Neoliberals hate the state. Or do they? In the first intellectual history of neoliberal globalism, Quinn Slobodian follows a group of thinkers from the ashes of the Habsburg Empire to the creation of the World Trade Organization to show that neoliberalism emerged less to shrink government and abolish regulations than to redeploy them at a global level.
Slobodian begins in Austria in the 1920s. Empires were dissolving and nationalism, socialism, and democratic self-determination threatened the stability of the global capitalist system. In response, Austrian intellectuals called for a new way of organizing the world. But they and their successors in academia and government, from such famous economists as Friedrich Hayek and Ludwig von Mises to influential but lesser-known figures such as Wilhelm Röpke and Michael Heilperin, did not propose a regime of laissez-faire. Rather they used states and global institutions—the League of Nations, the European Court of Justice, the World Trade Organization, and international investment law—to insulate the markets against sovereign states, political change, and turbulent democratic demands for greater equality and social justice.
Far from discarding the regulatory state, neoliberals wanted to harness it to their grand project of protecting capitalism on a global scale. It was a project, Slobodian shows, that changed the world, but that was also undermined time and again by the inequality, relentless change, and social injustice that accompanied it.
While living in exile with his family on the Channel Islands off the coast of Normandy, Victor Hugo wrote some of his greatest poetry and prose, including Les Misérables and two epic poems: Dieu and La Fin de Satan. Dieu pictures the imaginary search for God by a nameless protagonist, who must face the possibility of failure in this quest. La Fin de Satan, an indictment of prison, war, and capital punishment, depicts an attempt at reconciliation between good and evil.
This book brings together abbreviated editions of these two book-length poems—unfinished and unpublished at the time of the author’s death—comprised of selections that capture their visionary and mystical essence. The poems are accompanied by an introduction framing them within the author’s experience as an exile and tracing their publication history.
Victor Hugo is one of the most important figures in the history of French literature, and this beautifully rendered translation brings two of his lesser-known works deservedly to the forefront.
Outbreak narratives have proliferated for the past quarter century, and now they have reached epidemic proportions. From 28 Days Later to 24 to The Walking Dead, movies, TV shows, and books are filled with zombie viruses, bioengineered plagues, and disease-ravaged bands of survivors. Even news reports indulge in thrilling scenarios about potential global pandemics like SARS and Ebola. Why have outbreak narratives infected our public discourse, and how have they affected the way Americans view the world?
In Going Viral, Dahlia Schweitzer probes outbreak narratives in film, television, and a variety of other media, putting them in conversation with rhetoric from government authorities and news organizations that have capitalized on public fears about our changing world. She identifies three distinct types of outbreak narrative, each corresponding to a specific contemporary anxiety: globalization, terrorism, and the end of civilization. Schweitzer considers how these fears, stoked by both fictional outbreak narratives and official sources, have influenced the ways Americans relate to their neighbors, perceive foreigners, and regard social institutions.
Looking at everything from I Am Legend to The X Files to World War Z, this book examines how outbreak narratives both excite and horrify us, conjuring our nightmares while letting us indulge in fantasies about fighting infected Others. Going Viral thus raises provocative questions about the cost of public paranoia and the power brokers who profit from it.