Davis, authors of the PEN Center USA award-winning Dallas 1963, comes a madcap narrative about Timothy Leary's daring prison escape and run from the law. On the moonlit evening of September 12, 1970, an ex-Harvard professor with a genius I.Q. studies a twelve-foot high fence topped with barbed wire. A few months earlier, Dr. Timothy Leary, the High Priest of LSD, had been running a gleeful campaign for California governor against Ronald Reagan. Now, Leary is six months into a ten-year prison sentence for the crime of possessing two marijuana cigarettes. Aided by the radical Weather Underground, Leary's escape from prison is the counterculture's union of "dope and dynamite," aimed at sparking a revolution and overthrowing the government. Inside the Oval Office, President Richard Nixon drinks his way through sleepless nights as he expands the war in Vietnam and plots to unleash the United States government against his ever-expanding list of domestic enemies. Antiwar demonstrators are massing by the tens of thousands; homemade bombs are exploding everywhere; Black Panther leaders are threatening to burn down the White House; and all the while Nixon obsesses over tracking down Timothy Leary, whom he has branded "the most dangerous man in America." Based on freshly uncovered primary sources and new firsthand interviews, The Most Dangerous Man in America is an American thriller that takes readers along for the gonzo ride of a lifetime. Spanning twenty-eight months, President Nixon's careening, global manhunt for Dr. Timothy Leary winds its way among homegrown radicals, European aristocrats, a Black Panther outpost in Algeria, an international arms dealer, hash-smuggling hippies from the Brotherhood of Eternal Love, and secret agents on four continents, culminating in one of the trippiest journeys through the American counterculture.

    But is it possible America's most troubling impact on the globalizing world has yet to be accounted for? In "Crazy Like Us," Ethan Watters reveals that the most devastating consequence of the spread of American culture has not been our golden arches or our bomb craters but our bulldozing of the human psyche itself: We are in the process of homogenizing the way the world goes mad. America has been the world leader in generating new mental health treatments and modern theories of the human psyche. We export our psychopharmaceuticals packaged with the certainty that our biomedical knowledge will relieve the suffering and stigma of mental illness. We categorize disorders, thereby defining mental illness and health, and then parade these seemingly scientific certainties in front of the world. The blowback from these efforts is just now coming to light: It turns out that we have not only been changing the way the world talks about and treats mental illness -- we have been changing the mental illnesses themselves.For millennia, local beliefs in different cultures have shaped the experience of mental illness into endless varieties." Crazy Like Us" documents how American interventions have discounted and worked to change those indigenous beliefs, often at a dizzying rate. Over the last decades, mental illnesses popularized in America have been spreading across the globe with the speed of contagious diseases. Watters travels from China to Tanzania to bring home the unsettling conclusion that the virus is us: As we introduce Americanized ways of treating mental illnesses, we are in fact spreading the diseases.In post-tsunami Sri Lanka, Watters reports on the Western trauma counselors who, in their rush to help, inadvertently trampled local expressions of grief, suffering, and healing. In Hong Kong, he retraces the last steps of the teenager whose death sparked an epidemic of the American version of anorexia nervosa. Watters reveals the truth about a multi-million-dollar campaign by one of the world's biggest drug companies to change the Japanese experience of depression -- literally marketing the disease along with the drug.But this book is not just about the damage we've caused in faraway places. Looking at our impact on the psyches of people in other cultures is a gut check, a way of forcing ourselves to take a fresh look at our own beliefs about mental health and healing. When we examine our assumptions from a farther shore, we begin to understand how our own culture constantly shapes and sometimes creates the mental illnesses of our time. By setting aside our role as the world's therapist, we may come to accept that we have as much to learn from other cultures' beliefs about the mind as we have to teach.

    Dick, UrsulaK. LeGuin, William Gibson, Brian Aldiss, Kim Stanley Robinson, and more.Jameson’s essential essays, including “The Desire Called Utopia,”conclude with an examination of the opposing positions on utopia and an assessment of its political value today.

    In Homo Deus, he looked to our future. Now, one of the most innovative thinkers on the planet turns to the present to make sense of today's most pressing issues.How do computers and robots change the meaning of being human? How do we deal with the epidemic of fake news? Are nations and religions still relevant? What should we teach our children?Yuval Noah Harari's 21 Lessons for the 21st Century is a probing and visionary investigation into today's most urgent issues as we move into the uncharted territory of the future. As technology advances faster than our understanding of it, hacking becomes a tactic of war, and the world feels more polarized than ever, Harari addresses the challenge of navigating life in the face of constant and disorienting change and raises the important questions we need to ask ourselves in order to survive.In twenty-one accessible chapters that are both provocative and profound, Harari builds on the ideas explored in his previous books, untangling political, technological, social, and existential issues and offering advice on how to prepare for a very different future from the world we now live in: How can we retain freedom of choice when Big Data is watching us? What will the future workforce look like, and how should we ready ourselves for it? How should we deal with the threat of terrorism? Why is liberal democracy in crisis?Harari's unique ability to make sense of where we have come from and where we are going has captured the imaginations of millions of readers. Here he invites us to consider values, meaning, and personal engagement in a world full of noise and uncertainty. When we are deluged with irrelevant information, clarity is power. Presenting complex contemporary challenges clearly and accessibly, 21 Lessons for the 21st Century is essential reading.

    Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - 'the eccentric' - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. Named after the U.S.-retitling of Carlos Aured's The Blue Eyes of the Broken Doll, House of Psychotic Women is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and an examination of female madness, both onscreen and off. This sharply-designed book with a 32-page full-colour section is packed with rare stills, posters, pressbooks and artwork that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, The Corruption of Chris Miller, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let's Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more!

    Indeed, in this pioneering exploration of the cinema of fear, Barry Keith Grant and twenty other film critics posit that horror is always rooted in gender, particularly in anxieties about sexual difference and gender politics.The book opens with the influential theoretical works of Linda Williams, Carol J. Clover, and Barbara Creed. Subsequent essays explore the history of the genre, from classic horror such as King Kong and Bride of Frankenstein to the more recent Fatal Attraction and Bram Stoker's Dracula. Other topics covered include the work of horror auteurs David Cronenberg, Dario Argento, and George Romero; the Aliens trilogy; and the importance of gender in relation to horror marketing and reception.Other contributors include Vera Dika, Thomas Doherty, Lucy Fischer, Christopher Sharrett, Vivian Sobchack, Tony Williams, and Robin Wood. Writing across a full range of critical methods from classic psychoanalysis to feminism and postmodernism, they balance theoretical generalizations with close readings of films and discussions of figures associated with the genre.The Dread of Difference demonstrates that horror is hardly a uniformly masculine discourse. As these essays persuasively show, not only are horror movies about patriarchy and its fear of the feminine, but they also offer feminist critique and pleasure.

    Published in 1963, it gave a pitch-perfect description of “the problem that has no name”: the insidious beliefs and institutions that undermined women’s confidence in their intellectual capabilities and kept them in the home. Writing in a time when the average woman first married in her teens and 60 percent of women students dropped out of college to marry, Betty Friedan captured the frustrations and thwarted ambitions of a generation and showed women how they could reclaim their lives. Part social chronicle, part manifesto, The Feminine Mystique is filled with fascinating anecdotes and interviews as well as insights that continue to inspire. This 50th–anniversary edition features an afterword by best-selling author Anna Quindlen as well as a new introduction by Gail Collins.

    Drawing from his unique cultural vision, Žižek brings new light to the Paris riots of 2005; he questions the permissiveness of violence in philanthropy; in daring terms, he reflects on the powerful image and determination of contemporary terrorists.Violence, Žižek states, takes three forms--subjective (crime, terror), objective (racism, hate-speech, discrimination), and systemic (the catastrophic effects of economic and political systems)--and often one form of violence blunts our ability to see the others, raising complicated questions.Does the advent of capitalism and, indeed, civilization cause more violence than it prevents? Is there violence in the simple idea of "the neighbour"? And could the appropriate form of action against violence today simply be to contemplate, to think?Beginning with these and other equally contemplative questions, Žižek discusses the inherent violence of globalization, capitalism, fundamentalism, and language, in a work that will confirm his standing as one of our most erudite and incendiary modern thinkers.

    Boorstin’s prophetic vision of an America inundated by its own illusions has become an essential resource for any reader who wants to distinguish the manifold deceptions of our culture from its few enduring truths.Cover design by Matt Dorfman.

    He then jets forward to the nineteenth century, where systems we can easily recognize as modern bureaucracies come into being. In some areas of life—like with the modern postal systems of Germany and France—these bureaucracies have brought tremendous efficiencies to modern life. But Graeber argues that there is a much darker side to modern bureaucracy that is rarely ever discussed. Indeed, in our own “utopia of rules,” freedom and technological innovation are often the casualties of systems that we only faintly understand.Provocative and timely, the book is a powerful look and history of bureaucracy over the ages and its power in shaping the world of ideas.

    Its problems are inherent in the technology itself and are so dangerous -- to personal health and sanity, to the environment, and to democratic processes -- that TV ought to be eliminated forever.Weaving personal experiences through meticulous research, the author ranges widely over aspects of television that have rarely been examined and never before joined together, allowing an entirely new, frightening image to emerge. The idea that all technologies are "neutral," benign instruments that can be used well or badly, is thrown open to profound doubt. Speaking of TV reform is, in the words of the author, "as absurd as speaking of the reform of a technology such as guns."

    Never before have the cultural powers- that-be been able to exert such control over what we can and can't do with the culture around us. Our society defends free markets and free speech; why then does it permit such top-down control? To lose our long tradition of free culture, Lawrence Lessig shows us, is to lose our freedom to create, our freedom to build, and, ultimately, our freedom to imagine.

    Underlying this trend is a single idea: the belief that our existence is understandable through computation, and more data is enough to help us build a better world.   In actual fact, we are lost in a sea of information, increasingly divided by fundamentalism, simplistic narratives, conspiracy theories, and post-factual politics. Meanwhile, those in power use our lack of understanding to further their own interests. Despite the accessibility of information, we’re living in a new Dark Age.   From rogue financial systems to shopping algorithms, from artificial intelligence to state secrecy, we no longer understand how our world is governed or presented to us. The media is filled with unverifiable speculation, much of it generated by anonymous software, while companies dominate their employees through surveillance and the threat of automation.   In his brilliant new work, leading artist and writer James Bridle excavates the limits of technology and how it aids our understanding of the world. Surveying the history of art, technology, and information systems, he explores the dark clouds that gather over our dreams of the digital sublime.

    The Civilizing Process stands out as Norbert Elias' greatest work, tracing the civilizing of manners and personality in Western Europe since the late Middle Ages by demonstrating how the formation of states and the monopolization of power within them changed Western society forever.

    From Princess Diana's funeral to the prospect of mass terror, from oral sex in the Oval Office to cowboy politics in distant lands, from high school cliques to marital therapy, from blogs to reality TV to the Weather Channel, Mediated takes us on an original and astonishing tour of every department of our media-saturated society. The implications are personal and far-reaching at the same time. Thomas de Zengotita is a contributing editor at Harper's Magazine and holds a Ph.D. in anthropology from Columbia University. He teaches at the Dalton School and at the Draper Graduate Program at New York University. "Reading Thomas de Zengotita's Mediated is like spending time with a wild, wired friend-the kind who keeps you up late and lures you outside of your comfort zone with a speed rap full of brilliant notions."-O magazine "A fine roar of a lecture about how the American mind is shaped by (too much) media...."-Washington Post "Deceptively colloquial, intellectually dense...This provocative, extreme and compelling work is a must-read for philosophers of every stripe."-Publishers Weekly