Eminent Canadian law professor and legal theorist Joel Bakan contends that today's corporation is a pathological institution, a dangerous possessor of the great power it wields over people and societies.In this revolutionary assessment of the history, character, and globalization of the modern business corporation, Bakan backs his premise with the following observations:-The corporation’s legally defined mandate is to pursue relentlessly and without exception its own economic self-interest, regardless of the harmful consequences it might cause to others. -The corporation’s unbridled self-interest victimizes individuals, society, and, when it goes awry, even shareholders and can cause corporations to self-destruct, as recent Wall Street scandals reveal. -Governments have freed the corporation, despite its flawed character, from legal constraints through deregulation and granted it ever greater authority over society through privatization.But Bakan believes change is possible and he outlines a far-reaching program of achievable reforms through legal regulation and democratic control.Featuring in-depth interviews with such wide-ranging figures as Nobel Prize winner Milton Friedman, business guru Peter Drucker, and cultural critic Noam Chomsky, The Corporation is an extraordinary work that will educate and enlighten students, CEOs, whistle-blowers, power brokers, pawns, pundits, and politicians alike.

    On every page I learned something new. Read it every night if you want to restore your faith in our country." —James Mattis, General, U.S. Marines (ret.) & 26th Secretary of Defense The Pulitzer Prize-winning journalist and #1 New York Times bestselling author offers a revelatory new book about the founding fathers, examining their educations and, in particular, their devotion to the ancient Greek and Roman classics—and how that influence would shape their ideals and the new American nation.On the morning after the 2016 presidential election, Thomas Ricks awoke with a few questions on his mind: What kind of nation did we now have? Is it what was designed or intended by the nation’s founders? Trying to get as close to the source as he could, Ricks decided to go back and read the philosophy and literature that shaped the founders’ thinking, and the letters they wrote to each other debating these crucial works—among them the Iliad, Plutarch’s Lives, and the works of Xenophon, Epicurus, Aristotle, Cato, and Cicero. For though much attention has been paid the influence of English political philosophers, like John Locke, closer to their own era, the founders were far more immersed in the literature of the ancient world.The first four American presidents came to their classical knowledge differently. Washington absorbed it mainly from the elite culture of his day; Adams from the laws and rhetoric of Rome; Jefferson immersed himself in classical philosophy, especially Epicureanism; and Madison, both a groundbreaking researcher and a deft politician, spent years studying the ancient world like a political scientist. Each of their experiences, and distinctive learning, played an essential role in the formation of the United States. In examining how and what they studied, looking at them in the unusual light of the classical world, Ricks is able to draw arresting and fresh portraits of men we thought we knew.First Principles follows these four members of the Revolutionary generation from their youths to their adult lives, as they grappled with questions of independence, and forming and keeping a new nation. In doing so, Ricks interprets not only the effect of the ancient world on each man, and how that shaped our constitution and government, but offers startling new insights into these legendary leaders.

    America was founded by wishful dreamers, magical thinkers, and true believers, by hucksters and their suckers. Fantasy is deeply embedded in our DNA.Over the course of five centuries--from the Salem witch trials to Scientology to the Satanic Panic of the 1980s, from P. T. Barnum to Hollywood and the anything-goes, wild-and-crazy sixties, from conspiracy theories to our fetish for guns and obsession with extraterrestrials--our love of the fantastic has made America exceptional in a way that we've never fully acknowledged. From the start, our ultra-individualism was attached to epic dreams and epic fantasies--every citizen was free to believe absolutely anything, or to pretend to be absolutely anybody. With the gleeful erudition and tell-it-like-it-is ferocity of a Christopher Hitchens, Andersen explores whether the great American experiment in liberty has gone off the rails.

    Even the reforms that Americans love best have come with costs that are staggeringly high—in wealth, freedom, and social stability—and that have been spread unevenly among classes and generations. Caldwell reveals the real political turning points of the past half century, taking readers on a roller-coaster ride through Playboy magazine, affirmative action, CB radio, leveraged buyouts, iPhones, Oxycontin, Black Lives Matter, and internet cookies. In doing so, he shows that attempts to redress the injustices of the past have left Americans living under two different ideas of what it means to play by the rules. Essential, timely, hard to put down, The Age of Entitlement is a brilliant and ambitious argument about how the reforms of the past fifty years gave the country two incompatible political systems—and drove it toward conflict.

    They were alternately known as “waste people,” “offals,” “rubbish,” “lazy lubbers,” and “crackers.” By the 1850s, the downtrodden included so-called “clay eaters” and “sandhillers,” known for prematurely aged children distinguished by their yellowish skin, ragged clothing, and listless minds.Surveying political rhetoric and policy, popular literature and scientific theories over four hundred years, Isenberg upends assumptions about America’s supposedly class-free society––where liberty and hard work were meant to ensure real social mobility. Poor whites were central to the rise of the Republican Party in the early nineteenth century, and the Civil War itself was fought over class issues nearly as much as it was fought over slavery.Reconstruction pitted "poor white trash" against newly freed slaves, which factored in the rise of eugenics–-a widely popular movement embraced by Theodore Roosevelt that targeted poor whites for sterilization. These poor were at the heart of New Deal reforms and LBJ’s Great Society; they haunt us in reality TV shows like Here Comes Honey Boo Boo and Duck Dynasty. Marginalized as a class, "white trash" have always been at or near the center of major political debates over the character of the American identity.We acknowledge racial injustice as an ugly stain on our nation’s history. With Isenberg’s landmark book, we will have to face the truth about the enduring, malevolent nature of class as well.

    As late as the 1940s and 1950s, he argues, poor Southern rednecks were regarded by Northern employers and law enforcement officials as lazy, lawless, and sexually immoral. This pattern was repeated by blacks with whom they shared a subculture in the South. Over the last half century poor whites and most blacks have moved up in class and affluence, but the ghetto remains filled with black rednecks. Their attempt to escape, Sowell shows, is hampered by their white liberal friends who turn dysfunctional black redneck culture into a sacrosanct symbol of racial identity. In addition to Black Rednecks and White Liberals, the book takes on subjects ranging from Are Jews Generic? to The Real History of Slavery.

    It is a roller coaster ride of observations, commentary, emotions, tragedy and even humor - in a way that only Rose could find in a devastated wasteland. They are stories of the dead and the living, stories of survivors and believers, stories of hope and despair. And stories about refrigerators. With photographs by British photojournalist Charlie Varley, 1 Dead in Attic freeze frames New Orleans caught between an old era and a new, New Orleans in its most desperate time, as it struggled out of floodwaters and willed itself back to life in the autumn and early winter of 2005.

    This is not any of those—the year isn’t half-way done. What I’ve tried to do is organize some of the feelings and thoughts that events, so far, have provoked in me, in those scraps of time the year itself has allowed. These are above all personal essays: small by definition, short by necessity.”Crafted with the sharp intelligence, wit and style that have won Zadie Smith millions of fans, and suffused with a profound intimacy and tenderness in response to these unprecedented times, Intimations is a vital work of art, a gesture of connection and an act of love—an essential book in extraordinary times.

    Illuminating the difference between Conflict and Abuse, Schulman directly addresses our contemporary culture of scapegoating. This deep, brave, and bold work reveals how punishment replaces personal and collective self-criticism, and shows why difference is so often used to justify cruelty and shunning. Rooting the problem of escalation in negative group relationships, Schulman illuminates the ways cliques, communities, families, and religious, racial, and national groups bond through the refusal to change their self-concept. She illustrates how Supremacy behavior and Traumatized behavior resemble each other, through a shared inability to tolerate difference.This important and sure to be controversial book illuminates such contemporary and historical issues of personal, racial, and geo-political difference as tools of escalation towards injustice, exclusion, and punishment, whether the objects of dehumanization are other individuals in our families or communities, people with HIV, African Americans, or Palestinians. Conflict Is Not Abuse is a searing rejection of the cultural phenomenon of blame, cruelty, and scapegoating, and how those in positions of power exacerbate and manipulate fear of the "other" to achieve their goals.Sarah Schulman is a novelist, nonfiction writer, playwright, screenwriter, journalist and AIDS historian, and the author of eighteen books. A Guggenheim and Fulbright Fellow, Sarah is a Distinguished Professor of the Humanities at the City University of New York, College of Staten Island. Her novels published by Arsenal include Rat Bohemia, Empathy, After Delores, and The Mere Future. She lives in New York.

    This chronicle of a young man's drive to transcend domestic abuse offers a challenging look at our worldwide sense of community and how we can make things better.

    Wade ruling, "abortion" is still a word that is said with outright hostility by many, despite the fact that one in three American women will have terminated at least one pregnancy by menopause. Even those who support a woman's right to an abortion often qualify their support by saying abortion is a "bad thing," an "agonizing decision," making the medical procedure so remote and radioactive that it takes it out of the world of the everyday, turning an act that is normal and necessary into something shameful and secretive. Meanwhile, with each passing day, the rights upheld by the Supreme Court are being systematically eroded by state laws designed to end abortion outright.In this urgent, controversial book, Katha Pollitt reframes abortion as a common part of a woman's reproductive life, one that should be accepted as a moral right with positive social implications. In Pro, Pollitt takes on the personhood argument, reaffirms the priority of a woman's life and health, and discusses why terminating a pregnancy can be a force for good for women, families, and society. It is time, Pollitt argues, that we reclaim the lives and the rights of women and mothers.

    In these myriad, multiform, endlessly changing expressions of the American experience, the authors and editors of this volume find a new American history.In more than two hundred original essays, "A New Literary History of America" brings together the nation s many voices. From the first conception of a New World in the sixteenth century to the latest re-envisioning of that world in cartoons, television, science fiction, and hip hop, the book gives us a new, kaleidoscopic view of what Made in America means. Literature, music, film, art, history, science, philosophy, political rhetoric cultural creations of every kind appear in relation to each other, and to the time and place that give them shape.The meeting of minds is extraordinary as T. J. Clark writes on Jackson Pollock, Paul Muldoon on Carl Sandburg, Camille Paglia on Tennessee Williams, Sarah Vowell on Grant Wood s "American Gothic," Walter Mosley on hard-boiled detective fiction, Jonathan Lethem on Thomas Edison, Gerald Early on "Tarzan," Bharati Mukherjee on "The Scarlet Letter," Gish Jen on "Catcher in the Rye," and Ishmael Reed on "Huckleberry Finn." From Anne Bradstreet and John Winthrop to Philip Roth and Toni Morrison, from Alexander Graham Bell and Stephen Foster to Alcoholics Anonymous, "Life," Chuck Berry, Alfred Hitchcock, and Ronald Reagan, this is America singing, celebrating itself, and becoming something altogether different, plural, singular, new.Please visit www.newliteraryhistory.com for more information. "

    Our governments are corrupt and the opposing parties pointlessly similar. Our culture is filled with vacuity and pap, and we are told there’s nothing we can do: “It’s just the way things are.”   In this book, Russell Brand hilariously lacerates the straw men and paper tigers of our conformist times and presents, with the help of experts as diverse as Thomas Piketty and George Orwell, a vision for a fairer, sexier society that’s fun and inclusive.   You have been lied to, told there’s no alternative, no choice, and that you don’t deserve any better. Brand destroys this illusory facade as amusingly and deftly as he annihilates Morning Joe anchors, Fox News fascists, and BBC stalwarts.   This book makes revolution not only possible but inevitable and fun.

    "Reading" offers ardent, freewheeling considerations of talismanic writers from her own private canon, such as Marina Tsvetaeva, Randall Jarrell, Roland Barthes, Machado de Assis, W. G. Sebald, Borges and Elizabeth Hardwick. "Seeing" is a series of luminous and incisive encounters with film, dance, photography, painting, opera, and theatre. And in the final section, "There and Here," Sontag explores some of her own commitments: to the work (and activism) of conscience, to the concreteness of historical understanding, and to the vocation of the writer. Where the Stress Falls records a great American writer's urgent engagement with some of the most significant aesthetic and moral issues of the late twentieth century, and provides a brilliant and clear-eyed appraisal of what is at stake, in this new century, in the survival of that inheritance.

    Combining close reading with a panoramic breadth of learning, Camille Paglia refreshes our understanding of poems we thought we knew, from Shakespeare’s “Sonnet 73” to Shelley’s “Ozymandias,” from Donne’s “The Flea” to Lowell’s “Man and Wife,” and from Dickinson’s “Because I Could Not Stop for Death” to Plath’s “Daddy.” Paglia also introduces us to less-familiar works by Paul Blackburn, Wanda Coleman, Chuck Wachtel, Rochelle Kraut–and even Joni Mitchell. Daring, riveting, and beautifully written, Break, Blow, Burn will excite even seasoned poetry lovers, and create a generation of new ones. Includes a new epilogue that details the selection process for choosing the 43 poems presented in this book and provides commentary on some of the pieces that didn't make the final cut.