This imaginary Europe, Dipesh Chakrabarty argues, is built into the social sciences. The very idea of historicizing carries with it some peculiarly European assumptions about disenchanted space, secular time, and sovereignty. Measured against such mythical standards, capitalist transition in the third world has often seemed either incomplete or lacking. Provincializing Europe proposes that every case of transition to capitalism is a case of translation as well--a translation of existing worlds and their thought--categories into the categories and self-understandings of capitalist modernity. Now featuring a new preface in which Chakrabarty responds to his critics, this book globalizes European thought by exploring how it may be renewed both for and from the margins.

    In Hunting for Hope he sets out to gather his own reasons for facing the future with hope, finding powers of healing in nature, in culture, in community, in spirit, and within each of us.

    Zinn addresses America's current political/ethical crisis using lessons learned from our nation’s history. Zinn brings a profoundly human, yet uniquely American perspective to each subject he writes about, whether it’s the abolition of war, terrorism, the Founding Fathers, the Holocaust, defending the rights of immigrants, or personal liberties. Written in an accessible, personal tone, Zinn approaches the telling of U.S. history from an active, engaged point of view. "America's future is linked to how we understand our past,” writes Zinn; "For this reason, writing about history, for me, is never a neutral act."Zinn frames the book with an opening essay titled "If History is to be Creative," a reflection on the role and responsibility of the historian. "To think that history-writing must aim simply to recapitulate the failures that dominate the past," writes Zinn, "is to make historians collaborators in an endless cycle of defeat." "If history is to be creative, to anticipate a possible future without denying the past, it should, I believe, emphasize new possibilities by disclosing those hidden episodes of the past when, even if in brief flashes, people showed their ability to resist, to join together, and occasionally win. I am supposing, or perhaps only hoping, that our future may be found in the past’s fugitive moments of compassion rather than in its solid centuries of warfare."Buzzing with stories and ideas, Zinn draws upon fascinating, little-known historical anecdotes spanning from the Declaration of Independence to the USA PATRIOT Act to comment on the most controversial issues facing us today: government dishonesty, how to respond to terrorism, the wars in Iraq and Afghanistan, the loss of our liberties, immigration, and the responsibility of the citizen to confront power for the common good.Considered a "modern-day Thoreau" by Jonathon Kozol, Zinn's inspired writings address the reader as an active participant in history making. "We live in a beautiful country,” writes Zinn, in the book’s opening chapter. “But people who have no respect for human life, freedom, or justice have taken it over. It is now up to all of us to take it back."Featuring essays penned over an eight-year period, A Power Governments Cannot Suppress is Howard Zinn’s first writerly work in several years, an invaluable post-9/11-era addition to the themes that run through his bestselling classic, A People’s History Of the United States.Howard Zinn is a veteran of World War II and author of many books and plays, including the million-selling classic, A People’s History of the United States. "Thank you, Howard Zinn. Thank you for telling us what none of our leaders are willing to: The truth. And you tell it with such brilliance, such humanity. It is a personal honor to be able to say I am a better citizen because of you."--Michael Moore, director of the film Fahrenheit 9/11, and author of the New York Times bestseller, Stupid White Men ...and Other Sorry Excuses for the State of the Nation!"Find here the voice of the well-educated and honorable and capable and human United States of America, which might have existed if only absolute power had not corrupted its third-rate leaders so absolutely."-- Kurt Vonnegut, author of A Man Without a Country

    Vale: Four leading figures in social movements discuss the state of Western culture and what led to its demise, with firsthand accounts of their own experiences, including subjects that concern every creative artist and thinker: The Internet and social change; why every one must paint( ); mind control, marketing, branding and consumerism; corporate chain stores and the problem of Amazon; punk rock history; the rise of Do-It-Yourself (D-I-Y) culture production; fame and its downside; sex and relationships.

    Burke contributes an introductory and summarizing remark, "What is involved, when we say what people are doing and why they are doing it? An answer to that question is the subject of this book. The book is concerned with the basic forms of through which, in accordance with the nature of the world as all men necessarily experience it, are exemplified in the attributing of motives. These forms of though can be embodied profoundly or trivially, truthfully or falsely. They are equally present in systematically elaborated or metaphysical structures, in legal judgments, in poetry and fiction, in political and scientific works, in news and in bits of gossip offered at random."

    His colleagues resist her argument that human reason is overrated and that the inability to reason does not diminish the value of life; his wife denounces his mother's vegetarianism as a form of moral superiority.At the dinner that follows her first lecture, the guests confront Costello with a range of sympathetic and skeptical reactions to issues of animal rights, touching on broad philosophical, anthropological, and religious perspectives. Painfully for her son, Elizabeth Costello seems offensive and flaky, but—dare he admit it?—strangely on target.Here the internationally renowned writer J. M. Coetzee uses fiction to present a powerfully moving discussion of animal rights in all their complexity. He draws us into Elizabeth Costello's own sense of mortality, her compassion for animals, and her alienation from humans, even from her own family. In his fable, presented as a Tanner Lecture sponsored by the University Center for Human Values at Princeton University, Coetzee immerses us in a drama reflecting the real-life situation at hand: a writer delivering a lecture on an emotionally charged issue at a prestigious university. Literature, philosophy, performance, and deep human conviction—Coetzee brings all these elements into play.As in the story of Elizabeth Costello, the Tanner Lecture is followed by responses treating the reader to a variety of perspectives, delivered by leading thinkers in different fields. Coetzee's text is accompanied by an introduction by political philosopher Amy Gutmann and responsive essays by religion scholar Wendy Doniger, primatologist Barbara Smuts, literary theorist Marjorie Garber, and moral philosopher Peter Singer, author of Animal Liberation. Together the lecture-fable and the essays explore the palpable social consequences of uncompromising moral conflict and confrontation.

    S. Eliot, Daniel Albright, Douglas Archibald, Harold Bloom, George Bornstein, Elizabeth Cullingford, Paul de Man, Richard Ellman, R. F. Foster, Stephen Gwynn, Seamus Heaney, Marjorie Howes, John Kelly, Declan Kiberd, Lucy McDiarmid, Michael North, Thomas Parkinson, Marjorie Perloff, James Pethica, Jahan Ramazani, Ronald Schuchard, Michael J. Sidnell, Anita Sokolsky, and Helen Vendler. A Chronology and Selected Bibliography are included.

    Trans visibility is touted as a sign of a liberal society, but it has coincided with a political moment marked both by heightened violence against trans people (especially trans women of color) and by the suppression of trans rights under civil law. Trap Door grapples with these contradictions. The essays, conversations, and dossiers gathered here delve into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered “doors”—entrances to visibility and recognition—that are actually “traps” accommodating trans bodies and communities only insofar as they cooperate with dominant norms. The volume speculates about a third term, perhaps uniquely suited for our time: the trapdoor, neither entrance nor exit, but a secret passageway leading elsewhere. Trap Door begins a conversation that extends through and beyond trans culture, showing how these issues have relevance for anyone invested in the ethics of visual culture.

    Hence: Can Machiavelli, who makes the following observations, be Machiavellian as we understand the disparaging term? 1. So it is that to know the nature of a people, one need be a Prince; to know the nature of a Prince, one need to be of the people. 2. If a Prince is not given to vices that make him hated, it is unsusal for his subjects to show their affection for him. 3. Opportunity made Moses, Cyrus, Romulus, Theseus, and others; their virtue domi-nated the opportunity, making their homelands noble and happy. Armed prophets win; the disarmed lose. 4. Without faith and religion, man achieves power but not glory. 5. Prominent citizens want to command and oppress; the populace only wants to be free of oppression. 6. A Prince needs a friendly populace; otherwise in diversity there is no hope. 7. A Prince, who rules as a man of valor, avoids disasters, 8. Nations based on mercenary forces will never be solid or secure. 9. Mercenaries are dangerous because of their cowardice 10. There are two ways to fight: one with laws, the other with force. The first is rightly man’s way; the second, the way of beasts.

    The book is a frame narrative primarily depicting a fictional island society as described by the character Raphael Hythloday who lived there some years, who describes and its religious, social and political customs.

     This long-awaited new edition reinstates significant portions of the original French text that were cut in the first English translation. Vital and groundbreaking, Beauvoir’s pioneering and impressive text remains as pertinent today as it was back then, and will continue to provoke and inspire generations of men and women to come.

    José Esteban Muñoz looks at how those outside the racial and sexual mainstream negotiate majority culture—not by aligning themselves with or against exclusionary works but rather by transforming these works for their own cultural purposes. Muñoz calls this process “disidentification,” and through a study of its workings, he develops a new perspective on minority performance, survival, and activism.Disidentifications is also something of a performance in its own right, an attempt to fashion a queer world by working on, with, and against dominant ideology. By examining the process of identification in the work of filmmakers, performance artists, ethnographers, Cuban choteo, forms of gay male mass culture (such as pornography), museums, art photography, camp and drag, and television, Muñoz persistently points to the intersecting and short-circuiting of identities and desires that result from misalignments with the cultural and ideological mainstream in contemporary urban America.Muñoz calls attention to the world-making properties found in performances by queers of color—in Carmelita Tropicana’s “Camp/Choteo” style politics, Marga Gomez’s performances of queer childhood, Vaginal Creme Davis’s “Terrorist Drag,” Isaac Julien’s critical melancholia, Jean-Michel Basquiat’s disidentification with Andy Warhol and pop art, Felix Gonzalez-Torres’s performances of “disidentity,” and the political performance of Pedro Zamora, a person with AIDS, within the otherwise artificial environment of the MTV serial The Real World.

    Through personal essays, criticism, interviews, testimonials, poetry, and visual art, the collection explores, as coeditor Cherríe Moraga writes, “the complex confluence of identities—race, class, gender, and sexuality—systemic to women of color oppression and liberation.”

    Cleaver writes in Soul on Ice, "I'm perfectly aware that I'm in prison, that I'm a Negro, that I've been a rapist, and that I have a Higher Uneducation." What Cleaver shows us, on the pages of this now classic autobiography, is how much he was a man.

    Butler was a military hero of the first rank, the winner of two Medals of Honour, a true 'fighting marine' whose courage and patriotism could not be doubted. Yet he came to believe that the wars in which he and his men had fought and bled and died were all pre-planned conflicts, designed not so much to defend America as to bloat the balance sheets of US banks and corporations.War Is a Racket is the title of two works, a speech and a booklet, by retired United States Marine Corps Major General and two time Medal of Honor recipient Smedley D. Butler. In them, Butler frankly discusses from his experience as a career military officer how business interests commercially benefit from warfare.After his retirement from the Marine Corps, Gen. Butler made a nationwide tour in the early 1930s giving his speech "War is a Racket". The speech was so well received that he wrote a longer version as a small book with the same title that was published in 1935 by Round Table Press, Inc., of New York. The booklet was also condensed in Reader's Digest as a book supplement which helped popularize his message. In an introduction to the Reader's Digest version, Lowell Thomas, the "as told to" author of Butler's oral autobiographical adventures, praised Butler's "moral as well as physical courage".