American Anatomies

In this brilliantly combative study, Robyn Wiegman challenges contemporary clichés about race and gender, a formulation that is itself a cliché in need of questioning. As part of what she calls her "feminist disloyalty," she turns a critical, even skeptical, eye on current debates about multiculturalism and "difference" while simultaneously exposing the many ways in which white racial supremacy has been reconfigured since the institutional demise of segregation. Most of all, she examines the hypocrisy and contradictoriness of over a century of narratives that posit Anglo-Americans as heroic agents of racism's decline. Whether assessing Uncle Tom's Cabin, lynching, Leslie Fiedler's racialist mapping of the American novel, the Black Power movement of the 60s, 80s buddy films, or the novels of Richard Wright and Toni Morrison, Wiegman unflinchingly confronts the paradoxes of both racism and antiracist agendas, including those advanced from a feminist perspective. American Anatomies takes the long view: What epistemological frameworks allowed the West, from the Renaissance forward, to schematize racial and gender differences and to create social hierarchies based on these differences? How have those epistemological regimes changed--and not changed--over time? Where are we now? With painstaking care, political passion, and intellectual daring, Wiegman analyzes the biological and cultural bases of racial and gender bias in order to reinvigorate the discussion of identity politics. She concludes that, for very different reasons, identity proves to be dangerous to minority and majority alike.

Renowned paleoartist John Gurche brings the traditional techniques of figure drawing and anatomical art to the portrayal of our hominin ancestors. The result is a visual record of the evolving human form that feels alive in a way no scientific illustration could match. While science provides an underpinning to Gurche’s art, his work’s primary purpose is to forge an aesthetic connection to the hominins that preceded us on Earth, capturing their humanity. With essays by leading authorities, Lost Anatomies carries the story of human evolution from apes and early hominins; to Australopithecus; to archaic Homo sapiens, including Homo erectus; to derived Homo sapiens, including Neanderthals and other species that are our most recent ancestors.

From the author of the classic Human Anatomy for Artists comes this user-friendly reference guide featuring over five hundred original drawings and over seventy photographs. Designed for painters, sculptors, and illustrators who use animal imagery in their work, Animal Anatomy for Artists offers thorough, in-depth information about the most commonly depicted animals, presented in a logical and easily understood format for artists--whether beginner or accomplished professional. The book focuses on the forms created by muscles and bones, giving artists a crucial three-dimensional understanding of the final, complex outer surface of the animal. Goldfinger not only covers the anatomy of the more common animals, such as the horse, dog, cat, cow, pig, squirrel, and rabbit, but also the anatomy of numerous wild species, including the lion, giraffe, deer, hippopotamus, rhinoceros, elephant, gorilla, sea lion, and bear. Included are drawings of skeletons and how they move at the joints, individual muscles showing their attachments on the skeleton, muscles of the entire animal, cross sections, photographs of live animals, and silhouettes of related animals comparing their shapes and proportions. He offers a new and innovative section on the basic body plan of four-legged animals, giving the reader a crucial conceptual understanding of overall animal structure to which the details of individual animals can then be applied. The chapter on birds covers the skeleton, muscles and feather patterns. The appendix presents photographs of skulls with magnificent horns and antlers and a section on major surface veins. Incredibly thorough, packed with essential information, Animal Anatomy for Artists is a definitive reference work, an essential book for everyone who depicts animals in their art.

The Properties of Violence focuses on two connected issues: representations of lynching in late-nineteenth and twentieth-century American photographs, poetry, and fiction; and the effects of those representations. Alexandre compellingly shows how putting representations of lynching in dialogue with the history of lynching uncovers the profound investment of African American literature--as an enterprise that continually seeks to create conceptual spaces for the disenfranchised culture it represents--in matters of property and territory. Through studies ranging from lynching photographs to Toni Morrison's Pulitzer Prize-winning novel, Beloved, the book demonstrates how representations of lynching demand that we engage and discuss various forms of possession and dispossession. The multiple meanings of the word "representation" are familiar to literary critics, but Alexandre's book insists that its other key term, "effects," also needs to be understood in both of its primary senses. On the one hand, it indicates the social and cultural repercussions of how lynching was portrayed, namely, what effects its representations had. On the other hand, the word signals, too, the possessions or what we might call the personal effects conjured up by these representations. These possessions were not only material--as for example property in land or the things one owned. The effects of representation also included diverse, less tangible but no less real possessions shared by individuals and groups: the aura of a lynching site, the ideological construction of white womanhood, or the seemingly default capacity of lynching iconography to encapsulate the history of ostensibly all forms of violence against black people.

Why, since the end of World War II, has the United States either lost every war it started or failed in every military intervention it prosecuted? Harlan Ullman's new book answers this most disturbing question, a question Americans would never think of even asking because this record of failure has been largely hidden in plain sight or forgotten with the passage of time. The most straightforward answer is that presidents and administrations have consistently failed to use sound strategic thinking and lacked sufficient knowledge or understanding of the circumstances prior to deciding whether or not to employ force. Making this case is an in-depth analysis of the records of presidents from John F. Kennedy to Barack Obama and Donald Trump in using force or starting wars. His recommended solutions begin with a "brains-based" approach to sound strategic thinking to address one of the major causes of failure ----the inexperience of too many of the nation's commanders-in-chief. Ullman reinforces his argument through the use of autobiographical vignettes that provide a human dimension and insight into the reasons for failure, in some cases making public previously unknown history. The clarion call of Anatomy of Failure is that both a sound strategic framework and sufficient knowledge and understanding of the circumstance that may lead to using force are vital. Without them, failure is virtually guaranteed.

"America keeps a fine house," Anatol Lieven writes, "but in its cellar there lives a demon, whose name is nationalism." In this controversial critique of America's role in the world, Lieven contends that U.S. foreign policy since 9/11 has been shaped by the special character of our national identity, which embraces two contradictory features. One, "The American Creed," is a civic nationalism which espouses liberty, democracy, and the rule of law. It is our greatest legacy to the world. But our almost religious belief in the "Creed" creates a tendency toward a dangerously "messianic" element in American nationalism, the desire to extend American values and American democracy to the whole world, irrespective of the needs and desires of others. The other feature, populist (or what is sometimes called "Jacksonian") nationalism, has its roots in an aggrieved, embittered, and defensive White America, centered largely in the American South. Where the "Creed" is optimistic and triumphalist, Jacksonian nationalism is fed by a profound pessimism and a sense of personal, social, religious, and sectional defeat. Lieven examines how these two antithetical impulses have played out in recent US policy, especially in the Middle East and in the nature of U.S. support for Israel. He suggests that in this region, the uneasy combination of policies based on two contradictory traditions have gravely undermined U.S. credibility and complicated the war against terrorism. It has never been more vital that Americans understand our national character. This hard-hitting critique directs a spotlight on the American political soul and on the curious mixture of chauvinism and idealism that has driven the Bush administration.