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Jeffrey Toobin: The Pardon

The Pardon

The Politics of Presidential Mercy

“In the best modernist tradition, [Deschenes] pushes against the basic terms by which photography is conventionally defined: instantaneity, veracity, fixity, or reproducibility.” — curator and critic Matthew WitkovskyDeschenes uses durational photogram exposure to create unique, shifting surfaces that frequently function as sculptural or architectural, rather than photographic, objects. In her recent work, Deschenes exposes photographic paper to the night sky, develops it, and fixes the photogram with silver toner, creating misty silver surfaces brindled with slight changes in hue that are affected either by exposure to ambient light or the hand-application of the toner itself. Some of these photograms remain unframed and oxidize over time, further problematizing the role of the photograph as fixed image on surface. Instead, purged of representational content, the photograph, in Deschenes’s practice, functions as an object that records how it has been, and continues to be, acted upon.Deschenes’ work is held in the permanent collections of Centre Pompidou, Paris; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Walker Art Center, Minneapolis; Art Institute of Chicago; ICA/Boston; Pinault Collection, Paris; Montreal Museum of Fine Arts; Milwaukee Art Museum; Princeton University Art Museum; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Liz Deschenes

How Americans Learned Not to Love Their Country and What Can Be Done About It

The Unmaking of American Citizenship

Positioning Henry James within his transatlantic and pan-European contexts, Peter Rawlings relocates James and the New Criticism's ideology of organicism in biology rather than in aesthetics. He argues that the novel as a character-driven genre emerged from philosophical and scientific thinking about consciousness and that James's canonization must be reexamined in the context of the philosophical, physiological, and biological discourses on which he drew in his theory and practice as a novelist.

Positioning Henry James within his transatlantic and pan-European contexts, Peter Rawlings relocates James and the New Criticism's ideology of organicism in biology rather than in aesthetics. Rawlings argues that the novel as a genre anchored in the representation of character emerged from philosophical and scientific thinking about consciousness and experience that begins in the late seventeenth century and encompasses two hundred years of traffic between Europe and America. His ambitious study explores the significance of American thinkers and their European antecedents, from Jonathan Edwards to Josiah Royce, aligning James's 1884 essay "The Art of Fiction" with contemporary thinking on consciousness and its dense, ramifying aetiology. By this point, Herbert Spencer had extended Darwin's evolutionary thinking into the social domain, disrupting ideas about consciousness as allied with the soul even as the fin-de-siècle enthusiasm for panpsychism and the paranormal made a last stand against the New Sciences. A major contention of Rawlings's book is that Henry James should not and cannot be isolated from the urgent need to rethink what seminal critics such as Ian Watt and Marthe Robert have said about the procession of the novel from prose fiction. James's canonization by the New Critics motivates Rawlings's reexamination of Walter Scott, Jane Austen, Susan Warner, and George Eliot, among others, in the context of the vast range of eighteenth- and nineteenth-century European and North American philosophical, physiological, and biological discourses on which James drew in his theory and practice as a novelist.

Henry James, Consciousness, and the Evolution of the Novel

In the Shadow of White Supremacy

Gloria

Shortest Histories

The Shortest History of the USA

Freunde, Feinde, Fremde - Eine Beziehungsgeschichte vom 17. Jahrhundert bis heute - Ein SPIEGEL-Buch

Die Deutschen und die USA

Mutiny in the Mountains uses labor history to show the way forward for millions of workers struggling in an age of uncertainty.
In 1969, thousands of West Virginia state highway workers went on strike in fear that they faced impending loss of their jobs as they were excluded from civil service protection. Although the walkout coincided with one of the most severe winters to affect road conditions, the newly elected governor fired the strikers. The 1969 State Road Strike inaugurated a half decade of public sector organizing and protest that culminated in the historic public-school strikes of 2018–19 that shut down all schools across the Mountain State and inspired a wave of public education strikes in Arizona, Oklahoma, Kentucky, and beyond.
Beginning with the nation’s first general strike in 1877, that started with railroad workers in Martinsburg, West Virginia, and including the early coal strikes in 1912–13 and an armed insurrection in 1921, most treatments of the state’s labor history have focused on the private sector. This is the first comprehensive history of the struggles waged by state and local government workers in West Virginia. The involvement of numerous unions and interventions of the state legislative and executive branches is traced in order to provide context for those struggles. Relying on journalistic sources, legislative enactments, court decisions, and participant interviews, Mutiny in the Mountains accounts the fifty-year struggle of West Virginia’s public sector workers to assert power without the benefit of significant collective bargaining rights or political leverage.

West Virginia Public Workers 19692019

Mutiny in the Mountains

The USAAF in North Africa and Sicily

Turning The Tide

Environmental Cultures

Magic, Literature and Climate Pedagogy in a Time of Ecological Crisis

Library of African American Biography

Crossing the Color Line

Charles Chesnutt

DK Super History

DK Super History Trail of Tears

Story Lake

the heart-poundingly romantic new novel from the Tiktok sensation and Sunday Times and New York Times bestselling author of Things We Hide From The Light

Mistakes Were Made

The Pardon

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