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An internationally known dancer, choreographer, and gifted anthropologist, Katherine Dunham was born to a black American tailor and a well-to-do French Canadian woman twenty years his senior. This book is Dunham's story of the chaos and conflict that entered her childhood after her mother's early death.

In stark prose, she tells of growing up in both black and white households and of the divisions of race and class in Chicago that become the harsh realities of her young life. A riveting narrative of one girl's struggle to transcend the painful confusions of a family and culture in turmoil, Dunham's story is full of the clarity, candor, and intelligence that lifted her above her troubled beginnings.

"A Touch of Innocence is an absorbing family chronicle written with a gift for physical detail sometimes too real for comfort. In quietly graphic prose the growing girl, the slightly older brother, the ambitious father and the kind stepmother are pictured in such human terms that when their lives get tied into harder and harder knots beyond their undoing, one can only continue to read helplessly as doom closes in upon the household."—Langston Hughes, New York Herald Tribune

"A Touch of Innocence is one of the most extraordinary life stories I have ever read . . . . The content of this book is so heartbreaking that only the strongest artistic skills can keep it from leaking out into sobbing self-pity, but Katherine Dunham's art contains it, understands it and refuses to be overwhelmed by its terrors."—Elizabeth Janeway, New York Times

"The first eighteen years of the famous dancer and choreographer's life are brought vividly to the reader in this first volume of her autobiography. She writes of what it is like to be a special, gifted young woman growing up in a racially mixed family in the American Middle West. A beautiful, touching and sometimes discomforting book."—Publishers Weekly

"As writing it is honest, searing, graphic and touching, giving us a rather heartbreaking early view of the young American Negro who was later to make a name for herself as a dancer and choreographer."—Arthur Todd, Saturday Review

Since a new sensitivity and orientation to victims of injustice arose in the 1960s, categories of victimization have proliferated. Large numbers of people are now characterized and characterize themselves as sufferers of psychological injury caused by the actions of others. In contrast with the familiar critiques of victim culture, Accounts of Innocence offers a new and empirically rich perspective on the question of why we now place such psychological significance on victimization in people's lives.

Focusing on the case of adult survivors of childhood sexual abuse, Joseph E. Davis shows how the idea of innocence shaped the emergence of trauma psychology and continues to inform accounts of the past (and hopes for the future) in therapy with survivor clients. His findings shed new light on the ongoing debate over recovered memories of abuse. They challenge the notion that victim accounts are an evasion of personal responsibility. And they suggest important ways in which trauma psychology has had unintended and negative consequences for how victims see themselves and for how others relate to them.

An important intervention in the study of victimization in our culture, Accounts of Innocence will interest scholars of clinical psychology, social work, and sociology, as well as therapists and victim activists.

            Drawing on ethnographic research spanning fifteen years, Innocence and Victimhood demonstrates how women’s activists and NGOs responded to, challenged, and often reinforced essentialist images in affirmative ways, utilizing the moral purity associated with the position of victimhood to bolster social claims, shape political visions, pursue foreign funding, and wage campaigns for postwar justice. Deeply sensitive to the suffering at the heart of Bosnian women’s (and men’s) wartime experiences, this book also reveals the limitations to strategies that emphasize innocence and victimhood.

In the first coprehensive introduction to the nature and development of ethnographic film, Peter Loizos reviews fifty of the most important films made between 1955 and 1985. Going beyond programmatic statements, he analyzes the films themselves, identifying and discussing their contributions to ethnographic documentation.

Loizos begins by reviewing works of John Marshall and Timothy Asch in the 1950s and moves through those of Jean Rouch, Robert Gardner, and many more recent filmmakers. He reveals a steady course of innovations along four dimensions: production technology, subject matter, strategies of argument, and ethnographic authentication. His analyses of individual films address questions of realism, authenticity, genre, authorial and subjective voice, and representation of the films' creators as well as their subjects.

Innovation in Ethnographic Film, as a systematic and iluminating review of developments in ethnographic film, will be an important resource for the growing number of anthropologists and other scholars who use such films as tools for research and teaching.

Norman Rockwell’s scenes of everyday small-town life are among the most indelible images in all of twentieth-century art. While opinions of Rockwell vary from uncritical admiration to sneering contempt, those who love him and those who dismiss him do agree on one thing: his art embodies a distinctively American style of innocence. 

In this sure-to-be controversial book, Richard Halpern argues that this sense of innocence arises from our reluctance—and also Rockwell’s—to acknowledge the often disturbing dimensions of his works. Rockwell’s paintings frequently teem with perverse acts of voyeurism and desire but contrive to keep these acts invisible—or rather, hidden in plain sight, available for unacknowledged pleasure but easily denied by the viewer. 

Rockwell emerges in this book, then, as a deviously brilliant artist, a remorseless diagnostician of the innocence in which we bathe ourselves, and a continuing, unexpected influence on contemporary artists. Far from a banal painter of the ordinary, Halpern argues, Rockwell is someone we have not yet dared to see for the complex creature he is: a wholesome pervert, a knowing innocent, and a kitschy genius. 

Provocative but judicious, witty but deeply informed, Norman Rockwell is a book rich in suggestive propositions and eye-opening details—one that will change forever the way we think about this American icon and his works.

In October 1955, three Chicago boys were found murdered, their bodies naked and dumped in a ditch in Robinson Woods on the city’s Northwest Side. A community and a nation were shocked. In a time when such crimes against children were rare, the public was transfixed as local television stations aired stark footage of the first hours of the investigation. Life and Newsweek magazines published exclusive stories the following week. When Kenneth Hansen was convicted and sentenced for the murders, the case was considered solved—until questions were raised about Hansen’s presumed guilt.

Shattered Sense of Innocence: The 1955 Murders of Three Chicago Children tells the gripping story of the three murdered boys—thirteen-year-old John Schuessler, his eleven-year-old brother, Anton, and thirteen-year-old Bobby Peterson—and the quest to find and bring to justice their killer. Authors Richard C. Lindberg and Gloria Jean Sykes recount the bungled 1955 police investigation, the failures of multiple law enforcement agencies, and the subsequent convictions of Kenneth Hansen, in 1995 and 2002, and present new information concerning two suspects overlooked by police for five decades.

The authors deftly examine all sides of this tragic story, drawing on exclusive interviews with law enforcement agents, with horse trainers affiliated with the so-called horse mafia, and with the man convicted of the murders, Kenneth Hansen. This intensely intimate account offers a rare glimpse into one community and examines how these atrocious crimes altered public perceptions nationwide. Shattered Sense of Innocence, which is also a story of political controversy, a determined federal agent’s quest for justice, and a community’s loss of innocence, includes fifty illustrations.

Intellectual history is viewed in this book as a series of "great conversations"—dramatic dialogues in which a culture's spokesmen wrestle with the leading questions of their times. In nineteenth-century America the great argument centered about De Crèvecoeur's "new man," the American, an innocent Adam in a bright new world dissociating himself from the historic past. Mr. Lewis reveals this vital preoccupation as a pervasive, transforming ingredient of the American mind, illuminating history and theology as well as art, shaping the consciousness of lesser thinkers as fully as it shaped the giants of the age. He traces the Adamic theme in the writings of Emerson, Thoreau, Hawthorne, Melville, Henry James, and others, and in an Epilogue he exposes their continuing spirit in the works of F. Scott Fitzgerald, William Faulkner, Ralph Ellison, J. D. Salinger, and Saul Bellow.

This is an auto-narrated audiobook version of this book.

Intellectual history is viewed in this book as a series of "great conversations"—dramatic dialogues in which a culture's spokesmen wrestle with the leading questions of their times. In nineteenth-century America the great argument centered about De Crèvecoeur's "new man," the American, an innocent Adam in a bright new world dissociating himself from the historic past. Mr. Lewis reveals this vital preoccupation as a pervasive, transforming ingredient of the American mind, illuminating history and theology as well as art, shaping the consciousness of lesser thinkers as fully as it shaped the giants of the age. He traces the Adamic theme in the writings of Emerson, Thoreau, Hawthorne, Melville, Henry James, and others, and in an Epilogue he exposes their continuing spirit in the works of F. Scott Fitzgerald, William Faulkner, Ralph Ellison, J. D. Salinger, and Saul Bellow.

Long cited as a model of harmonious cohabitation between different religions, the most populous Muslim country in the world until recently occupied a special place in the Western imagination. Indonesia, home to a peaceful version of Islam, offered a reass