Some view taking another person's life as just and reasonable punishment while others see it as an inhumane and barbaric act. But the intensity of feeling that capital punishment provokes often obscures its long and varied history in this country.Now, for the first time, we have a comprehensive history of the death penalty in the United States. Law professor Stuart Banner tells the story of how, over four centuries, dramatic changes have taken place in the ways capital punishment has been administered and experienced. In the seventeenth and eighteenth centuries, the penalty was standard for a laundry list of crimes--from adultery to murder, from arson to stealing horses. Hangings were public events, staged before audiences numbering in the thousands, attended by women and men, young and old, black and white alike. Early on, the gruesome spectacle had explicitly religious purposes--an event replete with sermons, confessions, and last minute penitence--to promote the salvation of both the condemned and the crowd. Through the nineteenth century, the execution became desacralized, increasingly secular and private, in response to changing mores. In the twentieth and twenty-first centuries, ironically, as it has become a quiet, sanitary, technological procedure, the death penalty is as divisive as ever.By recreating what it was like to be the condemned, the executioner, and the spectator, Banner moves beyond the debates, to give us an unprecedented understanding of capital punishment's many meanings. As nearly four thousand inmates are now on death row, and almost one hundred are currently being executed each year, the furious debate is unlikely to diminish. The Death Penalty is invaluable in understanding the American way of the ultimate punishment.

    Over the course of the 1960s and 1970s, however, so many whites fled the city for the suburbs that Atlanta earned a new nickname: "The City Too Busy Moving to Hate."In this reappraisal of racial politics in modern America, Kevin Kruse explains the causes and consequences of "white flight" in Atlanta and elsewhere. Seeking to understand segregationists on their own terms, White Flight moves past simple stereotypes to explore the meaning of white resistance. In the end, Kruse finds that segregationist resistance, which failed to stop the civil rights movement, nevertheless managed to preserve the world of segregation and even perfect it in subtler and stronger forms.Challenging the conventional wisdom that white flight meant nothing more than a literal movement of whites to the suburbs, this book argues that it represented a more important transformation in the political ideology of those involved. In a provocative revision of postwar American history, Kruse demonstrates that traditional elements of modern conservatism, such as hostility to the federal government and faith in free enterprise, underwent important transformations during the postwar struggle over segregation. Likewise, white resistance gave birth to several new conservative causes, like the tax revolt, tuition vouchers, and privatization of public services. Tracing the journey of southern conservatives from white supremacy to white suburbia, Kruse locates the origins of modern American politics.

    In Saturday Is for Funerals we learn why that won't happen.Unity Dow and Max Essex tell the true story of lives ravaged by AIDS of orphans, bereaved parents, and widows; of families who devote most Saturdays to the burial of relatives and friends. We witness the actions of community leaders, medical professionals, research scientists, and educators of all types to see how an unprecedented epidemic of death and destruction is being stopped in its tracks.This book describes how a country responded in a time of crisis. In the true-life stories of loss and quiet heroism, activism and scientific initiatives, we learn of new techniques that dramatically reduce rates of transmission from mother to child, new therapies that can save lives of many infected with AIDS, and intricate knowledge about the spread of HIV, as well as issues of confidentiality, distributive justice, and human rights. The experiences of Botswana offer practical lessons along with the critical element of hope.

    The Nazis hated Sigmund Freud with a particular vehemence: they detested his "soul-destroying glorification of the instinctual life." Here Mark Edmundson traces Hitler and Freud's oddly converging lives, then zeroes in on Freud's last two years, during which, with the help of Marie Bonaparte, he was at last rescued from Vienna and brought safely to London. There he was honored as he never had been during his long, controversial life. At the same time he endured the last of more than thirty operations for cancer of the jaw. Confronting certain death, Freud, in typical fashion, did not let fame make him complacent, but instead wrote his most provocative book, Moses and Monotheism, in which he questioned the legacy of the greatest Jewish leader. Focusing on Freud's last two years, Edmundson is able to probe Freud's ideas about death, and also about the human proclivity to embrace fascism in politics and fundamentalism in religion. Edmundson suggests new and important ways to view Freud's legacy, at a time when these forces are once again shaping world events.

    Fiske differentiates between mass culture - the cultural products put out by an industrialized, capitalist society, and popular culture - the ways in which people use, abuse, and subvert these products to create their own meanings and message. Companion volume to Reading the Popular, this book presents a radically different theory of what it means for culture to be popular: that is, literally, of the people.

    Guided by the questions How did the situation get this way? and How does it stay this way?, Schwalbe tracks inequality from its roots to its regulation. In the final chapter, "Escaping the Inequality Trap," he also shows how inequality can be overcome. Throughout, Schwalbe's engaging writing style draws students into the material, providing instructors with a solid foundation for discussing this challenging and provocative subject.With its lively combination of incisive analysis and compelling fictional narratives, Rigging the Game is an innovative teaching tool--not only for courses on stratification, but also for social problems courses, introductory sociology courses, and any course that takes a close look at how the inequalities of race, class, and gender are perpetuated.

    With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    Kennedy code-named "Dr. Feelgood," developed a unique "energy formula" that altered the paths of some of the twentieth century's most iconic figures, including President and Jackie Kennedy, Marilyn Monroe, Frank Sinatra, and Elvis. JFK received his first injection (a special mix of "vitamins and hormones," according to Jacobson) just before his first debate with Vice President Richard Nixon. The shot into JFK's throat not only cured his laryngitis, but also diminished the pain in his back, allowed him to stand up straighter, and invigorated the tired candidate. Kennedy demolished Nixon in that first debate and turned a tide of skepticism about Kennedy into an audience that appreciated his energy and crispness. What JFK didn't know then was that the injections were actually powerful doses of a combination of highly addictive liquid methamphetamine and steroids.Author and researcher Rick Lertzman and New York Times bestselling author Bill Birnes reveal heretofore unpublished material about the mysterious Dr. Feelgood. Through well-researched prose and interviews with celebrities including George Clooney, Jerry Lewis, Yogi Berra, and Sid Caesar, the authors reveal Jacobson's vast influence on events such as the assassination of JFK, the Cuban Missile Crisis, the Kennedy-Khrushchev Vienna Summit, the murder of Marilyn Monroe, the filming of the C. B. DeMille classic The Ten Commandments, and the work of many of the great artists of that era. Jacobson destroyed the lives of several famous patients in the entertainment industry and accidentally killed his own wife, Nina, with an overdose of his formula.

     America is an urban nation. More than two thirds of us live on the 3 percent of land that contains our cities. Yet cities get a bad rap: they're dirty, poor, unhealthy, crime ridden, expensive, environmentally unfriendly... Or are they? As Edward Glaeser proves in this myth-shattering book, cities are actually the healthiest, greenest, and richest (in cultural and economic terms) places to live. New Yorkers, for instance, live longer than other Americans; heart disease and cancer rates are lower in Gotham than in the nation as a whole. More than half of America's income is earned in twenty-two metropolitan areas. And city dwellers use, on average, 40 percent less energy than suburbanites. Glaeser travels through history and around the globe to reveal the hidden workings of cities and how they bring out the best in humankind. Even the worst cities-Kinshasa, Kolkata, Lagos- confer surprising benefits on the people who flock to them, including better health and more jobs than the rural areas that surround them. Glaeser visits Bangalore and Silicon Valley, whose strangely similar histories prove how essential education is to urban success and how new technology actually encourages people to gather together physically. He discovers why Detroit is dying while other old industrial cities-Chicago, Boston, New York-thrive. He investigates why a new house costs 350 percent more in Los Angeles than in Houston, even though building costs are only 25 percent higher in L.A. He pinpoints the single factor that most influences urban growth-January temperatures-and explains how certain chilly cities manage to defy that link. He explains how West Coast environmentalists have harmed the environment, and how struggling cities from Youngstown to New Orleans can "shrink to greatness." And he exposes the dangerous anti-urban political bias that is harming both cities and the entire country. Using intrepid reportage, keen analysis, and eloquent argument, Glaeser makes an impassioned case for the city's import and splendor. He reminds us forcefully why we should nurture our cities or suffer consequences that will hurt us all, no matter where we live.

    It investigates who from the upper echelons of the Japanese military and political establishments knew of the experiments, also the question of whether or not Allied POWs were subjected to such tests, and the nature of the deal that was brokered with US authorities after the war. This new edition has been completely updated, and contains an entirely new chapter detailing the numerous revelations that have surfaced since the book's initial publication in 1994.

    In American Exceptionalism: An Experiment in History, Charles Murray describes how America's geography, ideology, politics, and daily life set the new nation apart from Europe in the 18th and 19th centuries. He then discusses the ways that exceptionalism changed during America's evolution over the course of the 20th century. Which changes are gains to be applauded? Which are losses to be mourned? Answering these questions is the essential first step in discovering what you want for America's future.

    But how did the funeral home come to hold such a position? What is its history? And is it guilty of the charges sometimes leveled against it? In Rest in Peace, Gary Laderman traces the origins of American funeral rituals, from the evolution of embalming techniques during and after the Civil War and the shift from home funerals to funeral homes at the turn of the century, to the increasing subordination of priests, ministers, and other religious figures to the funeral director throughout the twentieth century. In doing so he shows that far from manipulating vulnerable mourners, as Jessica Mitford claimed in her best-selling The American Way of Death (1963), funeral directors are highly respected figures whose services reflect the community's deepest needs and wishes. Indeed, Laderman shows that funeral directors generally give the people what they want when it is time to bury our dead. He reveals, for example, that the open casket, often criticized as barbaric, provides a deeply meaningful moment for friends and family who must say goodbye to their loved one. But he also shows how the dead often come back to life in the popular imagination to disturb the peace of the living. Drawing upon interviews with funeral directors, major historical events like the funerals of John F. Kennedy and Rudolf Valentino, films, television, newspaper reports, proposals for funeral reform, and other primary sources, Rest in Peace cuts through the rhetoric to show us the reality--and the real cultural value--of the American funeral.

    They explore how and why U.S. troops turned to music as a way of connecting to each other and the World back home and of coping with the complexities of the war they had been sent to fight. They also demonstrate that music was important for every group of Vietnam veterans — black and white, Latino and Native American, men and women, officers and “grunts” — whose personal reflections drive the book’s narrative. Many of the voices are those of ordinary soldiers, airmen, seamen, and marines. But there are also “solo” pieces by veterans whose writings have shaped our understanding of the war — Karl Marlantes, Alfredo Vea, Yusef Komunyakaa, Bill Ehrhart, Arthur Flowers — as well as songwriters and performers whose music influenced soldiers’ lives, including Eric Burdon, James Brown, Bruce Springsteen, Country Joe McDonald, and John Fogerty. Together their testimony taps into memories — individual and cultural — that capture a central if often overlooked component of the American war in Vietnam.

    The explanation for this is quite simple: the elite perceived majority power as tantamount to a dictatorship of the proletariat.In ancient Greece there can be traced not only the rudiments of modern democratic society but the entire Western tradition of anti-democratic thought. In Democracy, Paul Cartledge provides a detailed history of this ancient political system. In addition, by drawing out the salient differences between ancient and modern forms of democracy he enables a richer understanding of both.Cartledge contends that there is no one "ancient Greek democracy" as pure and simple as is often believed. Democracy surveys the emergence and development of Greek politics, the invention of political theory, and-intimately connected to the latter- the birth of democracy, first at Athens in c. 500 BCE and then at its greatest flourishing in the Greek world 150 years later. Cartledge then traces the decline of genuinely democratic Greek institutions at the hands of the Macedonians and-subsequently and decisively-the Romans. Throughout, he sheds light on the variety of democratic practices in the classical world as well as on their similarities to and dissimilarities from modern democratic forms, from the American and French revolutions to contemporary political thought. Authoritative and accessible, Cartledge's book will be regarded as the best account of ancient democracy and its long afterlife for many years to come.

    But as Rachel Adams reveals in Sideshow U.S.A., images of the freak show, with its combination of the grotesque, the horrific, and the amusing, stubbornly reappeared in literature and the arts. Freak shows, she contends, have survived because of their capacity for reinvention. Empty of any inherent meaning, the freak's body becomes a stage for playing out some of the twentieth century's most pressing social and political concerns, from debates about race, empire, and immigration, to anxiety about gender, and controversies over taste and public standards of decency.Sideshow U.S.A. begins by revisiting the terror and fascination the original freak shows provided for their audiences, as well as exploring the motivations of those who sought fame and profit in the business of human exhibition. With this history in mind, Adams turns from live entertainment to more mediated forms of cultural expression: the films of Tod Browning, the photography of Diane Arbus, the criticism of Leslie Fiedler, and the fiction Carson McCullers, Toni Morrison, and Katherine Dunn. Taken up in these works of art and literature, the freak serves as a metaphor for fundamental questions about self and other, identity and difference, and provides a window onto a once vital form of popular culture. Adams's study concludes with a revealing look at the revival of the freak show as live performance in the late 1980s and the 1990s. Celebrated by some, the freak show's recent return is less welcome to those who have traditionally been its victims. At the beginning of a new century, Adams sees it as a form of living history, a testament to the vibrancy and inventiveness of American popular culture, as well as its capacity for cruelty and injustice."Because of its subject matter, this interesting and complex study is provocative, as well as thought-provoking."—Virginia Quarterly Review