Horses as people and people as horses. What began as a fun project about anatomy became an allegory about slavery and rights of beings. Beautifully drawn, and much-beloved, now it's a complete collection.
In Bitter Friends, Bosom Enemies, Barbara Slavin untangles the love-hate relationship between Iran and the United States that has brought the two countries to the brink of war. Slavin reveals that relations between Washington and Tehran have been riddled with contradictions for decades and details missed opportunities for reconciliation under both the Clinton and Bush administrations, including diplomatic rebuffs to Iran in Bush's first term based on the mistaken belief that the U.S. invasion of Iraq would weaken Iran's Islamic government. On e of the few reporters to interview high-profile Iranian officials, including Iran's current and last two presidents, Slavin describes all the key constituencies in Iran society from the clerics, to the Revolutionary Guards, to reformers and Iranian youth. She unveils Iran and shows it to be a country that both adores and fears the United States. Despite government propaganda that portrays the U.S. as the "Great Satan," many Iranians have come to idolize staples of American pop culture while holding on to their own traditions. The United States, on the other hand, has demonized Iran as a member of an "axis of evil" that supports terrorists and represses its own people who, in the words of U.S. officials, "deserve better." As Iran moves toward becoming a nuclear power, Slavin believes that the power brokers in Washington may be suffering from the same lack of understanding and foresight that led the U.S. into prolonged warfare in Iraq. Distrustful of each other's intentions yet longing at some level to reconcile, neither Tehran nor Washington knows how this story will end. Anyone interested in understanding the dynamics of this pivotal international relationship will find Bitter Friends, Bosom Enemies a crucial and compelling read.
Throughout the era of the Cold War a consensus reigned as to what constituted the great works of American literature. Yet as scholars have increasingly shown, and as this volume unmistakably demonstrates, that consensus was built upon the repression of the voices and historical contexts of subordinated social groups as well as literary works themselves, works both outside and within the traditional canon. This book is an effort to recover those lost voices. Engaging New Historicist, neo-Marxist, poststructuralist, and other literary practices, this volume marks important shifts in the organizing principles and self-understanding of the field of American Studies. Originally published as a special issue of boundary 2, the essays gathered here discuss writers as diverse as Kate Chopin, Frederick Douglass, Emerson, Melville, W. D. Howells, Henry James, W. E. B. DuBois, and Mark Twain, plus the historical figure John Brown. Two major sections devoted to the theory of romance and to cultural-historical analyses emphasize the political perspective of "New Americanist" literary and cultural study. Contributors. William E. Cain, Wai-chee Dimock, Howard Horwitz, Gregory S. Jay, Steven Mailloux, John McWilliams, Susan Mizruchi, Donald E. Pease, Ivy Schweitzer, Priscilla Wald, Michael Warner, Robert Weimann
This book provides the first full account of America's relations with the Islamic Republic of Iran from Jimmy Carter's presidency to Barack Obama's. It discusses all major facets of Iranian policy of interest to the United States: nuclear proliferation, revolutionary export and support for international terrorism, efforts to undermine the Israeli-Palestinian peace process, and violations of human rights. It compares developments in Iran to their perception in Washington, providing the clearest picture available yet of the discrepancies between the complex and elusive Iranian reality and its understanding in the United States.
A comprehensive exploration of postrevolution Iranian foreign policy analyzes the country's relations with key nations and regions and the impact of both Iran's domestic situation and the developing global system. Iran's Foreign Policy in the Post-Soviet Era: Resisting the New International Order provides the first truly comprehensive, in-depth survey of Iranian foreign policy, issue by issue and country by country, since the Islamic Revolution. To help readers understand both the what and the why of Iran's role in the world and formulate useful responses to that role, the author provides a detailed analysis of Iranian foreign policy in all its dimensions. The first part of the book places Iranian actions, particularly its relations with the United States and other key players, within the context of the emerging international system, while also showing how domestic developments impact foreign policy. The second part surveys Iranian relations with specific actors, notably the United States and Russia, and with key regions, including Europe, Central Asia, the Arab world, Latin America, and Africa. Providing an antidote to existing preconceptions, this incisive analysis lays an analytically sound basis for shaping policies toward Iran—policies with potentially high payoff in terms of regional security and stability.
In his earlier Rhetorical Power, Steven Mailloux presented an innovative and challenging strategy for combining critical theory and cultural studies. That book has stimulated wide-ranging discussion and debate among diverse audiences—students and specialists in American studies, speech communications, rhetoric/composition, law, education, biblical studies, and especially literary theory and cultural criticism. Reception Histories marks a further development of Mailloux's influential critical project, as he demonstrates how rhetorical hermeneutics uses rhetoric to practice theory by doing history. Reception Histories works out in detail what rhetorical hermeneutics means in terms of poststructuralist theory (Part One), nineteenth-century U.S. cultural studies (Part Two), and the contemporary history of curricular reform within the so-called Culture Wars (Part Three). Mailloux situates, defends, and elaborates the theory he first proposed in Rhetorical Power, and he exemplifies it with a new series of provocative reception histories. He also both critiques and reconceptualizes the version of reader response criticism he developed in his first book, Interpretive Conventions. Throughout Reception Histories, Mailloux demonstrates his distinctive blend of neopragmatism and cultural rhetoric study. By tracing the rhetorical paths of thought, this book offers a new way to read the current volatile debates over higher education and contributes its own original proposals for shaping the future of the humanities.
A New York Magazine Most-Anticipated Book of the Fall From the acclaimed author of Ghost Wall, Summerwater, and The Fell, Sarah Moss’s My Good Bright Wolf is an unflinching memoir about childhood, food, books, and our ability to see, become, and protect ourselves. A girl must watch her figure but never be vain. She must be intelligent but never a know-it-all. She must be ambitious, if she is clever, but not in a way that shows. She must cook and sew and make do and mend. She must know (but never say) that these skills are, in some fundamental way, flawed and frivolous—feminine. Girls must stay small, even as they grow. Women must show restraint. And yet. In books, in the landscape of imagination, a girl can run free. Here, with My Good Bright Wolf, Sarah Moss takes on these rules, these lessons from the fables of girlhood, and uses them to fearlessly investigate the nature of memory, the lure of self-control, the impact of privilege, scarcity, parents, love. Through narratives of women and food, second-wave feminism and postwar puritanism, and her own challenges with a health care system that discounts the experiences of those it ought to serve, Moss seeks truth in the stories we tell ourselves and others. Harm can become power. Attention can become care. A body and a mind, though working hard together, can be at odds. And yet. In books, in the landscape of imagination, a girl can run free. Beautiful and sharp, moving and unapologetic, erudite and very funny, My Good Bright Wolf is a memoir that breaks the rules.