Develops an approach to contemporary religious, moral, and political conflicts in which conflict may be constructively reframed and creatively engaged toward productive democratic practice, rather than viewed mainly as a source of aversion that needs to be rooted out or resolved once and for all.
Religion has been on the rise in America for decades—which strikes many as a shocking new development. To the contrary, Jason Stevens asserts, the rumors of the death of God were premature. Americans have always conducted their cultural life through religious symbols, never more so than during the Cold War. In God-Fearing and Free, Stevens discloses how the nation, on top of the world and torn between grandiose self-congratulation and doubt about the future, opened the way for a new master narrative. The book shows how the American public, powered by a national religious revival, was purposefully disillusioned regarding the country’s mythical innocence and fortified for an epochal struggle with totalitarianism. Stevens reveals how the Augustinian doctrine of original sin was refurbished and then mobilized in a variety of cultural discourses that aimed to shore up democratic society against threats preying on the nation’s internal weaknesses. Suddenly, innocence no longer meant a clear conscience. Instead it became synonymous with totalitarian ideologies of the fascist right or the communist left, whose notions of perfectability were dangerously close to millenarian ideals at the heart of American Protestant tradition. As America became riddled with self-doubt, ruminations on the meaning of power and the future of the globe during the “American Century” renewed the impetus to religion. Covering a wide selection of narrative and cultural forms, Stevens shows how writers, artists, and intellectuals, the devout as well as the nonreligious, disseminated the terms of this cultural dialogue, disputing, refining, and challenging it—effectively making the conservative case against modernity as liberals floundered.
The Dark Man is the amazing true story of one of Australia’s first serial killers, who kept the colony of New South Wales in the grip of fear as the police ruthlessly hunted their man. In late 1896, three men go missing in the Blue Mountains, west of Sydney. Each man has answered a newspaper advertisement posted by charismatic conman and notorious criminal, Frank Butler (one of his many aliases). Lured to the western goldfields by stories of the untold wealth that awaits them, the men find themselves at the mercy of the psychopathic Butler in some of Australia’s most isolated and inhospitable terrain. Motivated by the thrill of killing and by a sick pleasure in outwitting his trusting victims, Butler makes his prey dig their own graves before he shoots them in the back of the head, buries them, and steals their few meagre possessions. After an exhaustive search of the rugged mountains near Glenbrook, police discover the bodies of the victims. In a criminal investigation that would become legendary, police are led on an international manhunt as Butler uses a Master’s ticket from one of his victim to secure a berth on the steamer, the Swanhilda, headed for San Francisco. Following a dramatic arrest at gunpoint, Butler is returned to Sydney, found guilty, and hanged at Darlinghurst Gaol, having confessed to those three murders – and alluded to many more. This compelling account of a cold and calculating killer is told in a gripping historical narrative that brings Australia’s Gold Rush period vividly to life
During the civil rights movement, epic battles for justice were fought in the streets, at lunch counters, and in the classrooms of the American South. Just as many battles were waged, however, in the hearts and minds of ordinary white southerners whose world became unrecognizable to them. Jason Sokol’s vivid and unprecedented account of white southerners’ attitudes and actions, related in their own words, reveals in a new light the contradictory mixture of stubborn resistance and pragmatic acceptance–as well as the startling and unexpected personal transformations–with which they greeted the enforcement of legal equality.
Draws on the author's experiences as an "ambush interview" radio host to confront inconsistencies in the liberal views of leading Hollywood celebrities who support President Obama, from Michael Moore to Angelina Jolie.
Spike Lee's journey from guerrilla filmmaker to Hollywood insider is explored in light of his personal background, the cultural influence of his films, and the extensive scholarship his movies have inspired. This insightful study probes the iconic filmmaker's career as a director and shaper of American culture. It not only sheds light on the ways in which Lee's background, influences, and outlook affect his films but also discusses how he participates in, transforms, and transcends the tradition of black American filmmaking. Each chapter offers a critical assessment of at least one, and sometimes multiple, Lee films, examining their production history; their place in Lee's filmography; and their aesthetic, cultural, and historical significance. Readers will come away from this first scholarly assessment of Lee's career and work with a better understanding of his penchant for stirring up controversy about significant social, political, and artistic issues as well as his role as an American artist who provokes his audiences as much as he pacifies them.
‘This is a strange and gripping tale of one of Australia’s most notorious criminals.’ – TROY LENNON – ByTheBook, Sydney Daily Telegraph From goldfields to gallows – the international manhunt for Australia’s first serial killer. The Devil’s Butterfly is the harrowing true story of the killer conman, Frank Butler, whose deception and duplicity sent the colony of New South Wales into a state of fear and panic. Advertising in the Sydney papers, the charismatic Butler lured his prey towards the western goldfields with exaggerated tales of untold wealth and riches. Five men answered, three men went missing. Fearing capture and searching for new killing grounds, Butler flees Australia, headed for San Francisco. Two detectives, certain they are hunting Australia’s first ‘true’ serial killer, steam across the Pacific on a speedier ship. A third detective traverses the globe, racing to America via London. Desperate to reach San Francisco before a sociopathic killer disappears once again; will they capture their man or will the now notorious Butler escape forever? Praise for the Book ‘What a phenomenal true crime/who-dunnit!... It's an amazing true story of lies, deception, and surprising twists you won't forget!’ – Karen Dustman ‘Required meticulous research and a desire to dig into the life and times of a man with a mysterious background and a talent for trickery.’ – Jen Gourley, View of the Valleys, August 2021 ‘A great read’ – Ann Hewitt, The Book Tree. ‘An intriguing, colourful tale’ – Mildura Weekly
How did Americans imagine the Civil War before it happened? The most anticipated event of the nineteenth century appeared in novels, prophecies, dreams, diaries, speeches, and newspapers decades before the first shots at Fort Sumter. People forecasted a frontier filibuster, an economic clash between free and slave labor, a race war, a revolution, a war for liberation, and Armageddon. Reading their premonitions reveals how several factors, including race, religion, age, gender, region, and class, shaped what people thought about the future and how they imagined it. Some Americans pictured the future as an open, contested era that they progressed toward and molded with their thoughts and actions. Others saw the future as a closed, predetermined world that approached them and sealed their fate. When the war began, these opposing temporalities informed how Americans grasped and waged the conflict. In this creative history, Jason Phillips explains how the expectations of a host of characters-generals, politicians, radicals, citizens, and slaves-affected how people understood the unfolding drama and acted when the future became present. He reconsiders the war's origins without looking at sources using hindsight, that is, without considering what caused the cataclysm and whether it was inevitable. As a result, Phillips dispels a popular myth that all Americans thought the Civil War would be short and glorious at the outset, a ninety-day affair full of fun and adventure. Much more than rational power games played by elites, the war was shaped by uncertainties and emotions and darkened horizons that changed over time. Looming Civil War highlights how individuals approached an ominous future with feelings, thoughts, and perspectives different from our sensibilities and unconnected to our view of their world. Civil War Americans had their own prospects to ponder and forge as they discovered who they were and where life would lead them. The Civil War changed more than America's future; it transformed how Americans imagined the future and how Americans have thought about the future ever since.
The Northeastern United States -- home to abolitionism and a refuge for blacks fleeing the Jim Crow South -- has had a long and celebrated history of racial equality and political liberalism. After World War II, the region appeared poised to continue this legacy, electing black politicians and rallying behind black athletes and cultural leaders. However, as historian Jason Sokol reveals in All Eyes Are Upon Us, these achievements obscured the harsh reality of a region riven by segregation and deep-seated racism. White fans from across Brooklyn -- Irish, Jewish, and Italian -- came out to support Jackie Robinson when he broke baseball's color barrier with the Dodgers in 1947, even as the city's blacks were shunted into segregated neighborhoods. The African-American politician Ed Brooke won a senate seat in Massachusetts in 1966, when the state was 97% white, yet his political career was undone by the resistance to busing in Boston. Across the Northeast over the last half-century, blacks have encountered housing and employment discrimination as well as racial violence. But the gap between the northern ideal and the region's segregated reality left small but meaningful room for racial progress. Forced to reckon with the disparity between their racial practices and their racial preaching, blacks and whites forged interracial coalitions and demanded that the region live up to its promise of equal opportunity. A revelatory account of the tumultuous modern history of race and politics in the Northeast, All Eyes Are Upon Us presents the Northeast as a microcosm of America as a whole: outwardly democratic, inwardly conflicted, but always striving to live up to its highest ideals.
This collection represents the rediscovery of Josiah Royce’s rich legacy that has occurred over the past decade. The first part presents a series of historical explorations. The second takes up practical extensions of Royce’s work, bringing his ideas and methods to bear on contemporary philosophical matters. Among the topics addressed are the paradoxes of individualism; loyalty, democracy, and community; Royce’s efforts to respond to historical American racism; his contributions to engaged inter-faith religious discourse; the promise of his theory of error for a feminist account of knowledge; and his ethics of loyalty as a component in medical ethics.
That non-statutory executive powers are subject to judicial review is beyond doubt. But current judicial practice challenges prevailing theories of judicial review and raises a host of questions about the nature of official power and action. This is particularly the case for official powers not associated with the Royal Prerogative, which have been argued to comprise a “third source” of governmental authority. Looking at non-statutory powers directly, rather than incidentally, stirs up the intense but ultimately inconclusive debate about the conceptual basis of judicial review in English law. This provocative book argues that modern judges and scholars have neglected the very concepts necessary to understand the supervisory jurisdiction and that the law has become more complex than it needs to be. If we start from the concept of office and official action, rather than grand ideas about parliamentary sovereignty and the courts, the central questions answer themselves.
At 2:30 on an unseasonably cool, partly cloudy afternoon in late September 1911, the cement dam located a mile above the mill town of Austin, Pennsylvania, gave way, unleashing a wall of water cascading down the narrow valley toward the town and sweeping away everything in its path with the explosive power of a nuclear bomb. Lulled by the assurance of engineering experts that the dam would forever withstand the pressure of the pent-up waters above the town, three thousand unsuspecting residents of Austin went about their slow-paced Saturday routines. Some floundered and drowned in the raging waters that consumed the town, some were battered to death by logs and debris swept up by the torrent, and some, the lucky ones, raced to the safety of higher ground. Stories of heroism, sacrifice, cowardice, and selfishness emerged from the aftermath. The residents of Austin represented; after all, simply a crosscut sample of humanity, exposing the best and worst in times of crisis. Washed Away is a work of fiction that unfolds in the historical context of this real-life tragedy. Committed to go beyond the sensational journalism of that era, two enterprising young reporters from Buffalo, Rusty Shephard and Katie Keenan, join forces to investigate the causes and determine accountability for the disaster. As their investigation begins to unmask the deceit and greed of those responsible, they encounter desperate acts of coverup, recrimination, suicide, and murder, placing their own lives in mortal danger. In their journey to uncover the truth and seek justice, they are absorbed in the emotional turmoil of the town and of their own relationship.
Critics have traditionally maintained that capitalism's resurgence after the Second World War precipitated the transition from modernism to postmodernism. This revisionist account shows that modernism does not simply decline. By foregrounding phenomenological conceptions of bodily experience, Jason M. Baskin reveals modernism's ongoing vitality. Key postwar writers, critics and philosophers, including Elizabeth Bishop, Ezra Pound, Ralph Ellison and Raymond Williams, as well as Maurice Merleau-Ponty and Theodor Adorno, developed an aesthetics of embodiment that adapted modernism to a new postwar landscape. Working across differences of race, gender, national and intellectual tradition, genre and form, Baskin contends that these authors used ordinary bodily experiences, such as perception, memory and laughter, to imagine modes of common being and purpose that were otherwise unavailable in a postwar society dominated by liberal capitalism.
Why do the United States and Canada have such divergent political cultures when they share one of the closest economic and cultural relationships in the world? Kaufman examines the North American political landscape to draw out the essential historical factors that underlie the countries’ differences.
Lake Champlain is one of America's most historic waterways, but much of its history has remained hidden. With the arrival of Europeans, the lake became a vital route between the English in New England and the French in Quebec. Its isolated beauty contrasted sharply with the bloody military campaigns that unfolded there. While enormous forts were erected, colonial villages blossomed, and 18th century naturalist Peter Kalm spread the word of its bucolic charm. William Miller attracted large audiences as he preached that the world would end in the 1840s. Valcour Island developed its own commune, and when Prohibition took effect, the towns near the Canadian border became a hotbed of bootlegging. From presidential visits to shipwrecks, local authors Jason Barney and Christine Eldred chronicle some of the lake's lesser-known contributions to American history.
How might one live the Christian faith within a culture that idealizes and privileges Christianity while also relativizing it, rendering it redundant and innocuous? Arguing for a reconceptualization of the theology of the cross and radical communal practices, this book brings together two clusters of critics of Christian acculturation and accommodation: (1) Lutherans such as Kierkegaard and Bonhoeffer who lift up radical discipleship against the propensity toward “cheap grace,” and (2) various “Anti-Constantinians,” including neo-monastic communities, who resists the church’s collusion with power politics, symbolized by the conversion of Constantine in the early fourth century. Drawing on these diverse resources, author Jason Mahn explores some pervasive dangers of America’s new Christendom: its accommodation to an exploitative economy that cheapens the meaning of grace; its endorsement of political liberalism, within which the church becomes another special interest group; its justification of war and other forms of “necessary” violence; and its self-defeating lip-service to religious inclusivity. Mahn provocatively imagines alternatives to conventional Christianity—ones whereby the church embodies an alternative politic, where it commits to cruciform non-violence, appreciates gifts by giving them away, and knows its boundaries well enough to learn from those on the other side.
This book fills a noticeable gap in Forsyth studies. It provides readers interested in the thought of Forsyth with a way of reading and critiquing his corpus, and that in a way that takes due account of, and elucidates, the theological, philosophical and historical locale of his thought. Goroncy explores whether the notion of 'hallowing' provides a profitable lens through which to read and evaluate Forsyth's soteriology. He suggests that the hallowing of God's name is, for Forsyth, the way whereby God both justifies himself and claims creation for divine service. This book proposes that reading Forsyth's corpus as essentially an exposition of the first petition of the Lord's Prayer is an invitation to better comprehend not only his soteriology but also, by extension, his broader theological vision and interests.
Literary Urban Studies and How to Practice It is the first textbook in literary urban studies (LUS). It illuminates and investigates this exciting field, which has grown since the humanities’ ‘spatial turn’ of the 1990s and 2000s. The book introduces city literature, urban methods of reading, classics in LUS and new directions in the field. It outlines the located qualities of literary narratives, texts and events through three units. First, the concept of the city and the main methods and terms needed as tools for investigating city literatures are introduced. A second section, ordered historically, shows how notions like pre-modern, realist, modernist, postcolonial and planetary actually work in nuanced explorations of actual writers, texts and places. The third unit covers literary urban modes: fictional and non-fictional prose in multiple genres; poetry and the idea of the city; dramatic city representation and the theatre as urban place. Multiple key categories of place are explored: the sacred spaces of religion; entry points such as railway stations and junctions; residential areas such as the ‘slum’, suburb and mass housing district; hubs of publishing and performance; categories of city such as the port and resort. In each chapter key terms, reflection questions and tasks labelled ‘Research It’ support reference and learning. Some Research It tasks enable readers to enter new areas of LUS by engaging with neighbouring disciplines like human geography, cultural history, sociology and urban studies. Others equip users by sharpening particular skills of writing or documentation. A thorough glossary of key terms and concepts aids the reader. Literary Urban Studies and How to Practice It is designed for application to literatures and cities in any period and part of the world. Armed with it, humanities researchers at any career stage can develop their interdisciplinary skills and ability to participate in activism and public debates while becoming specialised in LUS. The book is a gateway to practicing LUS and spatial literary research.
A vivid portrait of how Americans grappled with King's death and legacy in the days, weeks, and months after his assassination On April 4, 1968, Martin Luther King Jr. was fatally shot as he stood on the balcony of the Lorraine Motel in Memphis. At the time of his murder, King was a polarizing figure -- scorned by many white Americans, worshipped by some African Americans and liberal whites, and deemed irrelevant by many black youth. In The Heavens Might Crack, historian Jason Sokol traces the diverse responses, both in America and throughout the world, to King's death. Whether celebrating or mourning, most agreed that the final flicker of hope for a multiracial America had been extinguished. A deeply moving account of a country coming to terms with an act of shocking violence, The Heavens Might Crack is essential reading for anyone seeking to understand America's fraught racial past and present.
A complete look at the extensive, ageless, unparalleled filmography of Woody Allen. Writer, actor, director, comedian, author, and musician, Woody Allen is one of the most culturally and cinematically influential filmmakers of all time. His films - he has over 45 writing and directing credits to his name - range from slapstick to tragedy, farce to fantasy. As one of history's most prolific moviemakers, his style and comic sensibility have been imitated, but never replicated, by countless other filmmakers over the years. In The Ultimate Woody Allen Film Companion, film writer Jason Bailey profiles every one of Allen's films: from his debut feature, What's Up, Tiger Lily, through slapstick classics such as Take the Money and Run and Sleeper; Academy Award-winning films such as Annie Hall and Hannah and Her Sisters; and recent gems such as Midnight in Paris and Blue Jasmine. Bailey also includes essays on the fascinating themes that color Allen's works, from death and Freud to music and New York City. Getting up close and personal with the actors and actresses that have brought the iconic films to life, this book's behind-the-scenes stories span the entire career of a man whose catalog has grown into a timeless cornerstone of American pop culture. Complete with full cast lists, production details, and full-color images and artwork, The Ultimate Woody Allen Film Companion is the ultimate, indispensable reference to one of cinema's most beloved and important figures.
A biography of Thomas Sowell, one of America's most influential conservative thinkers. Thomas Sowell is one of the great social theorists of our age. In a career spanning more than a half century, he has written over thirty books, covering topics from economic history and social inequality to political theory, race, and culture. His bold and unsentimental assaults on liberal orthodoxy have endeared him to many readers but have also enraged fellow intellectuals, the civil-rights establishment, and much of the mainstream media. The result has been a lack of acknowledgment of his scholarship among critics who prioritize political correctness. In the first-ever biography of Sowell, Jason L. Riley gives this iconic thinker his due and responds to the detractors. Maverick showcases Sowell's most significant writings and traces the life events that shaped his ideas and resulted in a Black orphan from the Jim Crow South becoming one of our foremost public intellectuals.
The stories of lived experience offer powerful representations of a nation’s complex and often fractured identity. Personal narratives have taken many forms in American literature. From the letters and journals of the famous and the lesser known to the memoirs of former slaves to hit true crime podcasts to lyric essays to the curated archives we keep on social media, life writing has been a tool of both the influential and the disenfranchised to spark cultural and political evolution, to help define the larger identity of the nation, and to claim a sense of belonging within it. Taken together, individual stories of real American lives weave a tapestry of history, humanity, and art while raising questions about the veracity of memory and the slippery nature of truth. This volume surveys the forms of life writing that have contributed to the richness of American literature and shaped American discourse. It examines life writing as a rhetorical tool for social change and explores how technological advancement has allowed ordinary Americans to chronicle and share their lives with others.
“The beauty of good writing is that it transports the reader inside another person’s experience in some other physical place and culture,” writes Padma Lakshmi in her introduction, “and, at its best, evokes a palpable feeling of being in a specific moment in time and space.” The essays in this year’s Best American Travel Writing are an antidote to the isolation of the year 2020, giving us views into experiences unlike our own and taking us on journeys we could not take ourselves. From the lively music of West Africa, to the rich culinary traditions of Muslims in Northwest China, to the thrill of a hunt in Alaska, this collection is a treasure trove of diverse places and cultures, providing the comfort, excitement, and joy of feeling elsewhere. THE BEST AMERICAN TRAVEL WRITING 2021 INCLUDES KIESE MAKEBA LAYMON • LESLIE JAMISON • BILL BUFORD • JON LEE ANDERSON • MEGHAN DAUM LIGAYA MISHAN • PAUL THEROUX and others
Since the American Revolution, there has been broad cultural consensus that “the people” are the only legitimate ground of public authority in the United States. For just as long, there has been disagreement over who the people are and how they should be represented or institutionally embodied. In Constituent Moments, Jason Frank explores this dilemma of authorization: the grounding of democratic legitimacy in an elusive notion of the people. Frank argues that the people are not a coherent or sanctioned collective. Instead, the people exist as an effect of successful claims to speak on their behalf; the power to speak in their name can be vindicated only retrospectively. The people, and democratic politics more broadly, emerge from the dynamic tension between popular politics and representation. They spring from what Frank calls “constituent moments,” moments when claims to speak in the people’s name are politically felicitous, even though those making such claims break from established rules and procedures for representing popular voice. Elaborating his theory of constituent moments, Frank focuses on specific historical instances when under-authorized individuals or associations seized the mantle of authority, and, by doing so, changed the inherited rules of authorization and produced new spaces and conditions for political representation. He looks at crowd actions such as parades, riots, and protests; the Democratic-Republican Societies of the 1790s; and the writings of Walt Whitman and Frederick Douglass. Frank demonstrates that the revolutionary establishment of the people is not a solitary event, but rather a series of micropolitical enactments, small dramas of self-authorization that take place in the informal contexts of crowd actions, political oratory, and literature as well as in the more formal settings of constitutional conventions and political associations.
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