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Sex can be an oppressive force, a tool to shame, divide, and control a population. But it can also be a force for change, for the legal and physical challenge of inequity and injustice. In West of Sex, Pablo Mitchell uses court transcripts and criminal cases to provide the first coherent picture of Mexican-American sexuality at the turn of the twentieth century, and a truly revelatory look at sexual identity in the borderlands.

As Mexicans faced a rising tide of racial intolerance in the American West, some found cracks in the legal system that enabled them to assert their rights as full citizens, despite institutional hostility. In these chapters, Mitchell offers a rare glimpse into the inner workings of ethnicity and power in the United States, placing ordinary Mexican women and men at the center of the story of American sex, colonialism, and belonging.

Other chapters discuss topics like prostitution, same-sex intimacy, sexual violence, interracial romance, and marriage with an impressive level of detail and complexity. Written in vivid and accessible prose, West of Sex offers readers a new vision of sex and race in American history.

In recent years political, religious, and scientific communities have engaged in an ethical debate regarding the development of and research on embryonic stem cells. Does the manipulation of embryonic stem cells destroy human life? Or do limitations imposed on stem cell research harm patients who might otherwise benefit?

 

John Lynch’s What Are Stem Cells? identifies the moral stalemate between the rights of the embryo and the rights of the patient and uses it as the framework for a larger discussion about the role of definitions as a key rhetorical strategy in the debate. In the case of stem cells, the controversy arises from the manner in which stem cells are defined--in particular, whether they are defined with an appeal to their original source or to their future application. Definitions such as these, Lynch argues, are far more than convenient expository references; they determine the realities of any given social discourse.

 

Lynch addresses definitions conceptually--their stability in the face of continual technological innovation, their versatility at the crossroads of scientific and public forums, and their translations and retranslations through politics. Most importantly, his work recognizes definitions as central to issues, not only within the topic of stem cell research, but also in all argumentation.

In What Does It Mean to Be Post-Soviet? Madina Tlostanova traces how contemporary post-Soviet art mediates this human condition. Observing how the concept of the happy future—which was at the core of the project of Soviet modernity—has lapsed from the post-Soviet imagination, Tlostanova shows how the possible way out of such a sense of futurelessness lies in the engagement with activist art. She interviews artists, art collectives, and writers such as Estonian artist Liina Siib, Uzbek artist Vyacheslav Akhunov, and Azerbaijani writer Afanassy Mamedov who frame the post-Soviet condition through the experience and expression of community, space, temporality, gender, and negotiating the demands of the state and the market. In foregrounding the unfolding aesthesis and activism in the post-Soviet space, Tlostanova emphasizes the important role that decolonial art plays in providing the foundation upon which to build new modes of thought and a decolonial future.

To go by today’s critics of the news media—who have created a virtual cottage industry—American journalism has reached a nadir. Yet with all its well-documented faults, journalism is vital to the health of our democracy, the glue of information that holds this complex nation together. This book shows the most important roles that journalism plays in the world’s oldest democracy. Two seasoned educators and practitioners of journalism have assembled a team of writers who look beyond the critics to show that there is much to be praised about the state of American journalism today.

            Journalism tells us most of what we know about the world beyond our own experience by going where its audience cannot or will not. It keeps watch on the government and other powerful institutions, exposes wrongdoing and injustice, and shares the endless fascinations of everyday life. Through stories of real people, this book forcefully argues that American journalism is better than its critics admit and a force for good in the lives of both individuals and the nation. Like the exemplary journalism it describes, it offers dozens of instances that show how good journalistic practices enrich the daily lives of citizens and enable them to play their own roles in the democracy.

            These essays offer a multifaceted view of the press, tracing the development of free expression through American history and showing how the principles of journalism that we take for granted are playing a revolutionary role in emerging democracies. They report the results of a unique national survey—undertaken for this book—revealing how Americans really view and use the press, and cite the successes of good reporting, from hometown newspapers to NPR. They show how investigative journalism and computer-assisted reporting unearth important truths and even create new knowledge and suggest how citizens can demand the good journalism they need.

            What good is journalism? This book spells out the answer through a conversation about journalism and democracy that offers both an antidote to the recent storm of ideologically based criticism of “liberal media” and a demonstration of the true worth of an institution essential to the protection of freedom. It provides today’s readers—and tomorrow’s journalists—a fresh perspective on the press to remind us where we would be without it.

What Is Your Quest? examines the future of electronic literature in a world where tablets and e-readers are becoming as common as printed books and where fans are blurring the distinction between reader and author. The construction of new ways of storytelling is already underway: it is happening on the edges of the mainstream gaming industry and in the spaces between media, on the foundations set by classic games. Along these margins, convergent storytelling allows for playful reading and reading becomes a strategy of play.

One of the earliest models for this new way of telling stories was the adventure game, the kind of game centered on quests in which the characters must overcome obstacles and puzzles. After they fell out of fashion in the 1990s, fans made strenuous efforts to keep them alive and to create new games in the genre. Such activities highlight both the convergence of game and story and the collapsing distinction between reader and author. Continually defying the forces of obsolescence, fans return abandoned games to a playable state and treat stories as ever-evolving narratives. Similarly, players of massive multiplayer games become co-creators of the game experience, building characters and creating social networks that recombine a reading and gaming community.

The interactions between storytellers and readers, between programmers and creators, and among  fans turned world-builders are essential to the development of innovative ways of telling stories. And at the same time that fan activities foster the convergence of digital gaming and storytelling, new and increasingly accessible tools and models for interactive narrative empower a broadening range of storytellers. It is precisely this interactivity among a range of users surrounding these new platforms that is radically reshaping both e-books and games and those who read and play with them.

We live in a world of breaking news, where at almost any moment our everyday routine can be interrupted by a faraway event. Events are central to the way that individuals and societies experience life. Even life’s inevitable moments—birth, death, love, and war—are almost always a surprise. Inspired by the cataclysmic events of September 11, Robin Wagner-Pacifici presents here a tour de force, an analysis of how events erupt and take off from the ground of ongoing, everyday life, and how they then move across time and landscape.

What Is an Event? ranges across several disciplines, systematically analyzing the ways that events emerge, take shape, gain momentum, flow, and even get bogged down. As an exploration of how events are constructed out of ruptures, it provides a mechanism for understanding eventful forms and flows, from the micro-level of individual life events to the macro-level of historical revolutions, contemporary terrorist attacks, and financial crises. Wagner-Pacifici takes a close look at a number of cases, both real and imagined, through the reports, personal narratives, paintings, iconic images, political posters, sculptures, and novels they generate and through which they live on. What is ultimately at stake for individuals and societies in events, Wagner-Pacifici argues, are identities, loyalties, social relationships, and our very experiences of time and space. What Is an Event? provides a way for us all—as social and political beings living through events, and as analysts reflecting upon them—to better understand what is at stake in the formations and flows of the events that mark and shape our lives.

What makes women sick? To an Ecuadorean woman, it’s nervios from constant worry about her children’s illnesses. To a woman working in a New Mexico electronics factory, it’s the solvents that leave her with a form of dementia. To a Ugandan woman, it’s HIV from her husband's sleeping with the widow of an AIDS patient. To a Bangladeshi woman, it’s a fatal infection following an IUD insertion. What they all share is a recognition that their sickness is somehow caused by  situations they face every day at home and at work.

In this clearly written and compelling book, Lesley Doyal investigates the effects of social, economic, and cultural conditions on women’s health. The “fault line” of gender that continues to divide all societies has, Doyal demonstrates, profound and pervasive consequences for the health of women throughout the world. Her broad synthesis highlights variations between men and women in patterns of health and illness, and it identifies inequalities in medical care that separate groups of women from each other. Doyal’s wide-ranging arguments, her wealth of data, her use of women’s voices from many cultures—and her examples of women mobilizing to find their own solutions—make this book required reading for everyone concerned with women’s health.

In recent decades, contemporary art has displayed an ever increasing and complicated fascination with the cinema—or, perhaps more accurately, as D. N. Rodowick shows, a certain memory of cinema. Contemporary works of film, video, and moving image installation mine a vast and virtual archive of cultural experience through elliptical and discontinuous fragments of remembered images, even as the lived experience of film and photography recedes into the past, supplanted by the digital.
            Rodowick here explores work by artists such as Ken Jacobs, Ernie Gehr, Victor Burgin, Harun Farocki, and others—artists who are creating forms that express a new historical consciousness of images. These forms acknowledge a complex relationship to the disappearing past even as they point toward new media that will challenge viewers’ confidence in what the images they see are or are becoming. What philosophy wants from images, Rodowick shows, is to renew itself conceptually through deep engagement with new forms of aesthetic experience.
 

What does poetry bring to business? According to Clare Morgan and her coauthors, it brings complexity and flexibility of thinking, along with the ability to empathize with and better understand the thoughts and feelings of others. Through her own experiences and many examples, Morgan demonstrates that the skills necessary to talk and think about poetry can be of significant benefit to leaders and strategists, to executives who are facing infinite complexity and who are armed with finite resources in a changing world.

What Poetry Brings to Business presents ways in which reading and thinking about poetry offer businesspeople new strategies for reflection on their companies, their daily tasks, and their work environments. The goal is both to increase and broaden readers' understanding of poems and how they convey meaning, and also to help readers develop analytical and cognitive skills that will be beneficial in a business context. The unique combinations and connections made in this book will open new avenues of thinking about poetry and business alike.

Clare Morgan is Director of the graduate creative writing programme at the University of Oxford. She has run workshops and given presentations on this topic in the United States, the United Kingdom, continental Europe, and Japan. Dr. Morgan is a fiction writer and critic, and a Fellow of the Royal Society of Arts.

Kirsten Lange and Ted Buswick are employed by The Boston Consulting Group, an international management consulting firm, she as Managing Director of the Munich office, he as head of Oral History and Archiving.

Jokes, puns, stories, tales, sketches, and shticks saturate our culture. And today the stuff of comedy is almost inescapable, with all-comedy cable channels and stand-up comics acting as a kind of electronic oracle. We're laughing more often, but what are we laughing at? Murray Davis knows. In this inventive book, he uses jokes (good, bad, offensive, and classic) to reveal the truths that comedians deliver. What's So Funny? is not about the psychology of humor but about the objects of our laughter—the world that comics turn upside down and inside out. It also explores the logic of comedy as a serious, critical assault on just about everything we take for granted.

Drawing on a vast array of jokes and the work of dozens of comedians from Jay Leno and Lenny Bruce to Steve Allen and Billy Crystal, Davis reminds us of the extraordinarily subversive power of comedy. When we laugh, we accept the truth of the comic moment: that this is the way life really is. The book is in two parts. In the first, Davis explores the cultural conventions that even simple jokes take apart—the rules of logic, language, rationality, and meaning. In the second, he looks at the social systems that have been at the root of jokes for centuries: authority figures, power relations, and institutions. Whatever their style, comedians use the tools of the trade—ambiguous meanings, missed signals, incongruous characters, unlikely events—to violate our expectations about the world.

Setting comedy within a rich intellectual tradition—from Plato to Freud, Hobbes to Kant, in philosophy as well as sociology—Davis makes a convincing case for comedy as a subtle, complex, and articulated theory of culture and society. He reveals the unsuspected ways in which comedy, with its spotlight on the gap between appearance and reality, the ideal and the actual, can be a powerful mode for understanding the world we have made.

From digital fingerprinting to iris and retina recognition, biometric identification systems are a multibillion dollar industry and an integral part of post-9/11 national security strategy. Yet these technologies often fail to work. The scientific literature on their accuracy and reliability documents widespread and frequent technical malfunction. Shoshana Amielle Magnet argues that these systems fail so often because rendering bodies in biometric code falsely assumes that people’s bodies are the same and that individual bodies are stable, or unchanging, over time. By focusing on the moments when biometrics fail, Magnet shows that the technologies work differently, and fail to function more often, on women, people of color, and people with disabilities. Her assessment emphasizes the state’s use of biometrics to control and classify vulnerable and marginalized populations—including prisoners, welfare recipients, immigrants, and refugees—and to track individuals beyond the nation’s territorial boundaries. When Biometrics Fail is a timely, important contribution to thinking about the security state, surveillance, identity, technology, and human rights.

In recent decades a growing number of middle-class parents have considered sending their children to—and often end up becoming active in—urban public schools. Their presence can bring long-needed material resources to such schools, but, as Linn Posey-Maddox shows in this study, it can also introduce new class and race tensions, and even exacerbate inequalities. Sensitively navigating the pros and cons of middle-class transformation, When Middle-Class Parents Choose Urban Schools asks whether it is possible for our urban public schools to have both financial security and equitable diversity.
           
Drawing on in-depth research at an urban elementary school, Posey-Maddox examines parents’ efforts to support the school through their outreach, marketing, and volunteerism. She shows that when middle-class parents engage in urban school communities, they can bring a host of positive benefits, including new educational opportunities and greater diversity. But their involvement can also unintentionally marginalize less-affluent parents and diminish low-income students’ access to the improving schools. In response, Posey-Maddox argues that school reform efforts, which usually equate improvement with rising test scores and increased enrollment, need to have more equity-focused policies in place to ensure that low-income families also benefit from—and participate in—school change. 

The state of Israel is often spoken of as a haven for the Jewish people, a place rooted in the story of a nation dispersed, wandering the earth in search of their homeland. Born in adversity but purportedly nurtured by liberal ideals, Israel has never known peace, experiencing instead a state of constant war that has divided its population along the stark and seemingly unbreachable lines of dissent around the relationship between unrestricted citizenship and Jewish identity.

 

By focusing on the perceptions and histories of Israel’s most marginalized stakeholders—Palestinian Israelis, Arab Jews, and non-Israeli Jews—Atalia Omer cuts to the heart of the Israeli-Arab conflict, demonstrating how these voices provide urgently needed resources for conflict analysis and peacebuilding. Navigating a complex set of arguments about ethnicity, boundaries, and peace, and offering a different approach to the renegotiation and reimagination of national identity and citizenship, Omer pushes the conversation beyond the bounds of the single narrative and toward a new and dynamic concept of justice—one that offers the prospect of building a lasting peace.

In When Sex Changed, Layne Parish Craig analyzes the ways literary texts responded to the political, economic, sexual, and social values put forward by the birth control movements of the 1910s to the 1930s in the United States and Great Britain.

Discussion of contraception and related topics (including feminism, religion, and eugenics) changed the way that writers depicted women, marriage, and family life. Tracing this shift, Craig compares disparate responses to the birth control controversy, from early skepticism by mainstream feminists, reflected in Charlotte Perkins Gilman’s Herland, to concern about the movement’s race and class implications suggested in Nella Larsen’s Quicksand, to enthusiastic speculation about contraception’s political implications, as in Virginia Woolf’s Three Guineas.

While these texts emphasized birth control’s potential to transform marriage and family life and emancipate women from the “slavery” of constant childbearing, birth control advocates also used less-than-liberatory language that excluded the poor, the mentally ill, non-whites, and others. Ultimately, Craig argues, the debates that began in these early political and literary texts—texts that document both the birth control movement’s idealism and its exclusionary rhetoric—helped shape the complex legacy of family planning and women’s rights with which the United States and the United Kingdom still struggle.

Breaking new ground in the understanding of sexuality's complex relationship to colonialism, When Sex Threatened the State illuminates the attempts at regulating prostitution in colonial Nigeria.
 
As Saheed Aderinto shows, British colonizers saw prostitution as an African form of sexual primitivity and a problem to be solved as part of imperialism's "civilizing mission". He details the Nigerian response to imported sexuality laws and the contradictory ways both African and British reformers advocated for prohibition or regulation of prostitution. Tracing the tensions within diverse groups of colonizers and the colonized, he reveals how wrangling over prostitution camouflaged the negotiating of separate issues that threatened the social, political, and sexual ideologies of Africans and Europeans alike.
 
The first book-length project on sexuality in early twentieth century Nigeria, When Sex Threatened the State combines the study of a colonial demimonde with an urban history of Lagos and a look at government policy to reappraise the history of Nigerian public life.

Despite its long history of encounters with colonialism, slavery, and neocolonialism, Panama continues to be an under-researched site of African Diaspora identity, culture, and performance. To address this void, Renée Alexander Craft examines an Afro-Latin Carnival performance tradition called “Congo” as it is enacted in the town of Portobelo, Panama—the nexus of trade in the Spanish colonial world. In When the Devil Knocks: The Congo Tradition and the Politics of Blackness in Twentieth-Century Panama, Alexander Craft draws on over a decade of critical ethnographic research to argue that Congo traditions tell the story of cimarronaje, charting self-liberated Africans’ triumph over enslavement, their parody of the Spanish Crown and Catholic Church, their central values of communalism and self-determination, and their hard-won victories toward national inclusion and belonging.
When the Devil Knocks analyzes the Congo tradition as a dynamic cultural, ritual, and identity performance that tells an important story about a Black cultural past while continuing to create itself in a Black cultural present. This book examines “Congo” within the history of twentieth century Panamanian etnia negra culture, politics, and representation, including its circulation within the political economy of contemporary tourism.

Where the Wind Blows Us unites critical practice with a community-based approach to archaeology. Author Natasha Lyons describes an inclusive archaeology that rests on a flexible but rigorous approach to research design and demonstrates a responsible, ethical practice. She traces the rise and application of community archaeologies, develops a wide-ranging set of methods for community practice, and maps out a “localized critical theory” that is suited to the needs of local and descendant communities as they pursue self-defined heritage goals. Localized critical theory aims to decenter the focus on global processes of capitalism in favor of the local processes of community dynamics. Where the Wind Blows Us emphasizes the role of individuals and the relationships they share with communities of the past and present.
 
Lyons offers an extended case study of her work with the Inuvialuit community of the Canadian Western Arctic. She documents the development of this longstanding research relationship and presents both the theoretical and practical products of the work to date. Integrating knowledge drawn from archaeology, ethnography, oral history, and community interviews, Lyons utilizes a multivocal approach that actively listens to Inuvialuit speak about their rich and textured history.
 
The overall significance of this volume lies in outlining a method of practicing archaeology that embraces local ways of knowing with a critically constructed and evolving methodology that is responsive to community needs. It will serve as a handbook to mine for elements of critical practice, a model of community-based archaeology, and a useful set of concepts and examples for classroom study.

What makes someone an authority? What makes one person's knowledge more credible than another's? In the ongoing debates over racial authenticity, some attest that we can know each other's experiences simply because we are all "human," while others assume a more skeptical stance, insisting that racial differences create unbridgeable gaps in knowledge.

Bringing new perspectives to these perennial debates, the essays in this collection explore the many difficulties created by the fact that white scholars greatly outnumber black scholars in the study and teaching of African American literature. Contributors, including some of the most prominent theorists in the field as well as younger scholars, examine who is speaking, what is being spoken and what is not, and why framing African American literature in terms of an exclusive black/white racial divide is problematic and limiting.

In highlighting the "whiteness" of some African Americanists, the collection does not imply that the teaching or understanding of black literature by white scholars is definitively impossible. Indeed such work is not only possible, but imperative. Instead, the essays aim to open a much needed public conversation about the real and pressing challenges that white scholars face in this type of work, as well as the implications of how these challenges are met.

In Who Counts? Diane M. Nelson explores the social life of numbers, teasing out the myriad roles math plays in Guatemalan state violence, economic exploitation, and disenfranchisement, as well as in Mayan revitalization and grassroots environmental struggles. In the aftermath of thirty-six years of civil war, to count—both numerically and in the sense of having value—is a contested and qualitative practice of complex calculations encompassing war losses, migration, debt, and competing understandings of progress. Nelson makes broad connections among seemingly divergent phenomena, such as debates over reparations for genocide victims, Ponzi schemes, and antimining movements. Challenging the presumed objectivity of Western mathematics, Nelson shows how it flattens social complexity and becomes a raced, classed, and gendered skill that colonial powers considered beyond the grasp of indigenous peoples. Yet the Classic Maya are famous for the precision of their mathematics, including conceptualizing zero long before Europeans. Nelson shows how Guatemala's indigenous population is increasingly returning to Mayan numeracy to critique systemic inequalities with the goal of being counted—in every sense of the word. 

 

Musical genres, musical instruments, and even songs can often capture the essence of a country's national character. In Whose National Music?, the first book-length study of Ecuadorian popular music, Ketty Wong explores Ecuadorians' views of their national identity in the twentieth and early twenty-first centuries through an examination of the music labels they use. Wong deftly addresses the notion of música nacional, an umbrella term for Ecuadorian popular songs often defined by the socio-economic, ethnic, racial, and generational background of people discussing the music.

Wong shows how the inclusion or exclusion of elite and working-class musics within the scope of música nacional articulate different social, ethnic, and racial configurations of the nation for white, mestizo, indigenous, and Afro-Ecuadorian populations.

Presenting a macropicture of what música nacional is—or should be—Whose National Music? provides a lively historical trajectory of a country's diverse musical scene.

Increasingly, educational researchers and policy-makers are finding that extracurricular programs make a major difference in the lives of disadvantaged youth, helping to reduce the infamous academic attainment gap between white students and their black and Latino peers. Yet studies of these programs typically focus on how they improve the average academic performance of their participants, paying little attention to individual variation.
 
Why Afterschool Matters takes a different approach, closely following ten Mexican American students who attended the same extracurricular program in California, then chronicling its long-term effects on their lives, from eighth grade to early adulthood. Discovering that participation in the program was life-changing for some students, yet had only a minimal impact on others, sociologist Ingrid A. Nelson investigates the factors behind these very different outcomes. Her research reveals that while afterschool initiatives are important, they are only one component in a complex network of school, family, community, and peer interactions that influence the educational achievement of disadvantaged students.
 
Through its detailed case studies of individual students, this book brings to life the challenges marginalized youth en route to college face when navigating the intersections of various home, school, and community spheres. Why Afterschool Matters may focus on a single program, but its findings have major implications for education policy nationwide.

From immigrant ghetto love stories such as The Cohens and the Kellys (1926), through romantic comedies including Meet the Parents (2000) and Knocked Up (2007), to television series such as Transparent (2014–), Jewish-Christian couplings have been a staple of popular culture for over a century. In these pairings, Joshua Louis Moss argues, the unruly screen Jew is the privileged representative of progressivism, secular modernism, and the cosmopolitan sensibilities of the mass-media age. But his/her unruliness is nearly always contained through romantic union with the Anglo-Christian partner. This Jewish-Christian meta-narrative has recurred time and again as one of the most powerful and enduring, although unrecognized, mass-culture fantasies.

Using the innovative framework of coupling theory, Why Harry Met Sally surveys three major waves of Jewish-Christian couplings in popular American literature, theater, film, and television. Moss explores how first-wave European and American creators in the early twentieth century used such couplings as an extension of modernist sensibilities and the American “melting pot.” He then looks at how New Hollywood of the late 1960s revived these couplings as a sexually provocative response to the political conservatism and representational absences of postwar America. Finally, Moss identifies the third wave as emerging in television sitcoms, Broadway musicals, and “gross-out” film comedies to grapple with the impact of American economic globalism since the 1990s. He demonstrates that, whether perceived as a threat or a triumph, Jewish-Christian couplings provide a visceral, easily graspable, template for understanding the rapid transformations of an increasingly globalized world.

Why did America invade Iraq? Why do nations choose to fight certain wars and not others? How do we bring ourselves to believe that the sacrifice of our troops is acceptable? For most, the answers to these questions are tied to struggles for power or resources and the machinations of particular interest groups. Philip Smith argues that this realist answer to the age-old "why war?" question is insufficient. Instead, Smith suggests that every war has its roots in the ways we tell and interpret stories.

Comprised of case studies of the War in Iraq, the Gulf War, and the Suez Crisis, Why War? decodes the cultural logic of the narratives that justify military action. Each nation, Smith argues, makes use of binary codes—good and evil, sacred and profane, rational and irrational, to name a few. These codes, in the hands of political leaders, activists, and the media, are deployed within four different types of narratives—mundane, tragic, romantic, or apocalyptic. With this cultural system, Smith is able to radically recast our "war stories" and show how nations can have vastly different understandings of crises as each identifies the relevant protagonists and antagonists, objects of struggle, and threats and dangers.

The large-scale sacrifice of human lives necessary in modern war, according to Smith, requires an apocalyptic vision of world events. In the case of the War in Iraq, for example, he argues that the United States and Britain replicated a narrative of impending global doom from the Gulf War. But in their apocalyptic account they mistakenly made the now seemingly toothless Saddam Hussein once again a symbol of evil by writing him into the story alongside al Qaeda, resulting in the war's contestation in the United States, Britain, and abroad.

Offering an innovative approach to understanding how major wars are packaged, sold, and understood, Why War? will be applauded by anyone with an interest in military history, political science, cultural studies, and communication.

Triathlons, such as the famously arduous Ironman Triathlon, and “extreme” mountain biking—hair-raising events held over exceedingly dangerous terrain—are prime examples of the new “lifestyle sports” that have grown in recent years from oddball pursuits, practiced by a handful of characters, into multi-million-dollar industries. In Why Would Anyone Do That? sociologist Stephen C. Poulson offers a fascinating exploration of these new and physically demanding sports, shedding light on why some people find them so compelling.

 

Drawing on interviews with lifestyle sport competitors, on his own experience as a participant, on advertising for lifestyle sport equipment, and on editorial content of adventure sport magazines, Poulson addresses a wide range of issues. He notes that these sports are often described as “authentic” challenges which help keep athletes sane given the demands they confront in their day-to-day lives. But is it really beneficial to “work” so hard at “play?” Is the discipline required to do these sports really an expression of freedom, or do these sports actually impose extraordinary degrees of conformity upon these athletes? Why Would Anyone Do That? grapples with these questions, and more generally with whether lifestyle sport should always be considered “good” for people. 

 

Poulson also looks at what happens when a sport becomes a commodity—even a sport that may have begun as a reaction against corporate and professional sport—arguing that commodification inevitably plays a role in determining who plays, and also how and why the sport is played. It can even help provide the meaning that athletes assign to their participation in the sport. Finally, the book explores the intersections of race, class, and gender with respect to participation in lifestyle and endurance sports, noting in particular that there is a near complete absence of people of color in most of these contests. In addition, Poulson examines how concepts of masculinity in triathlons have changed as women’s roles in this sport increase.

 

 

Conundrums, puzzles, and perversities: these are Leo Katz’s stock-in-trade, and in Why the Law Is So Perverse, he focuses on four fundamental features of our legal system, all of which seem to not make sense on some level and to demand explanation. First, legal decisions are essentially made in an either/or fashion—guilty or not guilty, liable or not liable, either it’s a contract or it’s not—but reality is rarely as clear-cut. Why aren’t there any in-between verdicts? Second, the law is full of loopholes. No one seems to like them, but somehow they cannot be made to disappear. Why? Third, legal systems are loath to punish certain kinds of highly immoral conduct while prosecuting other far less pernicious behaviors. What makes a villainy a felony? Finally, why does the law often prohibit what are sometimes called win-win transactions, such as organ sales or surrogacy contracts?

           

Katz asserts that these perversions arise out of a cluster of logical difficulties related to multicriterial decision making. The discovery of these difficulties dates back to Condorcet’s eighteenth-century exploration of voting rules, which marked the beginning of what we know today as social choice theory. Condorcet’s voting cycles, Arrow’s Theorem, Sen’s Libertarian Paradox—every seeming perversity of the law turns out to be the counterpart of one of the many voting paradoxes that lie at the heart of social choice. Katz’s lucid explanations and apt examples show why they resist any easy resolutions.

           

The New York Times Book Review called Katz’s first book “a fascinating romp through the philosophical side of the law.” Why the Law Is So Perverse is sure to provide its readers a similar experience.

Forests have been at the fault lines of contact between African peasant communities in the Tanzanian coastal hinterland and outsiders for almost two centuries. In recent decades, a global call for biodiversity preservation has been the main challenge to Tanzanians and their forests.

Thaddeus Sunseri uses the lens of forest history to explore some of the most profound transformations in Tanzania from the nineteenth century to the present. He explores anticolonial rebellions, the world wars, the depression, the Cold War, oil shocks, and nationalism through their intersections with and impacts on Tanzania’s coastal forests and woodlands. In Wielding the Ax, forest history becomes a microcosm of the origins, nature, and demise of colonial rule in East Africa and of the first fitful decades of independence.

Wielding the Ax is a story of changing constellations of power over forests, beginning with African chiefs and forest spirits, both known as “ax–wielders,” and ending with international conservation experts who wield scientific knowledge as a means to controlling forest access. The modern international concern over tropical deforestation cannot be understood without an awareness of the long–term history of these forest struggles.

Few virtues are as celebrated in contemporary culture as openness. Rooted in software culture and carrying more than a whiff of Silicon Valley technical utopianism, openness—of decision-making, data, and organizational structure—is seen as the cure for many problems in politics and business.
 
But what does openness mean, and what would a political theory of openness look like? With Wikipedia and the Politics of Openness, Nathaniel Tkacz uses Wikipedia, the most prominent product of open organization, to analyze the theory and politics of openness in practice—and to break its spell. Through discussions of edit wars, article deletion policies, user access levels, and more, Tkacz enables us to see how the key concepts of openness—including collaboration, ad-hocracy, and the splitting of contested projects through “forking”—play out in reality.
 
The resulting book is the richest critical analysis of openness to date, one that roots media theory in messy reality and thereby helps us move beyond the vaporware promises of digital utopians and take the first steps toward truly understanding what openness does, and does not, have to offer.