Using the innovative concept of slow violence to describe these threats, Rob Nixon focuses on the inattention we have paid to the attritional lethality of many environmental crises, in contrast with the sensational, spectacle-driven messaging that impels public activism today. Slow violence, because it is so readily ignored by a hard-charging capitalism, exacerbates the vulnerability of ecosystems and of people who are poor, disempowered, and often involuntarily displaced, while fueling social conflicts that arise from desperation as life-sustaining conditions erode.In a book of extraordinary scope, Nixon examines a cluster of writer-activists affiliated with the environmentalism of the poor in the global South. By approaching environmental justice literature from this transnational perspective, he exposes the limitations of the national and local frames that dominate environmental writing. And by skillfully illuminating the strategies these writer-activists deploy to give dramatic visibility to environmental emergencies, Nixon invites his readers to engage with some of the most pressing challenges of our time.

    Placing the West's failure to acknowledge the most successful slave revolt in history alongside denials of the Holocaust and the debate over the Alamo, Michel-Rolph Trouillot offers a stunning meditation on how power operates in the making and recording of history.

    But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith.What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming—and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture—and so, between our culture and others, past and present.Nothing short of a reworking of our mental landscape, We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.

    This second edition, newly introduced by Marcuse scholar Douglas Kellner, presents Marcuse's best-selling work to another generation of readers in the context of contemporary events.

    YouTube and Facebook dominate the web. In Reality Hunger: A Manifesto, his landmark new book, David Shields (author of the New York Times best seller The Thing About Life Is That One Day You’ll Be Dead) argues that our culture is obsessed with “reality” precisely because we experience hardly any.Most artistic movements are attempts to figure out a way to smuggle more of what the artist thinks is reality into the work of art. So, too, every artistic movement or moment needs a credo, from Horace’s Ars Poetica to Lars von Trier’s “Vow of Chastity.” Shields has written the ars poetica for a burgeoning group of interrelated but unconnected artists in a variety of forms and media who, living in an unbearably manufactured and artificial world, are striving to stay open to the possibility of randomness, accident, serendipity, spontaneity; actively courting reader/listener/viewer participation, artistic risk, emotional urgency; breaking larger and larger chunks of “reality” into their work; and, above all, seeking to erase any distinction between fiction and nonfiction.The questions Reality Hunger explores—the bending of form and genre, the lure and blur of the real—play out constantly all around us. Think of the now endless controversy surrounding the provenance and authenticity of the “real”: A Million Little Pieces, the Obama “Hope” poster, the sequel to The Catcher in the Rye, Robert Capa’s “The Falling Soldier” photograph, the boy who wasn’t in the balloon. Reality Hunger is a rigorous and radical attempt to reframe how we think about “truthiness,” literary license, quotation, appropriation.Drawing on myriad sources, Shields takes an audacious stance on issues that are being fought over now and will be fought over far into the future. People will either love or hate this book. Its converts will see it as a rallying cry; its detractors will view it as an occasion for defending the status quo. It is certain to be one of the most controversial and talked-about books of the year.

    First published in 1957, it mapped out a new methodology in cultural studies based around interdisciplinarity and a concern with how texts-in this case, mass publications-are stitched into the patterns of lived experience. Mixing personal memoir with social history and cultural critique, The Uses of Literacy anticipates recent interest in modes of cultural analysis that refuse to hide the author behind the mask of objective social scientific technique. In its method and in its rich accumulation of the detail of working-class life, this volume remains useful and absorbing.Hoggart's analysis achieves much of its power through a careful delineation of the complexities of working-class attitudes and its sensitivity to the physical and environmental facts of working-class life. The people he portrays are neither the sentimentalized victims of a culture of deference nor neo-fascist hooligans. Hoggart sees beyond habits to what habits stand for and sees through statements to what the statements really mean. He thus detects the differing pressures of emotion behind idiomatic phrases and ritualistic observances.Through close observation and an emotional empathy deriving, in part, from his own working-class background, Hoggart defines a fairly homogeneous and representative group of working-class people. Against this background may be seen how the various appeals of mass publications and other artifacts of popular culture connect with traditional and commonly accepted attitudes, how they are altering those attitudes, and how they are meeting resistance. Hoggart argues that the appeals made by mass publicists-more insistent, effective, and pervasive than in the past-are moving toward the creation of an undifferentiated mass culture and that the remnants of an authentic urban culture are being destroyed.In his introduction to this new edition, Andrew Goodwin, professor of broadcast communications arts at San Francisco State University, defines Hoggart's place among contending schools of English cultural criticism and points out the prescience of his analysis for developments in England over the past thirty years. He notes as well the fruitful links to be made between Hoggart's method and findings and aspects of popular culture in the United States.

    Thirty years later, a resident of the United States, he won the National Book Award for his novel Waiting, completing a trajectory that has established him as one of the most admired exemplars of world literature. Ha Jin’s journey raises rich and fascinating questions about language, migration, and the place of literature in a rapidly globalizing world—questions that take center stage in The Writer as Migrant, his first work of nonfiction. Consisting of three interconnected essays, this book sets Ha Jin’s own work and life alongside those of other literary exiles, creating a conversation across cultures and between eras. He employs the cases of Alexander Solzhenitsyn and Chinese novelist Lin Yutang to illustrate the obligation a writer feels to the land of his birth, while Joseph Conrad and Vladimir Nabokov—who, like Ha Jin, adopted English for their writing—are enlisted to explore a migrant author’s conscious choice of a literary language. A final essay draws on V. S. Naipaul and Milan Kundera to consider the ways in which our era of perpetual change forces a migrant writer to reconceptualize the very idea of home. Throughout, Jin brings other celebrated writers into the conversation as well, including W. G. Sebald, C. P. Cavafy, and Salman Rushdie—refracting and refining the very idea of a literature of migration. Simultaneously a reflection on a crucial theme and a fascinating glimpse at the writers who compose Ha Jin’s mental library, The Writer as Migrant is a work of passionately engaged criticism, one rooted in departures but feeling like a new arrival.

    Every people or nation has its own way of experiencing this psychic reality, and so a study of the world's fairy tales yields a wealth of insights into the archetypal experiences of humankind. Perhaps the foremost authority on the psychological interpretation of fairy tales is Marie-Louise von Franz. In this book—originally published as An Introduction to the Interpretation of Fairy Tales —she describes the steps involved in analyzing and illustrates them with a variety of European tales, from "Beauty and the Beast" to "The Robber Bridegroom." Dr. von Franz begins with a history of the study of fairy tales and the various theories of interpretation. By way of illustration she presents a detailed examination of a simple Grimm's tale, "The Three Feathers," followed by a comprehensive discussion of motifs related to Jung's concept of the shadow, the anima, and the animus. This revised edition has been corrected and updated by the author.

    This collection highlights the concerns running throughout her pioneering work: the politics of difference and solidarity, decolonizing and democratizing feminist practice, the crossing of borders, and the relation of feminist knowledge and scholarship to organizing and social movements. Mohanty offers here a sustained critique of globalization and urges a reorientation of transnational feminist practice toward anticapitalist struggles.Feminism without Borders opens with Mohanty's influential critique of western feminism ("Under Western Eyes") and closes with a reconsideration of that piece based on her latest thinking regarding the ways that gender matters in the racial, class, and national formations of globalization. In between these essays, Mohanty meditates on the lives of women workers at different ends of the global assembly line (in India, the United Kingdom, and the United States); feminist writing on experience, identity, and community; dominant conceptions of multiculturalism and citizenship; and the corporatization of the North American academy. She considers the evolution of interdisciplinary programs like Women's Studies and Race and Ethnic Studies; pedagogies of accommodation and dissent; and transnational women's movements for grassroots ecological solutions and consumer, health, and reproductive rights.Mohanty's probing and provocative analyses of key concepts in feminist thought—"home," "sisterhood," "experience," "community"—lead the way toward a feminism without borders, a feminism fully engaged with the realities of a transnational world.

    Marxist analyses tend to presuppose European models of history and experience that downplay the significance of black people and black communities as agents of change and resistance. Black radicalism must be linked to the traditions of Africa and the unique experiences of blacks on western continents, Robinson argues, and any analyses of African American history need to acknowledge this.To illustrate his argument, Robinson traces the emergence of Marxist ideology in Europe, the resistance by blacks in historically oppressive environments, and the influence of both of these traditions on such important twentieth-century black radical thinkers as W. E. B. Du Bois, C. L. R. James, and Richard Wright.

    Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.

    Caroline Levine argues that forms organize not only works of art but also political life-and our attempts to know both art and politics. Inescapable and frequently troubling, forms shape every aspect of our experience. Yet, forms don't impose their order in any simple way. Multiple shapes, patterns, and arrangements, overlapping and colliding, generate complex and unpredictable social landscapes that challenge and unsettle conventional analytic models in literary and cultural studies. Borrowing the concept of affordances from design theory, this book investigates the specific ways that four major forms-wholes, rhythms, hierarchies, and networks-have structured culture, politics, and scholarly knowledge across periods, and it proposes exciting new ways of linking formalism to historicism and literature to politics. Levine rereads both formalist and antiformalist theorists, including Cleanth Brooks, Michel Foucault, Jacques Rancière, Mary Poovey, and Judith Butler, and she offers engaging accounts of a wide range of objects, from medieval convents and modern theme parks to Sophocles's Antigone and the television series The Wire. The result is a radically new way of thinking about form for the next generation and essential reading for scholars and students across the humanities who must wrestle with the problem of form and context.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    Without missing a beat, he often moves between Washington insider talk and culturally Black ways of speaking--as shown in a famous YouTube clip, where Obama declined the change offered to him by aBlack cashier in a Washington, D.C. restaurant with the phrase, Nah, we straight.In Articulate While Black, two renowned scholars of Black Language address language and racial politics in the U.S. through an insightful examination of President Barack Obama's language use--and America's response to it. In this eloquently written and powerfully argued book, H. Samy Alim and GenevaSmitherman provide new insights about President Obama and the relationship between language and race in contemporary society. Throughout, they analyze several racially loaded, cultural-linguistic controversies involving the President--from his use of Black Language and his articulateness to hisRace Speech, the so-called fist-bump, and his relationship to Hip Hop Culture.Using their analysis of Barack Obama as a point of departure, Alim and Smitherman reveal how major debates about language, race, and educational inequality erupt into moments of racial crisis in America. In challenging American ideas about language, race, education, and power, they help take thenational dialogue on race to the next level. In much the same way that Cornel West revealed nearly two decades ago that race matters, Alim and Smitherman in this groundbreaking book show how deeply language matters to the national conversation on race--and in our daily lives.

    DuBois, Locke has constructed a vivid look at the new negro, the changing African American finding his place in the ever shifting sociocultural landscape that was 1920s America. With poetry, prose, and nonfiction essays, this collection is widely praised for its literary strength as well as its historical coverage of a monumental and fascinating time in the history of America.