Grainy images from a security camera showed him trustingly holding the hand of ten-year-old Jon Venables as they walked away. Venables and his friend Robert Thompson murdered James, in a crime that shocked the world.In this haunting book, James' father Ralph describes how his world fell apart in the days that followed. In his darkest hours he drank to numb the pain, and the stress tore his marriage apart. He tells how he learned to cope with his grief, but the sorrow of James' death has never left him. He discusses the long legal battle to see justice for his son, as he tried to prevent his killers being released early, and his continuing fight to see them behind bars where they can't hurt anyone else. Above all, he pays tribute to his son, an adorable, cheeky boy whose bright smile brought joy to his family's lives.

    Korsgaard presents a compelling new view of humans' moral relationships to the other animals. She defends the claim that we are obligated to treat all sentient beings as what Kant called ends-in-themselves. Drawing on a theory of the good derived from Aristotle, she offers anexplanation of why animals are the sorts of beings for whom things can be good or bad. She then turns to Kant's argument for the value of humanity to show that rationality commits us to claiming the standing of ends-in-ourselves, in two senses. Kant argued that as autonomous beings, we claim to beends-in-ourselves when we claim the standing to make laws for ourselves and each other. Korsgaard argues that as beings who have a good, we also claim to be ends-in-ourselves when we take the things that are good for us to be good absolutely and so worthy of pursuit. The first claim commits us tojoining with other autonomous beings in relations of moral reciprocity. The second claim commits us to treating the good of every sentient creature as something of absolute importance.Korsgaard argues that human beings are not more important than the other animals, that our moral nature does not make us superior to the other animals, and that our unique capacities do not make us better off than the other animals. She criticizes the marginal cases argument and advances a newview of moral standing as attaching to the atemporal subjects of lives. She criticizes Kant's own view that our duties to animals are indirect, and offers a non-utilitarian account of the relation between pleasure and the good. She also addresses a number of directly practical questions: whether wehave the right to eat animals, experiment on them, make them work for us and fight in our wars, and keep them as pets; and how to understand the wrong that we do when we cause a species to go extinct.

    In The Plague of Fantasies Žižek approaches another enormous subject with characteristic brio and provocativeness. The current epoch is plagued by fantasms: there is an ever intensifying antagonism between the process of ever greater abstraction of our lives—whether in the form of digitalization or market relations—and the deluge of pseudo-concrete images which surround us. Traditional critical thought would have sought to trace the roots of abstract notions in concrete social reality; but today, the correct procedure is the inverse—from pseudo-concrete imagery to the abstract process which structures our lives.Ranging in his examples from national differences in toilet design to cybersex, and from intellectuals’ responses to the Bosnian war to Robert Schumann’s music, Žižek explores the relations between fantasy and ideology, the way in which fantasy animates enjoy-ment while protecting against its excesses, the associations of the notion of fetishism with fantasized seduction, and the ways in which digitalization and cyberspace affect the status of subjectivity. To the already initiated, The Plague of Fantasies will be a welcome reminder of why they enjoy Žižek’s writing so much. For new readers, it will be the beginning of a long and meaningful relationship.

    Among all aspects of Jefferson's renowned life, it was perhaps the most hotly contested topic. The publication of Thomas Jefferson and Sally Hemings intensified this debate by identifying glaring inconsistencies in many noted scholars' evaluations of the existing evidence. In this study, Gordon-Reed assembles a fascinating and convincing argument: not that the alleged thirty-eight-year liaison necessarily took place but rather that the evidence for its taking place has been denied a fair hearing.Friends of Jefferson sought to debunk the Hemings story as early as 1800, and most subsequent historians and biographers followed suit, finding the affair unthinkable based upon their view of Jefferson's life, character, and beliefs. Gordon-Reed responds to these critics by pointing out numerous errors and prejudices in their writings, ranging from inaccurate citations, to impossible time lines, to virtual exclusions of evidence--especially evidence concerning the Hemings family. She demonstrates how these scholars may have been misguided by their own biases and may even have tailored evidence to serve and preserve their opinions of Jefferson. This updated edition of the book also includes an afterword in which the author comments on the DNA study that provided further evidence of a Jefferson and Hemings liaison.Possessing both a layperson's unfettered curiosity and a lawyer's logical mind, Annette Gordon-Reed writes with a style and compassion that are irresistible. Each chapter revolves around a key figure in the Hemings drama, and the resulting portraits are engrossing and very personal. Gordon-Reed also brings a keen intuitive sense of the psychological complexities of human relationships--relationships that, in the real world, often develop regardless of status or race. The most compelling element of all, however, is her extensive and careful research, which often allows the evidence to speak for itself. Thomas Jefferson and Sally Hemings: An American Controversy is the definitive look at a centuries-old question that should fascinate general readers and historians alike.

    The uniquely multicultural nature of life on a seventeenth-century Barbadan sugar plantation--defined by a mixture of English, American Indian, and African ways and folklore--indelibly shaped the young Tituba's world and the mental images she brought with her to Massachusetts.Breslaw divides Tituba's story into two parts. The first focuses on Tituba's roots in Barbados, the second on her life in the New World. The author emphasizes the inextricably linked worlds of the Caribbean and the North American colonies, illustrating how the Puritan worldview was influenced by its perception of possessed Indians. Breslaw argues that Tituba's confession to practicing witchcraft clearly reveals her savvy and determined efforts to protect herself by actively manipulating Puritan fears. This confession, perceived as evidence of a diabolical conspiracy, was the central agent in the cataclysmic series of events that saw 19 people executed and over 150 imprisoned, including a young girl of 5.A landmark contribution to women's history and early American history, Tituba, Reluctant Witch of Salem sheds new light on one of the most painful episodes in American history, through the eyes of its most crucial participant.

    Francione is known for his criticism of animal welfare laws and regulations, his abolitionist theory of animal rights, and his promotion of veganism and nonviolence as the baseline principles of the abolitionist movement. In this collection, Francione advances the most radical theory of animal rights to date. Unlike Peter Singer, Francione maintains that we cannot morally justify using animals under any circumstances, and unlike Tom Regan, Francione's theory applies to all sentient beings, not only to those who have more sophisticated cognitive abilities.

    Vaporwave is an infant musical micro-genre that foregrounds the horror of electronic media's ability to appear - as media theorist Jeffrey Sconce terms it - "haunted."Experimental musicians such as INTERNET CLUB and MACINTOSH PLUS manipulate Muzak and commercial music to undermine the commodification of nostalgia in the age of global capitalism while accentuating the uncanny properties of electronic music production.Babbling Corpse reveals vaporwave's many intersections with politics, media theory, and our present fascination with uncanny, co(s)mic horror. The book is aimed at those interested in global capitalism's effect on art, musical raids on mainstream "indie" and popular music, and anyone intrigued by the changing relationship between art and commerce.

    In this book, Kathryn Lofton investigates the Oprah phenomenon and finds in Winfrey’s empire—Harpo Productions, O Magazine, and her new television network—an uncanny reflection of religion in modern society. Lofton shows that when Oprah liked, needed, or believed something, she offered her audience nothing less than spiritual revolution, reinforced by practices that fuse consumer behavior, celebrity ambition, and religious idiom. In short, Oprah Winfrey is a media messiah for a secular age. Lofton’s unique approach also situates the Oprah enterprise culturally, illuminating how Winfrey reflects and continues historical patterns of American religions.

    Kennedy was an appalling and grisly conspiracy. This is the unvarnished story. With deft investigative skill, David Kaiser shows that the events of November 22, 1963, cannot be understood without fully grasping the two larger stories of which they were a part: the U.S. government's campaign against organized crime, which began in the late 1950s and accelerated dramatically under Robert Kennedy; and the furtive quest of two administrations--along with a cadre of private interest groups--to eliminate Fidel Castro. The seeds of conspiracy go back to the Eisenhower administration, which recruited top mobsters in a series of plots to assassinate the Cuban leader. The CIA created a secretive environment in which illicit networks were allowed to expand in dangerous directions. The agency's links with the Mafia continued in the Kennedy administration, although the President and his closest advisors--engaged in their own efforts to overthrow Castro--thought this skullduggery had ended. Meanwhile, Cuban exiles, right-wing businessmen, and hard-line anti-Communists established ties with virtually anyone deemed capable of taking out the Cuban premier. Inevitably those ties included the mob. The conspiracy to kill JFK took shape in response to Robert Kennedy's relentless attacks on organized crime--legal vendettas that often went well beyond the normal practices of law enforcement. Pushed to the wall, mob leaders merely had to look to the networks already in place for a solution. They found it in Lee Harvey Oswald--the ideal character to enact their desperate revenge against the Kennedys. Comprehensive, detailed, and informed by original sources, The Road to Dallas adds surprising new material to every aspect of the case. It brings to light the complete, frequently shocking, story of the JFK assassination and its aftermath.

    So too the monsters that haunt the stories of the Judeo-Christian mythos and earlier traditions: Leviathan, Behemoth, dragons, and other beasts. In this unusual and provocative book, Timothy K. Beal writes about the monsters that lurk in our religious texts, and about how monsters and religion are deeply entwined. Horror and faith are inextricable. Ans as monsters are part of religious texts and traditions, so religion lurks in the modern horror genre, from its birth in Dante's Inferno to the contemporary spookiness of H.P. Lovecraft and the Hellraiser films. Religion and Its Monsters is essential reading for students of religion and popular culture, as well as any readers with an interest in horror.

    In August 1966, while on parole for burglary, he raped, tortured, and murdered three teenagers in an abandoned field far from his hometown of Rosebud, a peaceful Central Texas hamlet. He was tried, convicted, and condemned to death. Had his sentence not been commuted to life, that would have been the end of Kenneth Allen McDuff. But in 1989, only weeks after the twenty-third anniversary of his crimes, the bad boy from Rosebud walked out of prison a free man.McDuff took pleasure in outwitting the system, and his bloodlust was an impulse he had no intention of controlling. After decomposed corpses of more and more women were discovered, the worst nightmares of the authorities came true. But times were different. It took 32 years to bring his brutal and heartless crime spree to a fitting end. Texas had never seen such incredible brutality--and has never been the same since.

    This book offers a selection of seven of Foucault's most important published essays, translated from the French, with an introductory essay and notes by Donald F. Bouchard. Also included are a summary of a course given by Foucault at Collège de France, the transcript of a conversation between Foucault and Gilles Deleuze, and an interview with Foucault that appeared in the journal Actuel.

    Eugene McCarraher reveals how mammon ensnared us and how we can find a more humane, sacramental way of being in the world.If socialists and Wall Street bankers can agree on anything, it is the extreme rationalism of capital. At least since Max Weber, capitalism has been understood as part of the "disenchantment" of the world, stripping material objects and social relationships of their mystery and sacredness. Ignoring the motive force of the spirit, capitalism rejects the awe-inspiring divine for the economics of supply and demand.Eugene McCarraher challenges this conventional view. Capitalism, he argues, is full of sacrament, whether or not it is acknowledged. Capitalist enchantment first flowered in the fields and factories of England and was brought to America by Puritans and evangelicals whose doctrine made ample room for industry and profit. Later, the corporation was mystically animated with human personhood, to preside over the Fordist endeavor to build a heavenly city of mechanized production and communion. By the twenty-first century, capitalism has become thoroughly enchanted by the neoliberal deification of "the market."Informed by cultural history and theology as well as economics, management theory, and marketing, The Enchantments of Mammon looks not to Marx and progressivism but to nineteenth-century Romantics for salvation. The Romantic imagination favors craft, the commons, and sensitivity to natural wonder. It promotes labor that, for the sake of the person, combines reason, creativity, and mutual aid. In this impassioned challenge, McCarraher makes the case that capitalism has hijacked and redirected our intrinsic longing for divinity--and urges us to break its hold on our souls.

    In fact, most of the frightening images and stereotypes surrounding fringe religious movements are traceable to the mid-nineteenth century when Mormons, Freemasons, and even Catholics were denounced for supposed ritualistic violence, fraud, and sexual depravity. But America has also been the home of an often hysterical anti-cult backlash. Jenkins offers an insightful new analysis of why cults arouse such fear and hatred both in the secular world and in mainstream churches, many of which were themselves originally regarded as cults. He argues that an accurate historical perspective is urgently needed if we are to avoid the kind of catastrophic confrontation that occurred in Waco or the ruinous prosecution of imagined Satanic cults that swept the country in the 1980s.Without ignoring genuine instances of aberrant behavior, Mystics and Messiahs goes beyond the vast edifice of myth, distortion, and hype to reveal the true characteristics of religious fringe movements and why they inspire such fierce antagonism.

    Faster and faster, to escape the assassins on his heels, our protagonist flies forward, blending into crowds, adjusting to terrains, hopping on and off ferries, always desperately trying to stay a step ahead of certain death: the past did not exist for him, only what was current existed, he was a prisoner of the instant, and he rushed into this instant, an instant that had no continuation, just as it had no earlier version, and he would have told himself—had he had time to think about this between two instants—that he had no need either for past or future for neither existed. But, in fact, he had no time between two instants. Since there’s no such thing as two instants.Krasznahorkai—celebrated for the exhilarating energy of his prose—outdoes himself in Chasing Homer, and has, moreover, envisioned the book as a collaborative enterprise, with a beautiful full-color painting by Max Neumann for each of its nineteen chapters to evoke our hero’s plight and--reaching out of the book proper--further propelling his flight by the wildly percussive music of Miklos Szilveszter, with a score for each chapter as well (to be accessed by the reader via QR codes printed in the book). Chasing Homer is a unique and incredibly swift tour of Laszlo’s world—a treat not to be missed.