They are all 'debtors,' guilty and responsible in the eyes of capital, which has become the Great, the Universal, Creditor."—from The Making of the Indebted ManDebt—both public debt and private debt—has become a major concern of economic and political leaders. In The Making of the Indebted Man, Maurizio Lazzarato shows that, far from being a threat to the capitalist economy, debt lies at the very core of the neoliberal project. Through a reading of Karl Marx's lesser-known youthful writings on John Mill, and a rereading of writings by Friedrich Nietzsche, Gilles Deleuze, Félix Guattari, and Michel Foucault, Lazzarato demonstrates that debt is above all a political construction, and that the creditor/debtor relation is the fundamental social relation of Western societies.Debt cannot be reduced to a simple economic mechanism, for it is also a technique of “public safety” through which individual and collective subjectivities are governed and controlled. Its aim is to minimize the uncertainty of the time and behavior of the governed. We are forever sinking further into debt to the State, to private insurance, and, on a more general level, to corporations. To insure that we honor our debts, we are at once encouraged and compelled to become the “entrepreneurs” of our lives, of our “human capital.” In this way, our entire material, psychological, and affective horizon is upended and reconfigured.How do we extricate ourselves from this impossible situation? How do we escape the neoliberal condition of the indebted man? Lazzarato argues that we will have to recognize that there is no simple technical, economic, or financial solution. We must instead radically challenge the fundamental social relation structuring capitalism: the system of debt.

    His range is wide, and his insights are acute, frequently ironic, and often downright funny. Translated by William Weaver. A Helen and Kurt Wolff Book

    Alexis de Tocqueville, a young French aristocrat, came to the young nation to investigate the functioning of American democracy & the social, political & economic life of its citizens, publishing his observations in 1835 & 1840. Brilliantly written, vividly illustrated with vignettes & portraits, Democracy in America is far more than a trenchant analysis of one society at a particular point in time. What will most intrigue modern readers is how many of the observations still hold true: on the mixed advantages of a free press, the strained relations among the races & the threats posed to democracies by consumerism & corruption. So uncanny is Tocqueville’s insight & so accurate are his predictions, that it seems as tho he were not merely describing the American identity but actually helping to create it.

    First published in 1947, Horkheimer here explores the ways in Nazism - that most irrational of political movements - had co-opted ideas of rationality for its own ends. Ultimately, the book is a warning of the ways this might happen again and, as such, this is a book that has never appeared more timely.

    Although on the surface, simians, cyborgs and women may seem an odd threesome, Haraway describes their profound link as creatures which have had a great destabilizing place in Western evolutionary technology and biology. Throughout this book, Haraway analyzes accounts, narratives, and stories of the creation of nature, living organisms, and cyborgs. At once a social reality and a science fiction, the cyborg--a hybrid of organism and machine--represents transgressed boundaries and intense fusions of the nature/culture split. By providing an escape from rigid dualisms, the cyborg exists in a post-gender world, and as such holds immense possibilities for modern feminists. Haraway's recent book, Primate Visions, has been called outstanding, original, and brilliant, by leading scholars in the field. (First published in 1991.)

    In The Crooked Timber of Humanity, he argues passionately, eloquently, and subtly, that what he calls 'the Great Goods' of human aspiration - liberty, justice, equality - do not cohere and never can. Pluralism and variety of thought are not avoidable compromises, but the glory of civilisation. In an age of increasing ideological fundamentalism and intolerance we need to listen to Isaiah Berlin more carefully than ever before.

    As the once dominant totems of civic connection and civil discourse—traditional churches—continue to sink into obsolescence, people are looking elsewhere for the intensity and unity that religion once provided. We're making our own personal faiths - theistic or not - mixing and matching our spiritual, ritualistic, personal, and political practices in order to create our own bespoke religious selves. We're not just building new religions in 2019, we're buying them, from Gwyneth Paltrow's gospel of Goop, to the brilliantly cultish SoulCycle, to those who believe in their special destiny on Mars.In so doing, we're carrying on a longstanding American tradition of religious eclecticism, DIY-innovation and "unchurched" piety (and highly effective capitalism). Our era is not the dawn of American secularism, but rather a brand-bolstered resurgence of American pluralism, revved into overdrive by commerce and personalized algorithms, all to the tune of "Hallellujah"--America's most popular and spectacularly misunderstood wedding song.

    Continuously in print since 1932, Ortega's vision of Western culture as sinking to its lowest common denominator and drifting toward chaos brought its author international fame and has remained one of the influential books of the 20th century.

    With bracing candor, the brilliant, charismatic, and uncompromising author of the bestselling Infidel and Nomad argues that it is foolish to insist, as our leaders habitually do, that the violent acts of Islamic extremists can be divorced from the religious doctrine that inspires them. Instead we must confront the fact that they are driven by a political ideology embedded in Islam itself.Today, Hirsi Ali argues, the world's 1.6 billion Muslims can be divided into a minority of extremists, a majority of observant but peaceable Muslims, and a few dissidents who risk their lives by questioning their own religion. But there is only one Islam, and as Hirsi Ali shows, there is no denying that some of its key teachings—not least the duty to wage holy war—inspire violence not just in the Muslim world but in the West as well.For centuries it has seemed that Islam is immune to historical change. But Hirsi Ali is surprisingly optimistic. She has come to believe that a Muslim "Reformation"—a revision of Islamic doctrine aimed at reconciling the religion with modernity—is at hand, and may even already have begun.Partly in response to the barbaric atrocities of Islamic State and Boko Haram, Muslims around the world have at last begun to speak out for religious reform. Meanwhile, events in the West, such as the shocking Charlie Hebdo massacre, have forced Western liberals to recognize that political Islam poses a mortal threat to free speech. Yet neither Muslim reformers nor Western liberals have so far been able to articulate a coherent program for a Muslim Reformation.This is where Heretic comes in. Boldly challenging centuries of theological orthodoxy, Ayaan Hirsi Ali proposes five key amendments to Islamic doctrine that Muslims must make if they are to bring their religion out of the seventh century and into the twenty-first. She also calls upon the Western world to end its appeasement of radical Islamists—and to drop the bogus argument that those who stand up to them are guilty of "Islamophobia." It is the Muslim reformers who need our backing, she argues, not the opponents of free speech.Interweaving her own experiences, historical analogies, and powerful examples from contemporary Muslim societies and cultures, Heretic is not so much a call to arms as a passionate plea for peaceful change and a new era of global tolerance. As jihadists kill thousands, from Nigeria to Syria to Pakistan, this book offers an answer to what is fast becoming the world's number one problem.

    In Practicing the New Historicism, two of its most distinguished practitioners reflect on its surprisingly disparate sources and far-reaching effects.In lucid and jargon-free prose, Catherine Gallagher and Stephen Greenblatt focus on five central aspects of new historicism: recurrent use of anecdotes, preoccupation with the nature of representations, fascination with the history of the body, sharp focus on neglected details, and skeptical analysis of ideology. Arguing that new historicism has always been more a passionately engaged practice of questioning and analysis than an abstract theory, Gallagher and Greenblatt demonstrate this practice in a series of characteristically dazzling readings of works ranging from paintings by Joos van Gent and Paolo Uccello to Hamlet and Great Expectations.By juxtaposing analyses of Renaissance and nineteenth-century topics, the authors uncover a number of unexpected contrasts and connections between the two periods. Are aspects of the dispute over the Roman Catholic doctrine of the Eucharist detectable in British political economists' hostility to the potato? How does Pip's isolation in Great Expectations shed light on Hamlet's doubt?Offering not only an insider's view of new historicism, but also a lively dialogue between a Renaissance scholar and a Victorianist, Practicing the New Historicism is an illuminating and unpredictable performance by two of America's most respected literary scholars."Gallagher and Greenblatt offer a brilliant introduction to new historicism. In their hands, difficult ideas become coherent and accessible."—Choice"A tour de force of new literary criticism. . . . Gallagher and Greenblatt's virtuoso readings of paintings, potatoes (yes, spuds), religious ritual, and novels—all 'texts'—as well as essays on criticism and the significance of anecdotes, are likely to take their place as model examples of the qualities of the new critical school that they lead. . . . A zesty work for those already initiated into the incestuous world of contemporary literary criticism-and for those who might like to see what all the fuss is about."—Kirkus Reviews, starred review

    So says the Marquis de Sade, philosopher and pornographer. His virtuous Justine, who keeps to the rules, is rewarded with rape and humiliation; his Juliette, Justine's triumphantly monstrous antithesis, viciously exploits her sexuality.With brilliance and wit, Angela Carter takes on these outrageous figments of de Sade's extreme imagination and transforms them into symbols of our time: The Hollywood sex goddesses, mothers and daughters, pornography, even the sacred shrines of sex and marriage lie devastatingly exposed before our eyes.Author Bio: Angela Carter (1940-1992) was best known for her subversive short stories, including her most famous collection, The Bloody Chamber. Carter translated the fairy tales of Charles Perrault, and wrote the screenplay for Neil Jordan's 1984 film, The Company of Wolves, based on her short story.

    It has not been by shaping the opinions or directing the actions of the holders of power that modern intellectuals have most influenced the course of events, but by shaping public opinion in ways that affect the actions of power holders in democratic societies, whether or not those power holders accept the general vision or the particular policies favored by intellectuals. Even government leaders with disdain or contempt for intellectuals have had to bend to the climate of opinion shaped by those intellectuals.Intellectuals and Society not only examines the track record of intellectuals in the things they have advocated but also analyzes the incentives and constraints under which their views and visions have emerged. One of the most surprising aspects of this study is how often intellectuals have been proved not only wrong, but grossly and disastrously wrong in their prescriptions for the ills of society—and how little their views have changed in response to empirical evidence of the disasters entailed by those views.

    Every day we hear this idea expressed and witness its reality in our lives-through the people we meet, the products we buy, the foods we eat, and the movies we watch. In this bold look at the cultural effects of a shrinking world, leading cultural theorist Arjun Appadurai places these challenges and pleasures of contemporary life in a broad global perspective.Offering a new framework for the cultural study of globalization, Modernity at Large shows how the imagination works as a social force in today's world, providing new resources for identity and energies for creating alternatives to the nation-state, whose era some see as coming to an end. Appadurai examines the current epoch of globalization, which is characterized by the twin forces of mass migration and electronic mediation, and provides fresh ways of looking at popular consumption patterns, debates about multiculturalism, and ethnic violence. He considers the way images-of lifestyles, popular culture, and self-representation-circulate internationally through the media and are often borrowed in surprising (to their originators) and inventive fashions.Appadurai simultaneously explores and explodes boundaries-between how we imagine the world and how that imagination influences our self-understanding, between social institutions and their effects on the people who participate in them, between nations and peoples that seem to be ever more homogeneous and yet ever more filled with differences. Modernity at Large offers a path to move beyond traditional oppositions between culture and power, tradition and modernity, global and local, pointing out the vital role imagination plays in our construction of the world of today-and tomorrow.

    Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, "The Black Atlantic" also complicates and enriches our understanding of modernism.Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison.In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic.

    He identifies three categories of change in the tempo of modern social life: technological acceleration, evident in transportation, communication, and production; the acceleration of social change, reflected in cultural knowledge, social institutions, and personal relationships; and acceleration in the pace of life, which happens despite the expectation that technological change should increase an individual's free time.According to Rosa, both the structural and cultural aspects of our institutions and practices are marked by the "shrinking of the present," a decreasing time period during which expectations based on past experience reliably match the future. When this phenomenon combines with technological acceleration and the increasing pace of life, time seems to flow ever faster, making our relationships to each other and the world fluid and problematic. It is as if we are standing on "slipping slopes," a steep social terrain that is itself in motion and in turn demands faster lives and technology. As Rosa deftly shows, this self-reinforcing feedback loop fundamentally determines the character of modern life.