One man was tongue-tied and awkward around women, in many ways a mama's boy at heart, although his reputation for thuggery was well earned. The other was a playboy, full of easy charm and ready jokes, his appetite for high living a matter of public record. One man tolerated gangsters and bootleggers as long as they paid their dues to his organization. The other was effectively a gangster himself, so crooked that he hosted a national gathering of America's most ruthless killers. One man never drank alcohol. The other, from all evidence, seldom drank anything else.
American Dictators is the dual biography of two of America’s greatest political bosses: Frank Hagueand Enoch “Nucky” Johnson. Packed with compelling information and written in an informal, sometimes humorous style, the book shows Hague and Johnson at the peak of their power and the strength of their political machines during the years of Prohibition and the Great Depression. Steven Hart compares how both men used their influence to benefit and punish the local citizenry, amass huge personal fortunes, and sometimes collaborate to trounce their enemies.
Similar in their ruthlessness, both men were very different in appearance and temperament. Hague, the mayor of Jersey City, intimidated presidents and wielded unchallenged power for three decades. He never drank and was happily married to his wife for decades. He also allowed gangsters to run bootlegging and illegal gambling operations as long as they paid protection money. Johnson, the political boss of Atlantic City, and the inspiration for the hit HBO series Boardwalk Empire, presided over corruption as well, but for a shorter period of time. He was notorious for his decadent lifestyle. Essentially a gangster himself, Johnson hosted the infamous Atlantic City conference that fostered the growth of organized crime.
Both Hague and Johnson shrewdly integrated otherwise disenfranchised groups into their machines and gave them a stake in political power. Yet each failed to adapt to changing demographics and circumstances. In American Dictators, Hart paints a balanced portrait of their accomplishments and their failures.
Since Socrates and his circle first tried to frame the Just City in words, discussion of a perfect communal life--a life of justice, reflection, and mutual respect--has had to come to terms with the distance between that idea and reality. Measuring this distance step by practical step is the philosophical project that Stanley Cavell has pursued on his exploratory path. Situated at the intersection of two of his longstanding interests--Emersonian philosophy and the Hollywood comedy of remarriage--Cavell's new work marks a significant advance in this project. The book--which presents a course of lectures Cavell presented several times toward the end of his teaching career at Harvard--links masterpieces of moral philosophy and classic Hollywood comedies to fashion a new way of looking at our lives and learning to live with ourselves.
This book offers philosophy in the key of life. Beginning with a rereading of Emerson's "Self-Reliance," Cavell traces the idea of perfectionism through works by Plato, Aristotle, Locke, Kant, Mill, Nietzsche, and Rawls, and by such artists as Henry James, George Bernard Shaw, and Shakespeare. Cities of Words shows that this ever-evolving idea, brought to dramatic life in movies such as It Happened One Night, The Awful Truth, The Philadelphia Story, and The Lady Eve, has the power to reorient the perception of Western philosophy.
Few have written more memorably about the work of poetry and the poetics of work than Juan Ramón Jiménez, winner of a Nobel Prize and discerning teacher of an entire generation of Spanish poets. In this series of aphorisms, Jiménez brings together the elements of perfect work, both in writing and in other realms. Among these elements—the wellsprings of any kind of creation—are instinct and inspiration, memory and forgetting, silence and noise, love and regret.
You could find out anything at Jim's, and Larry and I liked to be in the know. Information (not gossip) was passed back and forth constantly. Did you hear about the four couples engaged in "wife- swapping" in town? The mechanics and gas pumpers at Jim's could fill you in. Were you interested in the last time the Baptist minister beat his wife? Who your cute French teacher slept with a couple nights ago? Jim's had the answers. The place held another attraction for me: if you were under twenty-one and wanting some liquor for Friday night, Jim's son, Jimmy the Bomb, just out of the Marine Corps, had no problem picking up a bottle or two for you at the liquor store on the east side of town.
Set mainly in the Midwest, these tales are inhabited by ordinary, decent people who, often to their surprise, find joy and meaning under difficult circumstances. Many of the stories depict isolated moments of perfection in a world that routinely forces its imperfections on us. A teenager wrestles with guilt over an accident he caused in “Perfection in Bad Axe.” In “A Knight Pursued,” a young prosecuting attorney confronts on the same day his first autopsy and his wife’s unexpected desire to have a baby. A devout, hardworking business owner is drawn into a lawsuit that threatens his marriage and leads him to question his most deeply felt principles. “Center of Gravity” finds a middle-aged law professor overcome by his chaotic life and searching for a degree of peace. These are the finely developed characters of Bernthal’s stories—people we recognize, but who never seem overly familiar. Interesting, substantial, and utterly engrossing, each one could be just like any one of us, an ordinary Jane or Joe, trying to maintain or find order in a life sometimes filled with disorder.
Despite Taiwan's rise as an economic force in the world, modernity has not led to a Weberian process of disenchantment or curbed religiosity. To the contrary, other factors—social, economic, political—have stimulated religion. How and why this has happened are central issues in this book.
One part of Taiwan's flourishing religious culture is the elaborate and colorful procession of local gods accompanied by troupes of musicians and dancers. Among them are performers with outlandishly painted faces portraying underworld generals who serve the gods and punish the living. Through their performances, these troupes claim to exorcise harmful forces from the community.
In conducting fieldwork among these troupes, Donald Sutton confronted their claims to a long history—when all evidence indicated that the troupes had been insignificant until the 1970s—and their assertions of devotion to tradition given the diversity of performances. Concentrating on the stylistic variations in performances, the author describes the troupes as organizations shaped by the "market forces" of supply and demand in the culture of religious festivals. By focusing on performances as the nexus of market and art, he shows how bodily performance is the site where religious statements are made and the power of the gods made visible.
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