February 20th, 2010

THE TRUE BUT UNLIKELY STORIES OF LIVES DEVOTED—ABSURDLY! MELANCHOLICALLY! BEAUTIFULLY!—TO THE RUSSIAN CLASSICS

No one who read Elif Batuman’s first article (in the journal n+1) will ever forget it. “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.

The best of St. Clair McKelway, a longtime New Yorker writer, whose astonishing career and work have been overlooked for too long.

Named for his great-uncle, a prominent newspaperman, St. Clair McKelway was born with journalism in his blood. And in thirty-six years at the New Yorker, he made “fact-writing” his career. His prolific output for the magazine was defined by its incomparable wit and a love of New York’s rough edges. He had a deep affection for the city’s “rascals”: the junkmen, con men, counterfeiters, priests, beat cops, and fire marshals who colored life in old New York. And he wrote with levity and insight about his own life as well, a life marked by a strict Presbyterian childhood, a limited formal education, five marriages and divorces, and sometimes debilitating mental illness.

Like Joseph Mitchell and A. J. Liebling, McKelway combined the unflagging curiosity of a great reporter with the narrative flair of a master storyteller, and he helped establish the New Yorker’s unique brand of journalism in its most storied years. William Shawn, who began as McKelway’s assistant and became the magazine’s revered editor, described McKelway as a writer with the “lightest of light touches,” his striking style “too odd to be imitated.”

Reporting at Wit’s End collects McKelway’s most memorable work from the 1930s through the 1960s, creating a portrait of a long-forgotten New York and of one of its consummate chroniclers.

mmanuel Kant's moral philosophy is one of the most distinctive achievements of the European Enlightenment. At its heart lies what Kant called the 'strange thing': the free, rational, human will. This introduction explores the basis of Kant's anti-naturalist, secular, humanist vision of the human good. Moving from a sketch of the Kantian will, with all its component parts and attributes, to Kant's canonical arguments for his categorical imperative, this introduction shows why Kant thought his moral law the best summary expression of both his own philosophical work on morality and his readers' deepest shared convictions about the good. Kant's central tenets, key arguments, and core values are presented in an accessible and engaging way, making this book ideal for anyone eager to explore the fundamentals of Kant's moral philosophy.

THE STORY OF AN IMPERIAL TRAGEDY THAT SENT SHOCKWAVES AROUND THE WORLD

In September 1910, the activist Roger Casement arrived in the Amazon jungle on a mission for the British government: to investigate reports of widespread human-rights abuses in the forests along the Putumayo River. Accusations against the Peruvian rubber baron Julio César Arana had been making their way back to London, and the rumors were on everybody’s lips: Arana was enslaving, torturing, and murdering the local Indians. Arana’s Peruvian Amazon Company, with its headquarters in London’s financial heart, was responsible.

Casement was outraged by what he uncovered: nearly 30,000 Indians had died to produce 4,000 tons of rubber. When Casement’s 700-page report of the violence was published in London in 1912, it set off reverberations throughout the world. People were appalled that murderous acts were being carried out under the cloak of British respectability. The Peruvian Amazon Company was forced into liquidation, and its board of directors was publicly shamed.

From the Amazonian rain forests to the streets of London and Washington, D.C., Jordan Goodman recounts a tragedy whose exposure in 1912 drew back the curtain on exploitation and the wholesale abuse of human rights. Drawing on a wealth of original research, The Devil and Mr. Casement is a haunting story of modern capitalism with enormous contemporary political resonance.

"What a treasure trove these discs prove for lovers of Shakespare and great acting. . . . I cannot recommend them too highly to anyone who loves Shakespeare."--Telegraph (UK)

"It''s fascinating to listen to. You can hear the changes, across the decades, in how actors read their lines (more freely these days), and in how the audience reacts (more vocal now). You also get a sense of the glorious plasticity of Shakespeare''s material, how much it can change in different hands."--Sam Leith, Guardian

This book discusses a subject of particular resonance today when belief - religious and otherwise - can shape the modern world. Complex theories are brought to life by Grayling's skill and accessible style. A book on scepticism from Anthony Grayling is to be greatly valued. Grayling is rare among academic philosophers: he is not only a brilliant thinker, but also has the power to communicate serious ideas to a wide audience. The subject of Scepticism is one of particular interest to people today. It is well known that Grayling reserves particular scepticism for religious statements, but that is only part of this compelling new book. Scepticism as a philosophical term is as old as the Greeks but has more recently been advanced by Montaigne, Descartes and Hume. To these, what little we know that seems certain is based on observation and habit as opposed to any logical or scientific necessity. Thus, sceptical views relate directly to epistemology - the theory of knowledge and what we can know - and, in the modern turbulent world, it is Grayling's contention that these are issues that all contemporary people need to focus on. In seeking understanding of the human condition we need more than just a set of beliefs about it: all belief is irrational. We want to know or garner some kind of proof about the fundamental truths of human existence. This is the crux of the dilemma facing intelligent people today and is greatly illuminated by this book.

This thought-provoking classic investigates how the Renaissance spirit fundamentally questioned and undermined medieval thought. Of value to students of literature, political theory, history of religious and Reformation thought, and the history of science.

Mary Anne Weaver is a Writer in Residence at the Leon Levy Center for Biography at the City University of New York , and is the author of A Portrait of Egypt: A Journey Through the World of Militant Islam (FSG, 1999). She lives in New York City.
Few nations are more critical to United States foreign policy than Pakistan. Wedged between India and Afghanistan, it is the second-largest country in the Islamic world, and is situated in one of the world's most volatile regions. It has also assumed a commanding role in militant Islam—a frightening portent being its embrace of Afghanistan's bizarre fundamentalist student militia, the Taliban. With a dozen or so private Islamist armies and some thirty to fifty nuclear weapons, its disintegration would pose an unthinkable threat to the United States and the 'West, but the man who will determine Pakistan's future course is the little-known and enigmatic General Pervez Musharraf.

In Pakistan: In the Shadow of Jihad and Afghanistan, Mary Anne Weaver elucidates a country in turmoil through two decades of eyewitness reporting and unparalleled access to Pakistan's presidents, prime ministers, generals, and politicians. Here are rare and revealing portraits of General Musharraf, who rose through the ranks to become Benazir Bhutto's Chief of Military Operations and then assumed control in a historic military coup; of General Zia, who launched Pakistan on its present militant Islamist course while at the same time transforming it into the hub of U.S. policy on the Indian subcontinent; and of Benazir Bhutto herself—charismatic, imperious, conflicted, commanding, and the first woman prime minister of an Islamic country.

Weaver provides an essential background for those seeking to understand Pakistan and the problems confronting the international community, and poses some deeply disturbing questions about the future of conflict in South Asia. Pakistan: In the Shadow of Jihad and Afghanistan stands as a testament to an enormously complex nation.

One of the most important activist texts in American Literature is now available in a thoroughly updated and revised Norton Critical Edition. In the nineteenth century, Uncle Tom’s Cabin sold more copies than any book in the world except the Bible. Upon publication, it was quickly translated into thirty-seven languages and has never gone out of print. It remains a controversial and complex text that, along with David Walker’s Appeal, Henry David Thoreau’s Walden, W. E. B. DuBois’s The Souls of Black Folk, and Helena María Viramontes’ Under the Feet of Jesus, among others, stands out as an important text in the progressive struggle for social justice in the United States.

This Second Edition is based on the original 1852 book edition, published in two volumes by John P. Jewett and Company, Boston, and includes all original illustrations. The text is accompanied by a preface and detailed explanatory annotations to assist the reader with obscure historical terms and biblical allusions.

“Backgrounds and Contexts” includes a wealth of historical documents addressing the issues of slavery and abolitionism. New visuals in the Second Edition include a selection of abolition posters and records of torture. Also newly included is J. Hector St. John de Crèvecoeur’s eyewitness account of slavery as a visitor to the United States, a selection from David Walker’s Appeal, and Henrietta King’s autobiographical account of the horror of slavery.

“Criticism” presents a balanced view of the ongoing controversy over Uncle Tom’s Cabin in fifteen reviews and scholarly interpretations spanning more than 150 years of writing about the novel. Paul Laurence Dunbar, Jane P. Tompkins, and Susan M. Ryan, among others, admire Uncle Tom’s Cabin for its social vision and artistry, while James Baldwin and Sophia Cantave, among others, argue that the book’s racism continues to promote misperceptions and that its prominence does ongoing damage. A Chronology of Stowe’s life and work, a Brief Timeline of Slavery in America, and an updated Selected Bibliography are also included. .

Our Bodies, Ourselves, first published by a mainstream press in 1973, is now in its eighth major edition. It has been translated into twenty-nine languages, has generated a number of related projects, and, with over four million copies sold, is as popular as ever. This study tells the story of the first two decades of the pioneering best-seller—a collectively produced guide to women's health—from its earliest, most experimental and revolutionary years, when it sought to construct a new, female public sphere, to its 1984 revision, when some of the problems it first posed were resolved and the book took the form it has held to this day.

Wells undertakes a rhetorical and sociological analysis of the best-seller and of the work of the Boston Women's Health Book Collective that produced it. In the 1960s and 1970s, as social movements were on the rise and many women entered higher education, new writing practices came into existence. In the pages of Our Bodies, Ourselves, matters that had been private became public. Readers, encouraged to trust their own experiences, began to participate in a conversation about health and medicine. The writers of Our Bodies, Ourselves researched medical texts and presented them in colloquial language. Drafting and revising in groups, they invented new ways of organizing the task of writing. Above all, they presented medical information by telling stories. We learn here how these stories were organized, and how the writers drew readers into investigating both their own bodies and the global organization of medical care. Extensive archival research and interviews with the members of the authorial collective shed light on a grassroots undertaking that revolutionized the writing of health books and forever changed the relationship between health experts and ordinary women.

This book addresses the rift between major philosophical factions in the United States, which the author describes as a "philosophically becalmed" three-legged creature made up of analytic philosophy, continental philosophy, and pragmatism. Joseph Margolis offers a modified pragmatism as the best way out of this stalemate. Whether he is examining Heidegger or rethinking the foibles of Dewey, Rorty, and Peirce, much of nineteenth- and twentieth-century Western philosophy comes into play as Margolis presents his history of philosophy's evolution and defends his views. He does not, however, mean for philosophy to turn to the pragmatism of yore or even to its revival in the 1970s. Rather, he finds in recent approaches to pragmatism a middle ground between analytic philosophy's scientism (and its disinterest in analyzing human nature)and continental philosophy's reliance on attributing transcendental powers to mere mortals.

Often controversial and sometimes even shocking to audiences, the work of California-based artist Suzanne Lacy has challenged viewers and participants with personal accounts of traumatic events, settings that require people to assume uncomfortable positions, multisensory productions that evoke emotional as well as intellectual responses, and even flayed lambs and beef kidneys. Lacy has experimented with ways to claim the power of mass media, to use women’s consciousness-raising groups as a performance structure, and to connect her projects to lived experiences. The body and large groups of bodies are the locations for her lifelike art, revealing the aesthetics of relationships among people.In this critical examination of Suzanne Lacy, Sharon Irish surveys Lacy’s art from 1972 to the present, demonstrating the pivotal roles that Lacy has had in public art, feminist theory, and community organizing. Lacy initially used her own body—or animal organs—to visually depict psychological states or social conditions in photographs, collages, and installations. In the late 1970s she turned to organizing large groups of people into art events—including her most famous work, The Crystal Quilt, a 1987 performance broadcast live on PBS and featuring hundreds of women in Minneapolis—and pioneered a new genre of public art.Irish investigates the spaces between art and life, self and other, and the body and physical structures in Lacy’s multifaceted artistic projects, showing how throughout her influential career Lacy has created art that resists racism, promotes feminism, and explores challenging human relationships.

Denis Johnson meets David Mitchell in this darkly beautiful and daringly creative novel by two-time Booker Prize nominee Jon McGregor.

On a cold, quiet day between Christmas and the New Year, a man’s body is found in an abandoned apartment. His friends look on, but they’re dead, too, their bodies found in remote corners of the city. Victims of heroin overdose, they’re in the shadows, a chorus keeping vigil as the hours pass, paying homage as their friend’s body is taken away, examined, investigated, and cremated.

All of their stories are laid out piece by broken piece through a series of fractured narratives—of lives fallen through the cracks, hopes flaring and dying, love overwhelmed by a stronger need, and the havoc wrought by drugs, distress, and the disregard of the wider world. These invisible people live in a parallel reality, out of reach of basic creature comforts, like food and shelter. In their sudden deaths, it becomes clear, they are treated with more respect than they ever were in their short lives.

Intense, exhilarating, and shot through with hope and fury, Even the Dogs is an intimate exploration of life at the edges of society—littered with love, loss, despair, and a half-glimpse of redemption.