Judge Benjamin Barr Lindsey’s exposé of big business’s influence on Colorado and Denver politics, a best seller when it was originally published in 1911, is now back in print. The Beast reveals the plight of working-class Denver citizens—in particular those Denver youths who ended up in Lindsey’s court day after day. These encounters led him to create the juvenile court, one of the first courts in the country set up to deal specifically with young delinquents. In addition, Lindsey exposes the darker side of many well-known figures in Colorado history, including Mayor Robert W. Speer, Governor Henry Augustus Buchtel, Will Evans, and many others. When first published, The Beast was considered every bit the equal Upton Sinclair’s The Jungle and sold over 500,000 copies. More than just a fascinating slice of Denver history, this book—and Lindsey’s court— offered widespread social change in the United States.

Winner of the Global Humanities Translation Prize

A classic of modern Provençal literature, Jóusè d’Arbaud’s 1926 masterpiece “The Beast of Vacarés” (also known as “The Beast of Vaccarès”) is a haunting parable. Set during the fifteenth century, the tale is narrated by a solitary bull herder—known as a gardian—who stumbles upon a starving creature that is half man, half goat. Terrified, the gardian is nonetheless drawn to the eloquent Beast, a dying demigod who laments the loss of his glorious past even as he wields power over the animals around him. Torn between pity and fear, unable to understand his experiences and afraid he will be condemned for heresy, the gardian records his encounters in a journal, hoping that one day readers will make sense of what he cannot.

Set in the vast, lonely landscape of the Camargue delta, where the Rhône meets the Mediterranean, The Beast seamlessly melds fantasy with naturalistic detail about the region’s flora and fauna. Three additional stories—“The Caraco,” “Pèire Guilhem’s Remorse,” and “The Longline”—explore the lives of twentieth-century gardians in the region. Each man succumbs to fears and social pressure, tragically losing what he most loves.

Following on from The Beast and the Sovereign, Volume I, this book extends Jacques Derrida’s exploration of the connections between animality and sovereignty.  In this second year of the seminar, originally presented in 2002–2003 as the last course he would give before his death, Derrida focuses on two markedly different texts: Heidegger’s 1929–1930 course The Fundamental Concepts of Metaphysics, and Daniel Defoe’s Robinson Crusoe. As he moves back and forth between the two works, Derrida pursuesthe relations between solitude, insularity, world, violence, boredom and death as they supposedly affect humans and animals in different ways.

 

Hitherto unnoticed or underappreciated aspects of Robinson Crusoe are brought out in strikingly original readings of questions such as Crusoe’s belief in ghosts, his learning to pray, his parrot Poll, and his reinvention of the wheel. Crusoe’s terror of being buried alive or swallowed alive by beasts or cannibals gives rise to a rich and provocative reflection on death, burial, and cremation, in part provoked by a meditation on the death of Derrida’s friend Maurice Blanchot.  Throughout, these readings are juxtaposed with interpretations of Heidegger's concepts of world and finitude to produce a distinctively Derridean account that will continue to surprise his readers.

Beauty and the Beast begins with the question: Is beauty destined to end in tragedy? Drawing on extensive fieldwork in Colombia, Michael Taussig scrutinizes the anxious, audacious, and sometimes destructive attempts people make to transform their bodies through cosmetic surgery and liposuction. He balances an examination of surgeries meant to enhance an individual’s beauty with an often overlooked counterpart, surgeries performed—often on high profile criminals—to disguise one’s identity. Situating this globally shared phenomenon within the economic, cultural, and political history of Colombia, Taussig links the country’s long civil war and its bodily mutilation and torture to the beauty industry at large, sketching Colombia as a country whose high aesthetic stakes make it a stage where some of the most important and problematic ideas about the body are played out.

Central to Taussig’s examination is George Bataille’s notion of depense, or “wasting.” While depense is often used as a critique, Taussig also looks at the exuberance such squandering creates and its position as a driving economic force. Depense, he argues, is precisely what these procedures are all about, and the beast on the other side of beauty should not be dismissed as simple recompense. At once theoretical and colloquial, public and intimate, Beauty and the Beast is a true-to-place ethnography—written in Taussig’s trademark voice—that tells a thickly layered but always accessible story about the lengths to which people will go to be physically remade.

Despite the growing scholarly interest in the Civil Rights movement, to date there has been no comprehensive examination of the Black Power movement. Black Power in the Belly of the Beast fills this gap by providing the first in-depth look at the Black Power movement from the 1963 founding of the Revolutionary Action Movement (RAM) to the Black Power Movement's demise in the mid 1970s.

The volume’s twelve contributors include well-known scholars such as James A. Geschwender and Douglas Glasgow as well as prominent community activists Akbar Muhammad Ahmad, Floyd W. Hayes III, and Komozi Woodard. Each of their chapters explores a single Black Power organization including Us, the Black Panther Party, and the Deacons for Defense and Justice. Important but lesser-known Black Power organizations such as the Republic of New Afrika and Sons of Watts are paid equal attention, as contributors address issues including self-defense, Black identity, and the politics of class and gender. Throughout, authors emphasize the primary role that Black institutions and charismatic leaders played in the rise, development, and eventual decline of the overall movement.

In medieval literature, when humans and animals meet—whether as friends or foes—issues of mastery and submission are often at stake. In the Skin of a Beast shows how the concept of sovereignty comes to the fore in such narratives, reflecting larger concerns about relations of authority and dominion at play in both human-animal and human-human interactions.

Peggy McCracken discusses a range of literary texts and images from medieval France, including romances in which animal skins appear in symbolic displays of power, fictional explorations of the wolf’s desire for human domestication, and tales of women and snakes converging in a representation of territorial claims and noble status. These works reveal that the qualities traditionally used to define sovereignty—lineage and gender among them—are in fact mobile and contingent. In medieval literary texts, as McCracken demonstrates, human dominion over animals is a disputed model for sovereign relations among people: it justifies exploitation even as it mandates protection and care, and it depends on reiterations of human-animal difference that paradoxically expose the tenuous nature of human exceptionalism.

The question of what it means to be human is at the core of Western philosophical and scientific inquiry. As conceptualized in the Western tradition, “humanity” has been understood and defined in opposition to the animal, which is said to lack the rationality and language that we adduce as the clearest evidence of our difference from beasts. Recent scientific research and rigorous examinations of taxonomy, however, have raised controversial questions regarding the relationship between humans and animals. Man and Beast poses these central philosophical and scientific questions from a different perspective, not simply asking where the line is or ought to be drawn between man and beast but examining and analyzing the stakes in transgressing or maintaining species barriers.

The contributors to Man and Beast, writing from an array of academic disciplines, collectively rethink human relationships with other animals. Pointing to the ethical implications of taxonomic classifications and distinctions drawn by the natural sciences, one essay argues that these categories are neither as abstract nor as neutral as commonly assumed. Another essay offers a historicizing study of species barriers to examine the way in which zoological classifications have been breached, relegating some humans to the category of “animal” or, alternately, including in the human circle nonhuman species. Other essays consider the attribution of a human speech impediment to such famous talking cartoon animals as Porky Pig, read the social implications of such popular animal-human hybrids as “Bat Boy” of the tabloid press, and examine the representation of animals as moral agents in fables dating to Aesop, noting the appearance of such tales during periods of social upheaval and instability. All of these suggest that the category of “beast,” like that of human being, has never been either homogeneous or stable.

Contributors. Howard Bloch, Judith L. Goldstein, Harriet Ritvo, Marc Shell, Barbara Herrnstein Smith

From Mickey Mouse to the teddy bear, from the Republican elephant to the use of "jackass" as an all-purpose insult, images of animals play a central role in politics, entertainment, and social interactions. In this penetrating look at how Western culture pictures the beast, Steve Baker examines how such images--sometimes affectionate, sometimes derogatory, always distorting--affect how real animals are perceived and treated.

Baker provides an animated discussion of how animals enter into the iconography of power through wartime depictions of the enemy, political cartoons, and sports symbolism. He examines a phenomenon he calls the "disnification" of animals, meaning a reduction of the animal to the trivial and stupid, and shows how books featuring talking animals underscore human superiority. He also discusses how his findings might inform the strategies of animal rights advocates seeking to call public attention to animal suffering and abuse. Until animals are extricated from the baggage of imposed images, Baker maintains, neither they nor their predicaments can be clearly seen.

For this edition, Baker provides a new introduction, specifically addressing an American audience, that touches on such topics as the Cow Parade, animal imagery in the presidential race, and animatronic animals in recent films.
 
 

Since the Reagan Revolution of the early 1980s, Republicans have consistently championed tax cuts for individuals and businesses, regardless of whether the economy is booming or in recession or whether the federal budget is in surplus or deficit. In Starving the Beast, sociologist Monica Prasad uncovers the origins of the GOP’s relentless focus on tax cuts and shows how this is a uniquely American phenomenon.

Drawing on never-before seen archival documents, Prasad traces the history of the 1981 tax cut—the famous “supply side” tax cut, which became the cornerstone for the next several decades of Republican domestic economic policy. She demonstrates that the main impetus behind this tax cut was not business group pressure, racial animus, or a belief that tax cuts would pay for themselves. 

Rather, the tax cut emerged because in America--unlike in the rest of the advanced industrial world—progressive policies are not embedded within a larger political economy that is favorable to business.  Since the end of World War II, many European nations have combined strong social protections with policies to stimulate economic growth such as lower taxes on capital and less regulation on businesses than in the United State.  Meanwhile, the United States emerged from World War II with high taxes on capital and some of the strongest regulations on business in the advanced industrial world.  This adversarial political economy could not survive the economic crisis of the 1970s.

Starving the Beast suggests that taking inspiration from the European model of progressive policies embedded in market-promoting political economy could serve to build an American economy that works better for all.

With macabre humor, You, Beast explores the roots and limits of human empathy. Nick Lantz examines our strange, absurd, and often brutal relationship with other animals, from roaches scuttling across the kitchen floor to pigs whose heart valves can replace our own. In poems ranging from found text to villanelles, and from short plays to fables, this lyric collection tracks the troubled ways we define our humanity through mythology, language, politics, art, and food.