the appearances of these works. The book proposes a model for a new conservation history, object focused yet enriched by consideration of a wider cultural horizon.

A deep dive into the early days of punk in Austin, Texas, this oral history immerses readers in a diverse and influential music scene.

Texas has always teemed with music and counterculture. When punk came to the state in 1978, it flourished in San Antonio, Dallas, Houston, and, especially, Austin. Punk and post-punk musicians, including nationally acclaimed bands like the Butthole Surfers, the Big Boys, the Dicks, and Daniel Johnston influenced local culture before slashing into the American musical psyche. (See Kurt Cobain sporting Johnston’s “Hi, How are you?” T-shirt.) Someday All the Adults Will Die! is an oral history of punk in Texas, from its rise in the late 1970s, through its strong anti-racist, feminist, and queer peak, to its dissolution in the late 1980s.

Now a seasoned music journalist, Blashill experienced the zenith of Texas punk as a teenager, and he captures its intensity in words and pictures. Someday All the Adults Will Die! is rife with electrifying images and firsthand tales of what made this scene such a storm of pleasures and terrors, uncompromising artists, and wild performances. This dynamic portrait of an untamed, all-out musical era is a must-read for fans of punk music, counterculture, and live music.

Honorable Mention, Ramirez Family Award for Most Significant Scholarly Book, Texas Institute of Letters, 2019

Jim Wright made his mark on virtually every major public policy issue in the later twentieth century—energy, education, taxes, transportation, environmental protection, civil rights, criminal justice, and foreign relations, among them. He played a significant role in peace initiatives in Central America and in the Camp David Accords, and he was the first American politician to speak live on Soviet television. A Democrat representing Texas’s twelfth district (Fort Worth), Wright served in the US House of Representatives from the Eisenhower administration to the presidency of George H. W. Bush, including twelve years (1977–1989) as majority leader and speaker. His long congressional ascension and sudden fall in a highly partisan ethics scandal spearheaded by Newt Gingrich mirrored the evolution of Congress as an institution.

Speaker Jim Wright traces the congressman’s long life and career in a highly readable narrative grounded in extensive interviews with Wright and access to his personal diaries. A skilled connector who bridged the conservative and liberal wings of the Democratic party while forging alliances with Republicans to pass legislation, Wright ultimately fell victim to a new era of political infighting, as well as to his own hubris and mistakes. J. Brooks Flippen shows how Wright’s career shaped the political culture of Congress, from its internal rules and power structure to its growing partisanship, even as those new dynamics eventually contributed to his political demise. To understand Jim Wright in all his complexity is to understand the story of modern American politics.

The mixed-race Hawaiian athlete George Freeth brought surfing to Venice, California, in 1907. Over the next twelve years, Freeth taught Southern Californians to surf and swim while creating a modern lifeguard service that transformed the beach into a destination for fun, leisure, and excitement. Patrick Moser places Freeth’s inspiring life story against the rise of the Southern California beach culture he helped shape and define. Freeth made headlines with his rescue of seven fishermen, an act of heroism that highlighted his innovative lifeguarding techniques. But he also founded California's first surf club and coached both male and female athletes, including Olympic swimming champion and “father of modern surfing” Duke Kahanamoku. Often in financial straits, Freeth persevered as a teacher and lifeguarding pioneer--building a legacy that endured long after his death during the 1919 influenza pandemic.

A compelling merger of biography and sports history, Surf and Rescue brings to light the forgotten figure whose novel way of seeing the beach sparked the imaginations of people around the world.

The Austro-Hungarian aristocrat of Transylvanian origin, Baron Franz Nopcsa (1877-1933), was one of the most adventuresome travelers and scholars of Southeast Europe in the early decades of the twentieth century. He was also a paleontologist of renown and a noted geologist of the Balkan Peninsula : many of his assumptions have been confirmed by science. The Memoirs of this fascinating figure deal mainly with his travels in the Balkans, and specifically in the remote and wild mountains of northern Albania, in the years from 1903 to 1914. They thus cover the period of Ottoman Rule, the Balkan Wars and the outbreak of the First World War. Nopcsa was a keen adventurer who hiked through regions of northern Albania. With time, he became a leading expert in Albanian studies. He was also deeply involved in the politics of the period. In 1913, Nopcsa even offered himself as a candidate for the vacant Albanian throne. The Introduction also tells of Nopcsa's tragic death: he shot his Albanian secretary and partner before killing himself. The memoirs themselves reveal some references to his homosexuality for those who can read between the lines.

A study of the evolution of American women's clothing, When the Girls Came Out to Play traces the history of modern sportswear as a universal style that broke down traditional gender roles. Patricia Warner shows how this profound cultural shift, which did not reach fruition until World War II, originated during the previous century with the gradual expansion of socially acceptable physical activity for women. Behind this development was a growing interest in sports and exercise that was further nurtured by the establishment of schools of higher education for women. The participation of women in athletic pursuits previously reserved for men began with the relatively genteel sports of croquet and tennis. With the founding of women's colleges, these “ladylike” games were supplemented by more vigorous activities and competitive team sports, from gymnastics to swimming to basketball. At first, Warner points out, women literally had nothing to wear for these activities. Whereas such fashionable attire as corsets, petticoats, hats, and gloves could be worn while playing outdoor lawn games, more strenuous athletic endeavors required less physically restrictive clothing. Even so, change came only gradually, as women's colleges, shielded from public scrutiny and prying male eyes, permitted the adoption of looser, more comfortable apparel for physical education. Many of these new outfits featured trousers, garments considered taboo for women, though they often remained hidden beneath voluminous skirts.

Over time, however, the practicality and versatility of such clothing led to social acceptance, laying the foundation for the emergence of the now ubiquitous yet distinctly American style known as sportswear. Although we take it for granted, Warner observes, this is the first time in the history of the world that such universality has existed in clothing, and it has lasted now for well over half a century—in itself a marvel, considering the speed of fashion change in an era of instant messages and images.

If you told a woman her sex had a shared, long-lived history with weasels, she might deck you. But those familiar with mythology know better: that the connection between women and weasels is an ancient and favorable one, based in the Greek myth of a midwife who tricked the gods to ease Heracles’s birth—and was turned into a weasel by Hera as punishment. Following this story as it is retold over centuries in literature and art, Women and Weasels takes us on a journey through mythology and ancient belief, revising our understanding of myth, heroism, and the status of women and animals in Western culture. Maurizio Bettini recounts and analyzes a variety of key literary and visual moments that highlight the weasel’s many attributes. We learn of its legendary sexual and childbearing habits and symbolic association with witchcraft and midwifery, its role as a domestic pet favored by women, and its ability to slip in and out of tight spaces. The weasel, Bettini reveals, is present at many unexpected moments in human history, assisting women in labor and thwarting enemies who might plot their ruin. With a parade of symbolic associations between weasels and women—witches, prostitutes, midwives, sisters-in-law, brides, mothers, and heroes—Bettini brings to life one of the most venerable and enduring myths of Western culture.

During the mid-1960s, a small group of young journalists made it their mission to write about popular music, especially rock, as something worthy of serious intellectual scrutiny. Their efforts not only transformed the perspective on the era's music but revolutionized how Americans have come to think, talk, and write about popular music ever since. 

In Writing the Record, Devon Powers explores this shift by focusing on The Village Voice, a key publication in the rise of rock criticism. Revisiting the work of early pop critics such as Richard Goldstein and Robert Christgau, Powers shows how they stood at the front lines of the mass culture debates, challenging old assumptions and hierarchies and offering pioneering political and social critiques of the music. Part of a college-educated generation of journalists, Voice critics explored connections between rock and contemporary intellectual trends such as postmodernism, identity politics, and critical theory. In so doing, they became important forerunners of the academic study of popular culture that would emerge during the 1970s. 

Drawing on archival materials, interviews, and insights from media and cultural studies, Powers not only narrates a story that has been long overlooked but also argues that pop music criticism has been an important channel for the expression of public intellectualism. This is a history that is particularly relevant today, given the challenges faced by criticism of all stripes in our current media environment. Powers makes the case for the value of well-informed cultural criticism in an age when it is often suggested that “everyone is a critic.”