Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols: that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk. "I am an antichrist!" shouted singer Johnny Rotten--where in the world of pop music did that come from? Looking for an answer, with a high sense of the drama of the journey, Marcus takes us down the dark paths of counterhistory, a route of blasphemy, adventure, and surprise.

This is no mere search for cultural antecedents. Instead, what Marcus so brilliantly shows is that various kinds of angry, absolute demands--demands on society, art, and all the governing structures of everyday life--seem to be coded in phrases, images, and actions passed on invisibly, but inevitably, by people quite unaware of each other. Marcus lets us hear strange yet familiar voices: of such heretics as the Brethren of the Free Spirit in medieval Europe and the Ranters in seventeenth-century England; the dadaists in Zurich in 1916 and Berlin in 1918, wearing death masks, chanting glossolalia; one Michel Mourre, who in 1950 took over Easter Mass at Notre-Dame to proclaim the death of God; the Lettrist International and the Situationist International, small groups of Paris--based artists and writers surrounding Guy Debord, who produced blank-screen films, prophetic graffiti, and perhaps the most provocative social criticism of the 1950s and '60s; the rioting students and workers of May '68, scrawling cryptic slogans on city walls and bringing France to a halt; the Sex Pistols in London, recording the savage "Anarchy in the U.K." and "God Save the Queen."

Although the Sex Pistols shape the beginning and the end of the story, Lipstick Traces is not a book about music; it is about a common voice, discovered and transmitted in many forms. Working from scores of previously unexamined and untranslated essays, manifestos, and filmscripts, from old photographs, dada sound poetry, punk songs, collages, and classic texts from Marx to Henri Lefebvre, Marcus takes us deep behind the acknowledged events of our era, into a hidden tradition of moments that would seem imaginary except for the fact that they are real: a tradition of shared utopias, solitary refusals, impossible demands, and unexplained disappearances. Written with grace and force, humor and an insistent sense of tragedy and danger, Lipstick Traces tells a story as disruptive and compelling as the century itself.

Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols: that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk. “I am an antichrist!” shouted singer Johnny Rotten—where in the world of pop music did that come from? Looking for an answer, with a high sense of the drama of the journey, Marcus takes us down the dark paths of counterhistory, a route of blasphemy, adventure, and surprise.

This is no mere search for cultural antecedents. Instead, what Marcus so brilliantly shows is that various kinds of angry, absolute demands—demands on society, art, and all the governing structures of everyday life—seem to be coded in phrases, images, and actions passed on invisibly, but inevitably, by people quite unaware of each other. Marcus lets us hear strange yet familiar voices: of such heretics as the Brethren of the Free Spirit in medieval Europe and the Ranters in seventeenth-century England; the dadaists in Zurich in 1916 and Berlin in 1918, wearing death masks, chanting glossolalia; one Michel Mourre, who in 1950 took over Easter Mass at Notre-Dame to proclaim the death of God; the Lettrist International and the Situationist International, small groups of Paris—based artists and writers surrounding Guy Debord, who produced blank-screen films, prophetic graffiti, and perhaps the most provocative social criticism of the 1950s and ’60s; the rioting students and workers of May ’68, scrawling cryptic slogans on city walls and bringing France to a halt; the Sex Pistols in London, recording the savage “Anarchy in the U.K.” and “God Save the Queen.”

Although the Sex Pistols shape the beginning and the end of the story, Lipstick Traces is not a book about music; it is about a common voice, discovered and transmitted in many forms. Working from scores of previously unexamined and untranslated essays, manifestos, and filmscripts, from old photographs, dada sound poetry, punk songs, collages, and classic texts from Marx to Henri Lefebvre, Marcus takes us deep behind the acknowledged events of our era, into a hidden tradition of moments that would seem imaginary except for the fact that they are real: a tradition of shared utopias, solitary refusals, impossible demands, and unexplained disappearances. Written with grace and force, humor and an insistent sense of tragedy and danger, Lipstick Traces tells a story as disruptive and compelling as the century itself.

Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture

In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism.

As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda.

Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.

With all the intrigue and twists of a mystery, Questions for Freud uncovers the paradoxes that riddle psychoanalysis today and traces them to Freud's vacillation at key points in his work--and from there to a traumatic event in Freud's life.

What role did censored family history play in shaping Freud's psychological inquiries, promoting and impeding them by turns? With this question in mind, Nicholas Rand and Maria Torok develop a new biographical and conceptual approach to psychoanalysis, one that outlines Freud's contradictory theories of mental functioning against the backdrop of his permanent lack of insight into crucial and traumatic aspects of his immediate family's life. Taking us through previously unpublished documents and Freud's dreams, his clinical work and institutional organization, the authors show how a shameful event in 1865 that shook Freud and his family can help explain the internal clashes that later beset his work--on the origins of neurosis, reality, trauma, fantasy, sexual repression, the psychoanalytic study of literature, and dream interpretation.

Steeped in the history, theory, and practice of psychoanalysis, this book offers a guide to the wary, a way of understanding the flaws and contradictions of Freud's thought without losing sight of its significance. This book will alter the terms of the current debate about the standing of psychoanalysis and Freud.

A revealing and authoritative history that shows how Soviet whalers secretly helped nearly destroy endangered whale populations, while also contributing to the scientific understanding necessary for these creatures’ salvation.
 
The Soviet Union killed over six hundred thousand whales in the twentieth century, many of them illegally and secretly. That catch helped bring many whale species to near extinction by the 1970s, and the impacts of this loss of life still ripple through today’s oceans. In this new account, based on formerly secret Soviet archives and interviews with ex-whalers, environmental historian Ryan Tucker Jones offers a complete history of the role the Soviet Union played in the whales’ destruction. As other countries—especially the United States, Great Britain, Japan, and Norway—expanded their pursuit of whales to all corners of the globe, Stalin determined that the Soviet Union needed to join the hunt. What followed was a spectacularly prodigious, and often wasteful, destruction of humpback, fin, sei, right, and sperm whales in the Antarctic and the North Pacific, done in knowing violation of the International Whaling Commission’s rules. Cold War intrigue encouraged this destruction, but, as Jones shows, there is a more complex history behind this tragic Soviet experiment. Jones compellingly describes the ultimate scientific irony: today’s cetacean studies benefited from Soviet whaling, as Russian scientists on whaling vessels made key breakthroughs in understanding whale natural history and behavior. And in a final twist, Red Leviathan reveals how the Soviet public began turning against their own country’s whaling industry, working in parallel with Western environmental organizations like Greenpeace to help end industrial whaling—not long before the world’s whales might have disappeared altogether.

Late antique muckraking.

Procopius, born at Caesarea in Palestine late in the fifth century, became a lawyer. In AD 527 he was made legal adviser and secretary of Belisarius, commander against the Persians, and went with Belisarius again in 533 against the Vandals and in 535 against the Ostrogoths. Sometime after 540 he returned to Constantinople. He may have been that Procopius who was prefect of Constantinople in 562, but the date of his death (after 558) is unknown.

Procopius’ History of the Wars in 8 books recounts the Persian Wars of emperors Justinus and Justinian down to 550 (2 books); the Vandalic War and after-events in Africa 532–546 (2 books); the Gothic War against the Ostrogoths in Sicily and Italy 536–552 (3 books); and a sketch of events to 554 (1 book). The whole consists largely of military history, with much information about peoples and places as well, and about special events. He was a diligent, careful, judicious narrator of facts and developments and shows good powers of description. He is just to the empire’s enemies and boldly criticizes emperor Justinian. Other works by Procopius are the Anecdota or Secret History—vehement attacks on Justinian, Theodora, and others; and the Buildings of Justinian (down to AD 558) including roads and bridges as well as churches, forts, hospitals, and so on in various parts of the empire.

The Loeb Classical Library edition of Procopius is in seven volumes.