"Days, months, and years were given to us by nature, but we invented the week for ourselves. There is nothing inevitable about a seven-day cycle, or about any other kind of week; it represents an arbitrary rhythm imposed on our activities, unrelated to anything in the natural order. But where the week exists—and there have been many cultures where it doesn't—it is so deeply embedded in our experience that we hardly ever question its rightness, or think of it as an artificial convention; for most of us it is a matter of 'second nature.'

"Rabkin selects The Merchant of Venice, Henry V, Antony and Cleopatra, Julius Caesar, Richard III, Macbeth, Coriolanus, The Winter's Tale, and The Tempest as the plays on which to build his argument, and he teaches us a great deal about these plays. . . . To convince the unbelievingthat that the plays do mean, but that the meaning is coterminous with the experience of the plays themselves, Rabkin finds a strategy more subtle than thesis and rational argument, a strategy designed to make us see for ourselves why thematic descriptions are inadequate, see for ourselves tath the plays mean more than and statement about them can ever suggest." –Barbara A. Mowat, Auburn University

"Norman Rabkin's new book is a very different kind of good book. Elegantly spare, sharp, undogmatic. . . . The relationship between the perception of unity and the perception of artistic achievement is a basic conundrum, and it is one that Mr. Rabkin has courageously placed at the center of his discussion." –G. K. Hunter, Sewanee Review

"Rabkin's book is brilliant, taut, concise, beautifully argued, and sensitively responsive to the individuality of particular Shakespeare plays." –Anne Barton, New York Review of Books

Today, buying shoes, wearing shoes, and collecting shoes is for many of us a habit that borders on fetish. Shoe lover or not, we all make choices every day about which shoes to wear. But why do we choose the footwear we do?

In Shoes: The Meaning of Style, Elizabeth Semmelhack explores the history of shoes and how different types of footwear have come to say varying things about the people who wear them. Organized around four main shoe types—boots, sneakers, high heels, and sandals—the book explains their origins, the impact of technology on how shoes are produced and worn, and explores their designs, describing how shoes now have social meaning far beyond their use to protect the foot. She considers how some footwear has been used to protect power structures and perpetuate cultural values, while other footwear has been worn in protest of prevailing cultural norms despite simultaneously being an unabashed product of consumer capitalism. Along the way, Semmelhack reveals the scandals, successes, and obsessions of the designers and consumers that have built the juggernaut shoe industry.

Beautifully illustrated throughout, Shoes is a surprising history of an everyday piece of attire. It will appeal not only to followers of fashion, but to those interested in social history and identity.

At an ecopark in Mexico, tourists pretend to be illegal migrants, braving inhospitable terrain and the U.S. Border Patrol as they attempt to cross the border. At a living history museum in Indiana, daytime visitors return after dark to play fugitive slaves on the Underground Railroad. In the Mojave Desert, the U.S. Army simulates entire provinces of Iraq and Afghanistan, complete with bustling villages, insurgents, and Arabic-speaking townspeople, to train soldiers for deployment to the Middle East. At a nursing home, trainees put on fogged glasses and earplugs, thick bands around their finger joints, and sandbag harnesses to simulate the effects of aging and to gain empathy for their patients.

These immersive environments in which spectator-participants engage in simulations of various kinds—or “simming”—are the subject of Scott Magelssen’s book. His book lays out the ways in which simming can provide efficacy and promote social change through affective, embodied testimony. Using methodology from theater history and performance studies (particularly as these fields intersect with cultural studies, communication, history, popular culture, and American studies), Magelssen explores the ways these representational practices produce, reify, or contest cultural and societal perceptions of identity.

Making and experiencing stories, remembering and retelling them is something we all do. We tell stories over meals, at the water cooler, and to both friends and strangers. But how do stories work? What is it about telling and listening to stories that unites us? And, more importantly, how do we change them-and how do they change us?

In The Story Is True, author, filmmaker, and photographer Bruce Jackson explores the ways we use the stories that become a central part of our public and private lives. He examines, as no one before has, how stories narrate and bring meaning to our lives, by describing and explaining how stories are made and used. The perspectives shared in this engaging book come from the tellers, writers, filmmakers, listeners, and watchers who create and consume stories.

Jackson writes about his family and friends, acquaintances and experiences, focusing on more than a dozen personal stories. From oral histories, such as conversations the author had with poet Steven Spender, to public stories, such as what happened when Bob Dylan "went electric" at the 1965 Newport Folk Festival. Jackson also investigates how "words can kill" showing how diction can be an administrator of death, as in Nazi extermination camps. And finally, he considers the way lies come to resemble truth, showing how the stories we tell, whether true or not, resemble truth to the teller.

Ultimately, The Story Is True is about the place of stories-fiction or real-and the impact they have on the lives of each one of us.

Swedenborg’s Secret is the first major study of the eighteenth-century Swedish philosopher and mystic Emanuel Swedenborg (1688–1772) to be published in English for over fifty years, being a translation of the critically acclaimed Swedish biography Swedenborg’s Hemlighet (1999). Beautifully designed and illustrated throughout with ten color plates and forty-four black-and-white pictures, Swedenborg’s Secret is an authoritative and full-length biography that is immensely readable.
 
Using a wealth of historical material, Lars Bergquist paints a vivid portrait of an ambitious and practical man who was one of the greatest figures of the Enlightenment, a polymath who was a poet, inventor, mathematician, mineralogist, anatomist, and cosmologist. Bergquist also reveals Swedenborg to be a “man of two worlds,” someone who not only played an active part in the political life of his nation but who was also a spiritual visionary, setting out a stunning vision of human destiny in works such as Heaven and Hell and New Jerusalem. Swedenborg’s Secret reclaims Swedenborg from the margins of contemporary thought and places him where he belongs: as a founding figure of modern spirituality and Western philosophy.
 
The book also contains a chronology of Swedenborg’s life and contemporary events, an appendix listing the contents of Swedenborg’s personal library and other books he was known to have owned or read, a comprehensive bibliography, and a full index.