His Common Sense (1776) was the most widely read pamphlet of the American Revolution and his Rights of Man (1791-2), the most famous defense of the French Revolution, sent out a clarion call for revolution throughout the world. Paine paid the price for his principles: he was outlawed in Britain, narrowly escaped execution in France, and was vilified as an atheist and a Jacobin on his return to America.This new edition contains the complete texts of both Rights of Man and Common Sense, as well as six other powerfully political writings - American Crisis I, American Crisis XIII, Agrarian Justice, Letter to Jefferson, Letter Addressed to the Addressers on the Late Proclamation and Dissertation on the First Principles of Government - all of which illustrate why Paine's ideas still resonate in the modern welfare states of today.

    It asks what follows when we make our desires and even our own happiness conditional on the happiness of others: “I just want you to be happy”; “I’m happy if you’re happy.” Combining philosophy and feminist cultural studies, Sara Ahmed reveals the affective and moral work performed by the “happiness duty,” the expectation that we will be made happy by taking part in that which is deemed good, and that by being happy ourselves, we will make others happy. Ahmed maintains that happiness is a promise that directs us toward certain life choices and away from others. Happiness is promised to those willing to live their lives in the right way.Ahmed draws on the intellectual history of happiness, from classical accounts of ethics as the good life, through seventeenth-century writings on affect and the passions, eighteenth-century debates on virtue and education, and nineteenth-century utilitarianism. She engages with feminist, antiracist, and queer critics who have shown how happiness is used to justify social oppression, and how challenging oppression causes unhappiness. Reading novels and films including Mrs. Dalloway, The Well of Loneliness, Bend It Like Beckham, and Children of Men, Ahmed considers the plight of the figures who challenge and are challenged by the attribution of happiness to particular objects or social ideals: the feminist killjoy, the unhappy queer, the angry black woman, and the melancholic migrant. Through her readings she raises critical questions about the moral order imposed by the injunction to be happy.

    Despite civil rights movements and other attempts at progress, racial prejudices and stereotypes remain deeply embedded in Western culture. Racism takes a frank and objective look at why these notions exist. It explores how racism has come to be so firmly established, and looks at how race, ethnicity, and xenophobia are related. This book incorporates the latest research to demystify the subject of racism and explore its history, science, and culture. It sheds light not only on how racism has evolved since its earliest beginnings, but also explores the numerous embodiments of racism, highlighting the paradox of its survival, despite the scientific discrediting of the notion of 'race' with the latest advances in genetics. As encompassing as it is concise, Racism is a valuable guide to one of the world's most destructive problems.

    Welcome to laughing until it hurts while covered in bodily fluids. Welcome to simple math at very high stakes. Welcome to an incredibly inappropriate sense of humor. Welcome to serving people on the most stressful days of their lives. Welcome to putting your hands in places you never imagined they'd be. Welcome to your front row seat to the ballad of life and death. That's not the welcome that this nurse was looking for, but that's the one he got. Irreverent and audacious, this brutally honest memoir covers what it’s like to come of age in an American Hospital. Welcome to a rollicking peak behind the curtain to what medical providers, and the health care system, are truly like.

    Told in the first person, this lyrical remembrance is a powerful odyssey of one young man coming of age in a confusing & sometimes hostile world.

    By allowing women to control their fertility, the birth control pill has revolutionized women's lives. Women are going to college, graduating, and entering the workforce in greater numbers than ever before, and there's good reason to believe that the birth control pill has a lot to do with this. But there's a lot more to the pill than meets the eye.Although women go on the pill for a small handful of targeted effects (pregnancy prevention and clearer skin, yay!), sex hormones can't work that way. Sex hormones impact the activities of billions of cells in the body at once, many of which are in the brain. There, they play a role in influencing attraction, sexual motivation, stress, hunger, eating patterns, emotion regulation, friendships, aggression, mood, learning, and more. This means that being on the birth control pill makes women a different version of themselves than when they are off of it. And this is a big deal. For instance, women on the pill have a dampened cortisol spike in response to stress. While this might sound great (no stress!), it can have negative implications for learning, memory, and mood. Additionally, because the pill influences who women are attracted to, being on the pill may inadvertently influence who women choose as partners, which can have important implications for their relationships once they go off it. Sometimes these changes are for the better . . . but other times, they're for the worse. By changing what women's brains do, the pill also has the ability to have cascading effects on everything and everyone that a woman encounters. This means that the reach of the pill extends far beyond women's own bodies, having a major impact on society and the world.This paradigm-shattering book provides an even-handed, science-based understanding of who women are, both on and off the pill. It will change the way that women think about their hormones and how they view themselves. It also serves as a rallying cry for women to demand more information from science about how their bodies and brains work and to advocate for better research. This book will help women make more informed decisions about their health, whether they're on the pill or off of it.

    He was also its most formidable critic, condemning the political, economic, theological, and sexual trappings of civilization along lines that would excite the enthusiasm of romantic individualists and radical revolutionaries alike. In this study of Rousseau's life and works, Robert Wolker shows how his philosophy of history, his theories of music and politics, his fiction, educational, and religious writings, and even his botany, were all inspired by revolutionary ideals of mankind's self-realization in a condition of unfettered freedom. He explains how, in regressing to classical republicanism, ancient mythology, direct communication with God, and solitude, Rousseau anticipated some post-modernist rejections of the Enlightenment as well.

    Davis re-examines the notion that Disney heroines are rewarded for passivity. Davis proceeds from the assumption that, in their representations of femininity, Disney films both reflected and helped shape the attitudes of the wider society, both at the time of their first release and subsequently. Analyzing the construction of (mainly human) female characters in the animated films of the Walt Disney Studio between 1937 and 2001, she attempts to establish the extent to which these characterizations were shaped by wider popular stereotypes. Davis argues that it is within the most constructed of all moving images of the female form--the heroine of the animated film--that the most telling aspects of Woman as the subject of Hollywood iconography and cultural ideas of American womanhood are to be found.

    In this “remarkable act of reclamation” (Neil Gaiman), Ruth Franklin envisions Jackson as “belonging to the great tradition of Hawthorne, Poe and James” (New York Times Book Review) and demonstrates how her unique contribution to the canon “so uncannily channeled women’s nightmares and contradictions that it is ‘nothing less than the secret history of American women of her era’ ” (Washington Post). Franklin investigates the “interplay between the life, the work, and the times with real skill and insight, making this fine book a real contribution not only to biography, but to mid-20th-century women’s history” (Chicago Tribune). “Wisely rescu[ing] Shirley Jackson from any semblance of obscurity” (Lena Dunham), Franklin’s invigorating portrait stands as the definitive biography of a generational avatar and an American literary genius.

    Drawing on studies of social class, crime and deviance, work in bureaucracies, and changes in religious and political organizations, this Very Short Introduction explores the tension between the individual's role in society and society's role in shaping the individual, and demonstrates the value of sociology as a perspective for understanding the modern world.

    This is an exploration of her relationship with the literary form we have come to know as "science fiction,” a relationship that has been lifelong, stretching from her days as a child reader in the 1940s, through her time as a graduate student at Harvard, where she worked on the Victorian ancestor of the form, and continuing as a writer and reviewer.  This book brings together her three heretofore unpublished Ellmann Lectures from 2010: "Flying Rabbits," which begins with Atwood's early  rabbit superhero creations, and goes on to speculate about masks, capes, weakling alter egos, and Things with Wings; "Burning Bushes," which follows her into Victorian otherlands and beyond; and "Dire Cartographies," which investigates Utopias and Dystopias.  In Other Worlds also includes some of Atwood's key reviews and thoughts about the form. Among those writers discussed are Marge Piercy, Rider Haggard, Ursula Le Guin, Ishiguro, Bryher, Huxley, and Jonathan Swift. She elucidates the differences (as she sees them) between "science fiction" proper, and "speculative fiction," as well as between "sword and sorcery/fantasy" and "slipstream fiction." For all readers who have loved The Handmaid's Tale, Oryx and Crake, and The Year of the Flood, In Other Worlds is a must.  From the Hardcover edition.

    In vivid, hard-hitting articles, Connelly leads the reader past the yellow police tape as he follows the investigators, the victims, their families and friends--and, of course, the killers--to tell the real stories of murder and its aftermath. Connelly's firsthand observations would lend inspiration to his novels, from The Black Echo, which was drawn from a real-life bank heist, to Trunk Music, based on an unsolved case of a man found in the trunk of his Rolls Royce.And the vital details of his best-known characters, both heroes and villains, would be drawn from the cops and killers he reported on: from loner detective Harry Bosch to the manipulative serial killer the Poet. Stranger than fiction and every bit as gripping, these pieces show once again that Michael Connelly is not only a master of his craft, but also one of the great American writers in any form.The cops --The call --The open territory --Crossing the line --Cops accused --Death squad --Killed by a kid --The killers --Killer on the run --Dark disguise --The stalker --America's most wanted --Wife killer --The gang that couldn't shoot straight --Evil until he dies --The cases --Nameless grave --Double life --Death of an heiress --Hollywood homicide --The family --High time --Lying in wait --Trunk music --Open-unsolved

    While paintings of Picasso and Jackson Pollock sell for a hundred million dollars or more, and lines from T. S. Eliot are quoted on the yearbook pages of alienated teenagers across the land, twentieth-century classical music still sends ripples of unease through audiences. At the same time, its influence can be felt everywhere. Atonal chords crop up in jazz. Avant-garde sounds populate the soundtracks of Hollywood thrillers. Minimalism has had a huge effect on rock, pop, and dance music from the Velvet Underground onward.The Rest Is Noise shows why twentieth-century composers felt compelled to create a famously bewildering variety of sounds, from the purest beauty to the purest noise. It tells of a remarkable array of maverick personalities who resisted the cult of the classical past, struggled against the indifference of a wide public, and defied the will of dictators. Whether they have charmed audiences with sweet sounds or battered them with dissonance, composers have always been exuberantly of the present, defying the stereotype of classical music as a dying art. The narrative goes from Vienna before the First World War to Paris in the twenties, from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies. We follow the rise of mass culture and mass politics, of dramatic new technologies, of hot and cold wars, of experiments, revolutions, riots, and friendships forged and broken. The end result is not so much a history of twentieth-century music as a history of the twentieth century through its music.

    Now, Steven D. Levitt and Stephen J. Dubner return with SuperFreakonomics, and fans and newcomers alike will find that the freakquel is even bolder, funnier, and more surprising than the first.Four years in the making, SuperFreakonomics asks not only the tough questions, but the unexpected ones: What's more dangerous, driving drunk or walking drunk? Why is chemotherapy prescribed so often if it's so ineffective? Can a sex change boost your salary?SuperFreakonomics challenges the way we think all over again, exploring the hidden side of everything with such questions as:How is a street prostitute like a department-store Santa?Why are doctors so bad at washing their hands?How much good do car seats do?What's the best way to catch a terrorist?Did TV cause a rise in crime?What do hurricanes, heart attacks, and highway deaths have in common?Are people hard-wired for altruism or selfishness?Can eating kangaroo save the planet?Which adds more value: a pimp or a Realtor?Levitt and Dubner mix smart thinking and great storytelling like no one else, whether investigating a solution to global warming or explaining why the price of oral sex has fallen so drastically. By examining how people respond to incentives, they show the world for what it really is – good, bad, ugly, and, in the final analysis, super freaky.Freakonomics has been imitated many times over – but only now, with SuperFreakonomics, has it met its match.

    “Babel in California” told the true story of various human destinies intersecting at Stanford University during a conference about the enigmatic writer Isaac Babel. Over the course of several pages, Batuman managed to misplace Babel’s last living relatives at the San Francisco airport, uncover Babel’s secret influence on the making of King Kong, and introduce her readers to a new voice that was unpredictable, comic, humane, ironic, charming, poignant, and completely, unpretentiously full of love for literature. Batuman’s subsequent pieces—for The New Yorker, Harper’s Magazine, and the London Review of Books— have made her one of the most sought-after and admired writers of her generation, and its best traveling companion. In The Possessed we watch her investigate a possible murder at Tolstoy’s ancestral estate. We go with her to Stanford, Switzerland, and St. Petersburg; retrace Pushkin’s wanderings in the Caucasus; learn why Old Uzbek has one hundred different words for crying; and see an eighteenth-century ice palace reconstructed on the Neva. Love and the novel, the individual in history, the existential plight of the graduate student: all find their place in The Possessed. Literally and metaphorically following the footsteps of her favorite authors, Batuman searches for the answers to the big questions in the details of lived experience, combining fresh readings of the great Russians, from Pushkin to Platonov, with the sad and funny stories of the lives they continue to influence—including her own.