State felony disenfranchisement laws that date back to Reconstruction fracture the American electorate into those who are citizens in the fullest sense of the term, in Aristotles words, and those who, deprived of political voice, still have the status of slaves. The existence of this "invisible constituency"approximately 5.8 million or 2.5% of the national voting populationwho live alongside the ruling enfranchised electorateis one of the scandals of our generation. In this second edition of Felony Disenfranchisement in America, Katherine Irene Pettus draws on philosophy, history, law, and punishment theory to make the compelling argument that state disenfranchisement policies have collective moral and political significance that transcends the personal tragedy of being legally deprived of full citizenship status. Pettus argues that the war on drugs, mass incarceration, and racially unbalanced disenfranchisement rates distort and disfigure the body politic as a whole, and undermine the legitimacy of the domestic and foreign policies promulgated by our elected representatives.
State felony disenfranchisement laws that date back to Reconstruction fracture the American electorate into those who are citizens in the fullest sense of the term, in Aristotles words, and those who, deprived of political voice, still have the status of slaves. The existence of this "invisible constituency"approximately 5.8 million or 2.5% of the national voting populationwho live alongside the ruling enfranchised electorateis one of the scandals of our generation. In this second edition of Felony Disenfranchisement in America, Katherine Irene Pettus draws on philosophy, history, law, and punishment theory to make the compelling argument that state disenfranchisement policies have collective moral and political significance that transcends the personal tragedy of being legally deprived of full citizenship status. Pettus argues that the war on drugs, mass incarceration, and racially unbalanced disenfranchisement rates distort and disfigure the body politic as a whole, and undermine the legitimacy of the domestic and foreign policies promulgated by our elected representatives.
In The Colorful Image of God, Katherine B. Martin, a White woman who has spent most of her career working in social justice, shares her spiritual awakening to race and racism that started more than a decade ago. Combining vulnerable anecdotes with academic and historical teaching, she highlights the disconnect between the Christian belief of imago Dei and the injustices that Black people, and other People of Color, face today. By normalizing bias through personal stories, Katherine gently calls other White Christians into what can be intimidating conversations in order to inspire them to play a bigger role in uprooting racial injustice. In her words, “I want our love for God, rooted in his great love for us, to propel us to fight for the rights of others like our very lives depend on it.” “As our nation continues to wrestle with issues of race, justice and equity, new voices are needed to enhance and deepen the conversation. Rooted in a Christian world-view, Katherine’s Colorful Image of God offers a personal, practical and hopeful perspective to equip readers in becoming agents of transformation, reconciliation and lasting societal change.” —Bruce Main, President/Founder, UrbanPromise Ministries
The Pulitzer Prize– and National Book Award–winning volume of writings from the author of Pale Horse, Pale Rider—now combined with little-known works of prose for the very first time Eudora Welty said that Katherine Anne Porter “writes stories with a power that stamps them to their very last detail on the memory.” Set in her native Texas and her beloved Mexico, prewar Nazi Germany and the gothic Old South, they are stories of love, outrage, betrayal, and spiritual reckoning that are severe but never cruel, and always exquisitely precise. They number fewer than thirty, but as Robert Penn Warren commented, “many are unsurpassed in modern fiction.” The Library of America now reprints the landmark 1965 volume, The Collected Stories of Katherine Anne Porter—which features tales like “Pale Horse, Pale Rider” and “Flowering Judas”—and pairs it with a completely new selection from Porter’s long-out-of-print short prose. Expanding the contents of her 1952 collection The Days Before to include both early journalism and major pieces from her final three decades, the prose works collected here are grouped in four parts: critical essays on writers she loved and learned from, including James, Cather, Lawrence, and Colette; personal essays and speeches on such topics as the craft of writing, her own work, women in myth and in history, and American politics; essays and reports on Mexican life, letters, and revolution; and two previously uncollected forays into autobiography. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.
In Russia, gothic fiction is often seen as an aside – a literary curiosity that experienced a brief heyday and then disappeared. In fact, its legacy is much more enduring, persisting within later Russian literary movements. Writing Fear explores Russian literature’s engagement with the gothic by analysing the practices of borrowing and adaptation. Katherine Bowers shows how these practices shaped literary realism from its romantic beginnings through the big novels of the 1860s and 1870s to its transformation during the modernist period. Bowers traces the development of gothic realism with an emphasis on the affective power of fear. She then investigates the hybrid genre’s function in a series of case studies focused on literary texts that address social and political issues such as urban life, the woman question, revolutionary terrorism, and the decline of the family. By mapping the myriad ways political and cultural anxiety take shape via the gothic mode in the age of realism, Writing Fear challenges the conventional literary history of nineteenth-century Russia.
Between 1920 and 1958 Katherine Anne Porter published more than sixty-five book review, many of which are now largely inaccessible. Although several such pieces have appeared in earlier collections of Porter's nonfiction writings, never have so many of Porter's reviews--nearly fifty--been made available in a single volume. Collectively the review reveal Porter's opinions on topics ranging from the nature of art and the place of the artist in politics and society to feminism and the role of female artists. Particularly evident in the reviews are the critical principles that guided her own work as well as her judgments of the works of other writers. In her introductory essay Darlene Harbour Unrue provides important biographical information on Porter, traces her career as a reviewer, and links critical assumptions in the reviews to the themes and techniques of Porter's fiction. Other scholars as well have regarded Porter's critical reviews as valuable tools both for analyzing the fiction and for constructing a portrait of Porter the artist, primarily because Porter produced so little fiction (three collections of short stories and novellas, Flowering Judas, The Leaning Tower, and Pale Horse, Pale Rider, and a novel, Ship of Fools). In the preface to the first collection of her nonfiction writings, The Days Before, Porter herself urged readers to look closely at her nonfiction, for there they would discover "the shape, direction, and connective tissue of a continuous, central interest and preoccupation of a lifetime." Most of the reviews--which appeared in such publications as the New York Herald Tribune, the New York Times, the Nation, and New Masses--she apparently undertook for financial reasons, but occasionally she would agree to review a friend's latest offering. She published no reviews after the success of her best-selling novel, Ship of Fools. Porter's scope as a reviewer was impressively broad. Because she lived in Mexico City during the revolution, had known Diego Rivera, and had studied "primitive" Mexican art, she was often called on to review books on Mexican art and on the revolution. Porter also reviewed many books by or about women. Her reviews of the Short Novels of Colette and Katharine Anthony's translation of Catherine the Great's memoirs are particularly noteworthy for her comments about women artists and her expression of admiration for women who flout traditional roles. These collected reviews illustrate the evolution of one of the most important American writers of the twentieth century and will interest not only Porter scholars but also anyone who appreciates her fiction.
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