front cover of Freaks of Fortune
Freaks of Fortune
The Emerging World of Capitalism and Risk in America
Jonathan Levy
Harvard University Press, 2012

Until the early nineteenth century, “risk” was a specialized term: it was the commodity exchanged in a marine insurance contract. Freaks of Fortune tells the story of how the modern concept of risk emerged in the United States. Born on the high seas, risk migrated inland and became essential to the financial management of an inherently uncertain capitalist future.

Focusing on the hopes and anxieties of ordinary people, Jonathan Levy shows how risk developed through the extraordinary growth of new financial institutions—insurance corporations, savings banks, mortgage-backed securities markets, commodities futures markets, and securities markets—while posing inescapable moral questions. For at the heart of risk’s rise was a new vision of freedom. To be a free individual, whether an emancipated slave, a plains farmer, or a Wall Street financier, was to take, assume, and manage one’s own personal risk. Yet this often meant offloading that same risk onto a series of new financial institutions, which together have only recently acquired the name “financial services industry.” Levy traces the fate of a new vision of personal freedom, as it unfolded in the new economic reality created by the American financial system.

Amid the nineteenth-century’s waning faith in God’s providence, Americans increasingly confronted unanticipated challenges to their independence and security in the boom and bust chance-world of capitalism. Freaks of Fortune is one of the first books to excavate the historical origins of our own financialized times and risk-defined lives.

[more]

logo for Intellect Books
Freaks of History
Two Performance Texts
James MacDonald
Intellect Books, 2017
Disability studies have long been the domain of medical and pedagogical academics. However, in recent years, the subject has outgrown its clinical origins. In Freaks of History, James MacDonald presents two dramatic explorations of disability within the wider themes of sexuality, gender, foreignness, and the other. Originally directed by Martin Harvey and performed by undergraduate students at the University of Exeter, Wellclose Square and Unsex Me Here analyze cultural marginalization against the backdrop of infamous historical events.
            MacDonald, who is cerebral palsied, recognizes that disability narratives are rarely written by and for disabled people. Therefore his plays, accompanied by critical essays and director’s notes, are a welcome addition to the emerging discourse of Crip theory, and essential reading for disability students and academics alike.
[more]

front cover of Never One Nation
Never One Nation
Freaks, Savages, and Whiteness in U.S. Popular Culture, 1850-1877
Linda Frost
University of Minnesota Press, 2005
In Never One Nation, Linda Frost argues that during the eventful decades surrounding the Civil War, American identity was constructed not only nationally but also locally. Depictions of race, class, and sexuality seen in P. T. Barnum's museums, in the image of the Circassian Beauty, and in popular periodicals like Harper's Weekly, the Southern Illustrated News, and the San Francisco Golden Era further illustrated who was - and who was not - an American. Local coverage of Native Americans and Chinese in the West, African Americans and recent Irish immigrants in New York, and slaves and Yankees in the South played a major role in conflating Americanness with whiteness. These ideas were shaped by reactions to events such as the 1863 Draft Riots and the Dakota uprising in Minnesota in 1862, and laid bare through the demonization of Northern whites in Confederate newspapers and anxieties expressed in California newspapers about the possibility of Chinese immigrants gaining U.S. citizenship. Through close readings of specific articles published in regional periodicals, mostly unexamined by literary scholars, Frost shows how Americanness came to be defined in the mid-nineteenth century by the mainstream popular culture. The era's many social upheavals - Emancipation, Reconstruction, the start of the Indian wars in the West, immigration, and the completion of the transcontinental railroad - sharpened the desire of Americans to feel part of a national community, even as they made this search for an American identity extremely contentious and necessarily fragmented. Never One Nation provocatively reframes the discourse on racial formation and reveals how local cultures and prejudices can recast the identity of a nation.
[more]

logo for Intellect Books
Russia, Freaks and Foreigners
Three Performance Texts
James MacDonald
Intellect Books, 2008
Russia, Freaks and Foreigners is a collection of three thematically linked plays set against the backdrop of a fractured, post-Soviet Russian society. Written by acclaimed playwright James MacDonald, who has cerebral palsy, these performance texts critique accepted notions of normality within authority, offering various models of difference—physical, cultural, and moral—and their stories of dislocation. Their themes, contextualized here by companion essays, expand the boundaries of British drama and connect to the comic grotesque tradition by giving the “abnormal” a broad appeal. Russia, Freaks and Foreigners is a daring portrayal of disability from the inside.
 
[more]

front cover of Sideshow U.S.A.
Sideshow U.S.A.
Freaks and the American Cultural Imagination
Rachel Adams
University of Chicago Press, 2001
A staple of American popular culture during the nineteenth and early twentieth centuries, the freak show seemed to vanish after the Second World War. But as Rachel Adams reveals in Sideshow U.S.A., images of the freak show, with its combination of the grotesque, the horrific, and the amusing, stubbornly reappeared in literature and the arts. Freak shows, she contends, have survived because of their capacity for reinvention. Empty of any inherent meaning, the freak's body becomes a stage for playing out some of the twentieth century's most pressing social and political concerns, from debates about race, empire, and immigration, to anxiety about gender, and controversies over taste and public standards of decency.

Sideshow U.S.A. begins by revisiting the terror and fascination the original freak shows provided for their audiences, as well as exploring the motivations of those who sought fame and profit in the business of human exhibition. With this history in mind, Adams turns from live entertainment to more mediated forms of cultural expression: the films of Tod Browning, the photography of Diane Arbus, the criticism of Leslie Fiedler, and the fiction Carson McCullers, Toni Morrison, and Katherine Dunn. Taken up in these works of art and literature, the freak serves as a metaphor for fundamental questions about self and other, identity and difference, and provides a window onto a once vital form of popular culture.

Adams's study concludes with a revealing look at the revival of the freak show as live performance in the late 1980s and the 1990s. Celebrated by some, the freak show's recent return is less welcome to those who have traditionally been its victims. At the beginning of a new century, Adams sees it as a form of living history, a testament to the vibrancy and inventiveness of American popular culture, as well as its capacity for cruelty and injustice.

"Because of its subject matter, this interesting and complex study is provocative, as well as thought-provoking."—Virginia Quarterly Review
[more]


Send via email Share on Facebook Share on Twitter