After thirty years, the debate over antitrust's ideology has quieted. Most now agree that the protection of consumer welfare should be the only goal of antitrust laws. Execution, however, is another matter. The rules of antitrust remain unfocused, insufficiently precise, and excessively complex. The problem of poorly designed rules is severe, because in the short run rules weigh much more heavily than principles. At bottom, antitrust is a defensible enterprise only if it can make the microeconomy work better, after accounting for the considerable costs of operating the system.

The Antitrust Enterprise is the first authoritative and compact exposition of antitrust law since Robert Bork's classic The Antitrust Paradox was published more than thirty years ago. It confronts not only the problems of poorly designed, overly complex, and inconsistent antitrust rules but also the current disarray of antitrust's rule of reason, offering a coherent and workable set of solutions. The result is an antitrust policy that is faithful to the consumer welfare principle but that is also more readily manageable by the federal courts and other antitrust tribunals.

Seventy-Five Years Ago, the Last American Soldier Who Paid the Ultimate Price for Desertion
A New Edition of the Acclaimed Investigative Story 

In August 1944, a drab convoy of raw recruits destined to join the 28th Division lumbered along a windy French road strewn with dead animals, shattered bodies, and burning equipment. One of those draftees was 24-year-old Eddie Slovik, a petty thief from Detroit who had spent his youth in and out of reform schools. Eddie's luck had recently changed, however, with a steady factory job and marriage to a beautiful girl who gave Eddie hope and security for the first time in his life. But their honeymoon—like that of many other wartime newlyweds—was interrupted by the call to service. The convoy came under intense artillery fire, and in the confusion Slovik became separated from his unit. He joined a Canadian outfit and traveled with them before finally reporting to the 28th Division. He carried a rifle but no ammunition. He was assigned to a platoon but walked away. Refusing to kill, Slovik was arrested, court martialed, and condemned to death. Hundreds of soldiers were tried for desertion during World War II and sentenced to die, but only Eddie Slovik paid the price, supposedly as a deterrent, yet word of the nature of his death was never officially released to the public.

In The Execution of Private Slovik, considered to be among the best investigative books ever written, journalist and author William Bradford Huie reconstructs this entire story with the full cooperation of the U.S. Army in order to find out what made Eddie Slovik an unlikely pacifist and why the affair was covered up. Through interviews with those who knew him and the hundreds of letters to his wife, the author reveals a hard luck depression-era kid who when faced with the reality of war realized that he simply could not kill another human being. Throughout, Huie reveals how Eddie Slovik's death has much to tell us about life and duty to one's country. This edition marking the seventy-fifth anniversary of the sentence being carried out, contains a new introduction by the author's daughter.

Praise for The Execution of Private Slovik:

"In the hands of an expert, who writes both passionately and with an almost transparent effort to be fair to all concerned, the story raises questions to which our wisest leaders still lack satisfying answers."
—New York Times

"A remarkable story reported by a master."—W. E. B. Griffin 

"Recommended reading for all military historians."—Military Affairs

"Tremendously moving."—The Atlantic

"It is very likely that William Bradford Huie's The Execution of Private Slovikwill long survive the official histories of World War II. It is a big book and Mr. Huie deserves some sort of rich reward for this unburying of an incident of the war which must disturb us all. For Slovik was more than a 'coward.' He not only did not want to die but he did not want to kill, and one must look far in literature for a figure so moving as Private Slovik wandering about Europe not with bullets in his cartridge belt but with writing paper. The question is not 'How might we improve military procedures?' The question is, 'What has happened to love in our world when he who would rather love than kill must die?'"—from a letter to the New York Times

Publisher's Note: A new edition of this book is available, ISBN 978-1-59416-337-1.

This book is about murder—in life and in art—and about how we look at it and feel about it. At the center of Wendy Lesser’s investigation is a groundbreaking legal case in which a federal court judge was asked to decide whether a gas chamber execution would be broadcast on public television. Our grim and seemingly endless fascination with murder gets its day in court as Lesser conducts us through the proceedings, pausing along the way to reflect on the circumstances of violent death in our culture. Her book, itself a murder mystery of sorts, circling suspensefully around a central point, is also a meditation on murder in a civilized society—what we make of it in law, morality, and art.

Lesser narrates the trial with a sharp eye for detail and an absorbing sense of character. Questions that arise in the courtroom conjure other, broader ones: why are we drawn to murder, as an act and as a spectacle? Who in a murder story are we drawn to—victim, murderer, detective? Is such interest, even pleasure, morally suspect? Lesser’s reflections on these questions follow the culture in its danse macabre, from Norman Mailer’s Executioner’s Song to the Jacobean play The Changeling, from Errol Morris’s documentary The Thin Blue Line to Crime and Punishment, from Janet Malcolm’s The Journalist and the Murderer to Jim Thompson’s The Killer Inside Me, from Weegee’s photographs to television’s movie of the week. Always anchored in the courtroom, where the question of murder as theater is being settled in immediate, human terms, this circle of thought widens outward to the increasingly blurred borderline between real and fictional murder, between event and story, between murder as news and as art. As gripping as its subject, Pictures at an Execution ultimately brings us face to face with our own most disturbing cultural impulses.

In the winter of 1692 something terrible and frightening began in Salem Village. It started with several villagers having strange fits, screaming, and unnaturally contorting themselves, and ended with almost two hundred people in jail, and at least twenty-five dead. Witchcraft accusations—claims that some inhabitants had forsaken God to become servants of the Devil—spread from Salem Village across Massachusetts, ensnaring innocent people from all strata of society under a burden of assumed guilt. One of the most significant accusations, and most unlikely, was against a seventy-one-year-old grandmother, Rebecca Nurse.
   The accusations against Nurse, a well-respected member in the community, seemed unbelievable. Unflinchingly, this ailing elderly woman insisted on her innocence and refused to falsely confess. Supported by many in Salem, Nurse’s family and neighbors challenged her accusers in court and prepared a thorough defense for her, yet nothing could surmount the fear of witchcraft, and she was sentenced to death. Nurse, seen as a martyr for the truth, later became the first person accused of witchcraft to be memorialized in North America.
    In A Salem Witch: The Trial, Execution, and Exoneration of Rebecca Nurse, the first full account of Nurse’s life, Daniel A. Gagnon vividly recreates seventeenth-century Salem, and in the process challenges previous interpretations of Nurse’s life and the 1692 witch hunt in general. Through primary source research, he reveals how the Nurse family’s role in several disputes prior to the witch hunt was different than previously thought, as well as how Nurse’s case helps answer the important question of whether the accusations of witchcraft were caused by mental illness or malicious intent. A Salem Witch reveals a remarkable woman whose legacy has transformed how the witch hunt has been remembered and memorialized.