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Recent research on the far right has remained surprisingly silent on the question of capitalism. This article takes another approach. It suggests that we must understand the far right emerging out of the economic: out of the dynamics of capitalism itself. It does so through an intellectual portrait of the financial journalist Peter Brimelow, one of the most influential proponents of far-right nativist politics and a self-described “godfather of the Alt Right.” It follows his passage from financial journalist to anti-immigrant firebrand through his encounters with neoliberal luminaries Peter Bauer, Julian Simon, and Milton Friedman. Rather than for an ethnostate, I argue Brimelow is best seen as making the case for an “ethno-economy,” with immigration determined by a racialized hierarchy of human capital.
The cultural ubiquity of The Great Gatsby is such that it is tempting to think we know almost all there is to say about it. But F. Scott Fitzgerald's most famous work still has the capacity to surprise us. Perhaps few admirers of the novel know that it was also adapted for the stage by Owen Davis. In 1926 a successful production ran at the Ambassador Theater in New York City. This edition presents, for the first time in print, the original Broadway script: a fascinating social and literary document, now all but forgotten. The play re-forged Fitzgerald's novel into a fast-moving dramatization of parties and bootlegging, dancing and drinking, hot jazz, adultery and violence. It afforded an evening of first-rate entertainment for Manhattan theatergoers. Incorporating photographs of the original sets and actors, reviews, and publicity pasted into Fitzgerald's scrapbooks, this volume lifts the curtain anew on a singular drama.
This article traces a speculative and critical engagement with histories of health care disparity and medical exploitation shared across fictions by Ralph Ellison and Toni Morrison, and the artwork of Ellen Gallagher. It argues that insistent returns to racialized experimentation and scientific modes of looking form a significant interrogation of a wider set of US promises and attritions. Specifically, it asks how postwar African American culture takes up scopic questions to address dominant accounts of progress and the modern, both via reference to visual orders and technologies, and via formal choices regarding iteration, perspective and scale.
From the early 1960s to the early 1990s, a range of concerns about “brainwashing” in youth reeducation programs obfuscated professional and political discourse, influencing key outcomes that shaped the development of the troubled-teen industry in the United States. The most significant historical developments related to this controversy involved three different youth programs. In response to accusations of “brainwashing,” program executives created elaborate counterarguments and public-relations campaigns. Instead of working to address inherent risks associated with therapeutic reeducation, the brainwashing label obscured the potential for harm and enabled an unethical teen program industry.
From the beginning of King Leopold II's endeavours to secure the Congo Free State (CFS) as his personal domain, through to the legitimization of his rule at the Berlin Conference in 1884–85, the United States has played an important role in the tragic history of the CFS. This article seeks to explore the complex relationship between humanitarianism and race in the story of the American connection with the CFS and subsequent Congo reform movement. It will unpack the role of key individuals involved and their relationship with American humanitarians in the reform movement, arguing that while pursuing reform in the CFS, American humanitarians established close relationships and collaborated with notable racists who shared their beliefs on race and colonialism. By examining these alliances, it becomes evident that their efforts for reform were entangled with individuals who contradicted the supposed humanitarian goals. This article will also examine the reception of this activism in the African American press, showing that the response to the reform campaign was ambivalent at best, with questions raised as to why key African American activists involved in the movement focussed their efforts abroad in the era of Jim Crow in the US.
Means, Motives, and Opportunities illuminates how states spend public money through the lens of governmental structure, executive power, and interest group competition. Christian Breunig and Chris Koski argue that policymaking is a function of not only policymakers' means (powers), but of their motives (issues) and opportunities (interest group competition) for change. Using over twenty-five years of data across all fifty US states, four in-depth case studies, and multiple examples of budget battles, the book describes a budget-making environment in which governors must balance the preferences of interest groups with their own, all while attempting to build a budget that roughly balances. While governors are uniquely powerful, the range of changes they can make is largely impacted by interest group competition. By showing how means, motives, and opportunities matter, the book shows how spending decisions at the state level influence nearly every aspect of American life.
This chapter provides a concise narrative of the relationship and collaboration between Robert Lowell and Ezra Pound. It traces the attempts by the young Lowell to establish Pound as a mentor and the older poet’s ambivalent responses, as well as the two poets’ occasional correspondence and thoughts about one another’s mature works. It concludes with a depiction and discussion of some late addresses that each poet made to the memory and work of the other.
Lowell’s attraction to the sonnet was historical and architectural and yet the form itself, one he wrestled with above all others, had at its origin desire and unrequited love. For Lowell, the little song of the sonnet worked well as a house for the complaint, “an expression of grief, a lamentation, a plaint” (OED). As far back as the fourteenth century, Chaucer used it as a title for poems (“The Complaint unto Pity,” c. 1368) and complaints hold both an expression of torment or grief and a song. In the 1946 volume, Lord Weary’s Castle, Lowell uses the sonnet form to express such a plaint, in this case as a measure to aid in indirect self-reflection (“The North Sea Undertaker’s Complaint”). Life Studies (1959) finds Lowell still ruminating on the sonnet form and its expressive capacities, as we see in the triple sonnet “Beyond the Alps,” pivoting as it does between subjects and acting as an opportunity for historical rather than personal insight. Day by Day (1977) roots itself in the personal and introduces looser forms. The sonnet’s acoustic energies are not bottled here but the poems participate in sonnet-like thinking.