Insights from the history of numerical notation suggest that how humans write numbers is an active choice involving cognitive and social factors. Over the past 5,000 years, more than 100 methods of numerical notation--distinct ways of writing numbers--have been developed and used by specific communities. Most of these are barely known today; where they are known, they are often derided as cognitively cumbersome and outdated. In Reckonings, Stephen Chrisomalis considers how humans past and present use numerals, reinterpreting historical and archaeological representations of numerical notation and exploring the implications of why we write numbers with figures rather than words.
Winner of the Wolfson History Prize 2019 Shortlisted for the 2019 Cundill History Prize From the Holocaust Museum in Washington, D.C. to the "stumbling stones" embedded in Berlin sidewalks, memorials to victims of Nazi violence have proliferated across the globe. More than a million visitors as many as killed there during its operation now visit Auschwitz each year. There is no shortage of commemoration of Nazi crimes. But has there been justice? Reckonings shows persuasively that there has not. The name "Auschwitz," for example, is often evoked to encapsulate the Holocaust. Yet focusing on one concentration camp, however horrific the scale of the crimes committed there, does not capture the myriad ways individuals became tangled up on the side of the perpetrators, or the diversity of experiences among their victims. And it can obscure the continuing legacies of Nazi persecution across generations and across continents. Exploring the lives of individuals across a spectrum of suffering and guilt each one capturing one small part of the greater story Mary Fulbrook's haunting and powerful book uses "reckoning" in the widest possible sense: to reveal the disparity between the extent of inhumanity and later attempts to interpret and rectify wrongs, as the consequences of violent reverberated through time. From the early brutality of political oppression and anti-Semitic policies, through the "euthanasia" program, to the full devastation of the ghettos and death camps, then moving across the post-war decades of selective confrontation with perpetrators and ever-expanding recognition of victims, Reckonings exposes the disjuncture between official myths about "dealing with the past" and the fact that the vast majority of Nazi perpetrators were never held accountable. In the successor states to the Third Reich East Germany, West Germany, and Austria prosecution varied widely and selective justice was combined with the reintegration of former Nazis. Meanwhile, those who had lived through this period, as well as their children, the "second generation," continued to face the legacies of Nazism in the private sphere - in ways often at odds with those of public remembrance and memorials. By following the various phases of trials and testimonies, from those immediately after the war through succeeding decades and up to the present, Reckonings illuminates the shifting accounts by which both perpetrators and survivors have assessed the significance of this past for subsequent generations, and calibrates anew the scales of justice.
“Unflinching and honest…both timely and timeless” (Houston Chronicle), this extraordinary collection of essays by the award-winning writer of The Other Side—rooted in her own experience with sexual assault—pursues questions that strike at the heart of our national conversation about the justness of society. In 2014, Lacy Johnson was giving a reading from The Other Side, her “instant classic” (Kirkus Reviews) memoir of kidnapping and rape, when a woman asked her what she would like to happen to her rapist. This collection “attempts to parcel out several knotted problems and suggests forms of meaningful justice” (Booklist, starred review). Drawing from philosophy, art, literature, mythology, anthropology, film, and her own experience of violence, Johnson considers how our ideas about justice might be expanded beyond vengeance and retribution to include acts of compassion, patience, mercy, and grace. “The Reckonings is not a book about changing the world. It’s philosophy in disguise, equal parts memoir, criticism, and ethics…The twelve essays deserve great consideration, while you read it and long after” (NPR). From “Speak Truth to Power,” about the condition of not being believed about rape and assault; to “Goliath,” about the ways evil is used as a form of social control; to “The Fallout,” about ecological and generational violence, Johnson creates masterful, elaborate, gorgeously written essays that speak incisively about our current era. She grapples with justice and retribution, truth and fairness, and sexual assault and workplace harassment, as well as the broadest societal wrongs: the BP Oil Spill, government malfeasance, police killings. The Reckonings is a powerful and necessary work, ambitious in its scope, which “challenges our culture’s expectations of justice and expose the limits of vengeance and mercy” (Ms. Magazine).
During the tumultuous years of the English Revolution and Restoration, national crises like civil wars and the execution of the king convinced Englishmen that the end of the world was not only inevitable but imminent. National Reckonings shows how this widespread eschatological expectation shaped nationalist thinking in the seventeenth century. Imagining what Christ's return would mean for England's body politic, a wide range of poets, philosophers, and other writers—including Milton, Hobbes, Winstanley, and Thomas and Henry Vaughan,—used anticipation of the Last Judgment to both disrupt existing ideas of the nation and generate new ones. Ryan Hackenbracht contends that nationalism, consequently, was not merely a horizontal relationship between citizens and their sovereign but a vertical one that pitted the nation against the shortly expected kingdom of God. The Last Judgment was the site at which these two imagined communities, England and ecclesia (the universal church), would collide. Harnessing the imaginative space afforded by literature, writers measured the shortcomings of an imperfect and finite nation against the divine standard of a perfect and universal community. In writing the nation into end-times prophecies, such works as Paradise Lost and Leviathan offered contemporary readers an opportunity to participate in the cosmic drama of the world's end and experience reckoning while there was still time to alter its outcome.
The fifteen Native women writers in Reckonings document transgenerational trauma, yet they also celebrate survival. Their stories are vital testaments of our times. Unlike most anthologies that present a single story from many writers, this volume offers a sampling of two to three stories by a select number of both famous and lesser known Native women writers in what is now the United States. Here you will find much-loved stories, many made easily accessible for the first time, and vibrant new stories by well-known contemporary Native American writers as well as fresh emergent voices. These stories share an understanding of Native women's lives in their various modes of loss and struggle, resistance and acceptance, and rage and compassion, ultimately highlighting the individual and collective will to endure against all odds. Reckonings features short stories by: Paula Gunn Allen, Kimberly M. Blaeser, Beth E. Brant, Anita Endrezze, Louise Erdrich, Diane Glancy, Reid Gómez, Janet Campbell Hale, Joy Harjo, Linda Hogan, Misha Nogha, Beth H. Piatote, Patricia Riley, Leslie Marmon Silko, and Anna Lee Walters.
Blanche H. Gelfant's book Cross-Cultural Reckonings both demonstrates and questions the applicability of postmodern cultural and literary theories to realistic texts - to fiction and autobiographies valued for their truth. Drawing together an unusual combination of Russian, American, and Canadian writers, the various essays of this book provide new and original perspectives upon the puzzling issues of national identity, of historical change and continuity, of gender and the integrity of literary genres, the boundaries between text and context, and the underlying if overlooked conflicts between the postmodern critic's skepticism and a writer's belief in the transcendence of art and truth. To avoid the contingencies inherent in binary comparisons, the essays in this book seek a triadic form analogous to the triptych or polyptych of the visual arts. Multi-faceted, non-linear, and open-ended, such a form might allow the academic essay to recover a waywardness that traces back to Montaigne, cited in prefactory notes, and to the etymological meaning of the essay as an exagium or weighing, as an act of reckoning. A study at once elegant, erudite, and personal, Cross-Cultural Reckonings reckons with writers of different backgrounds and reputation in whom Gelfant discovers surprising affinities - among them the Russian writers Lydia Chukovskaya, Natalya Baranskaya, and Alexander Solzhenitsyn; Ethel Wilson, a highly reputed Canadian writer; the famous cross-cultural figure, Emma Goldman; and established as well as new or rediscovered American writers, such as Willa Cather, Saul Bellow, Arlene Heyman, and Meridel Le Sueur. These writers are discussed singly and in comparative essays, each of whichis discrete and self-contained, while all interconnect and reflect upon each other as exemplary demonstrations of cross-cultural literary criticism and the deferred final judgment that results from a weighing and reweighing of books.
Ethnographic study of cultural politics in the contemporary Egyptian art world, examining how art-making is a crucial aspect of the transformation from socialism to neoliberalism in postcolonial countries.
A guide to long-term thinking: how to envision the far future of Earth. We live on a planet careening toward environmental collapse that will be largely brought about by our own actions. And yet we struggle to grasp the scale of the crisis, barely able to imagine the effects of climate change just ten years from now, let alone the multi-millennial timescales of Earth's past and future life span. In this book, Vincent Ialenti offers a guide for envisioning the planet's far future—to become, as he terms it, more skilled deep time reckoners. The challenge, he says, is to learn to inhabit a longer now. Ialenti takes on two overlapping crises: the Anthropocene, our current moment of human-caused environmental transformation; and the deflation of expertise—today's popular mockery and institutional erosion of expert authority. The second crisis, he argues, is worsening the effects of the first. Hearing out scientific experts who study a wider time span than a Facebook timeline is key to tackling our planet's emergency. Astrophysicists, geologists, historians, evolutionary biologists, climatologists, archaeologists, and others can teach us the art of long-termism. For a case study in long-term thinking, Ialenti turns to Finland's nuclear waste repository “Safety Case” experts. These scientists forecast far future glaciations, climate changes, earthquakes, and more, over the coming tens of thousands—or even hundreds of thousands or millions—of years. They are not pop culture “futurists” but data-driven, disciplined technical experts, using the power of patterns to construct detailed scenarios and quantitative models of the far future. This is the kind of time literacy we need if we are to survive the Anthropocene.
Embodied Reckonings examines the political and cultural aspects of contemporary performances that have grappled with the history of the “comfort women,” the Japanese military’s euphemism for the sexual enslavement of girls and young women—mostly Korean—in the years before and during World War II. Long silent, in the early 1990s these women and their supporters initiated varied performance practices—protests, tribunals, theater, and memorial-building projects—to demand justice for those affected by state-sponsored acts of violence. The book provides a critical framework for understanding how actions designed to bring about redress can move from the political and legal aspects of this concept to its cultural and social possibilities. Based on extensive archival and ethnographic research, the study argues for the central role of performance in how Korean survivors, activists, and artists have redressed the histories—and erasures—of this sexual violence. Merging cultural studies and performance theory with a transnational, feminist analysis, the book illuminates the actions of ordinary people, thus offering ways of reconceptualizing legal and political understandings of redress that tend to concentrate on institutionalized forms of state-based remediation.
This is a book about the theater phenomenon. It is an extension of notes on the theater and theatergoing that have been accumulating for some time. It does not have an argument, or set out to prove a thesis, and it will not be one of those useful books one reads for the fruits of its research. Rather, it is a form of critical description that is phenomenological in the sense that it focuses on the activity of theater making itself out of its essential materials: speech, sound, movement, scenery, text, etc. Like most phenomenological description, it will succeed to the extent that it awakens the reader's memory of his own perceptual encounters with theater. If the book fails in this it will be about as interesting to read as an anthology of someone else's dreams. In any case, this book is less concerned with the scientific purity of my perspective and method than with retrieving something from the theater experience that seems to me worthy of our critical admiration.
