Sometimes thought to be a bizarre Victorian custom, photographing corpses has been and continues to be an important, if not recognized, occurrence in American life. It is a photographic activity, like the erotica produced in middle-class homes by married couples, that many privately practice but seldom circulate outside the trusted circle of close friends and relatives. Along with tombstones, funeral cards, and other images of death, these photographs represent one way in which Americans have attempted to secure their shadows.
Daringly realistic and artfully mediated by past and present, Claudia Emerson's Secure the Shadow contains historical pieces as well as poems centering on the deaths of the poet's brother and father. Emerson covers all aspects of the tragedies that, as Keats believed, contribute to our human collective of Soul-making, in which each death accrues into an immortal web of ongoing love and meaning for the living. Emerson's unwavering gaze shows that loss cannot be eluded, but can be embraced in elegies as devastating as they are beautiful. The macabre title poem refers to the old custom of making daguerreotypes, primitive photographs, of deceased loved ones. Other striking poems describe animal deaths -- mysterious calf killings, a hog slaughter, the burial of a dead jay, "identifiable / but light, dry, its eyes vacant orbits." Death, as the speaker's heart and mind instruct her, exists in a shadow world. When the body disappears, the shadow also flees. By securing the shadow, the poet finds a representation of the dead's soul, a soul always linked to the body. Hence, Emerson's attention to the minute details of the body's repose -- reflected in the long, related sequence of refrained poems -- never allows its memory to fade.
From their limited use in China during World War II, for example, to their often clandestine use in Vietnam ferrying supplies before the war escalated in 1964 and 1965 when their role became more prominent-and public-private military contractors (PMCs) have played made essential contributions to the success and failures of the military and United States. Today, with an emphasis on force restructuring mandated by the Pentagon, the role of PMCs, and their impact on policy-making decisions is at an all time peak. This work analyzes that impact, focusing specifically on PMCs in Iraq since the fall of Saddam Hussein in 2003. Isenberg dissects their responsibilities, the friction that exists between contractors and military commanders, problems of protocol and accountability, as well as the problems of regulation and control that PMC companies create for domestic politics. Isenberg organizes his work thematically, addressing all facets of PMCs in the current conflict from identifying who the most influential companies are and how they got to that point, to the issues that the government, military, and contractors themselves face when they take the field. He also analyzes the problem of command, control, and accountability. It is no secret that PMCs have been the source of consternation and grief to American military commanders in the field. As they work to establish more routine protocols in the field, however, questions are also being raised about the role of the contractors here at home. The domestic political arena is perhaps the most crucial battleground on which the contractors must have success. After all, they make their corporate living off of taxpayer dollars, and as such, calls for regulation have resonated throughout Washington, D.C., growing louder as the profile of PMCs increases during the current conflict.
James Bamford has been the preeminent expert on the National Security Agency since his reporting revealed the agency’s existence in the 1980s. Now Bamford describes the transformation of the NSA since 9/11, as the agency increasingly turns its high-tech ears on the American public. The Shadow Factory reconstructs how the NSA missed a chance to thwart the 9/11 hijackers and details how this mistake has led to a heightening of domestic surveillance. In disturbing detail, Bamford describes exactly how every American’s data is being mined and what is being done with it. Any reader who thinks America’s liberties are being protected by Congress will be shocked and appalled at what is revealed here.
Edward Curtis was charismatic, handsome, a passionate mountaineer, and a famous photographer, the Annie Leibovitz of his time. He moved in rarefied circles, a friend to presidents, vaudevill stars, leading thinkers. And he was thirty-two years old in 1900 when he gave it all up to pursue his Great Idea: to capture on film the continent's original inhabitants before the old ways disappeared.
At certain times of the day - at sunrise, and sunset - the outlines of prehistoric fields, barrows and hill-forts in the British landscape may be thrown into relief. Such 'shadow sites', best seen from above, and captured by an airborne camera, are both examples of, and metaphors for, a particular way of seeing the landscape. At a time of rapid modernisation and urbanisation in mid-twentieth-century Britain, an archaeological vision of the British landscape reassured and enchanted a number of writers, artists, photographers, and film-makers. From John Piper, Eric Ravilious and Shell guide books, to photographs of bomb damage, aerial archaeology, and The Wizard of Oz, Kitty Hauser delves into evocative interpretations of the landscape and looks at the affinities between photography as a medium to capture traces of the past as well as their absence.
The Long Shadow investigates the purposes and roles of nuclear weapons in the new security environment, the nature and content of the national nuclear strategies of relevant states, and their implications for international security and stability in the Asian security region
