The Making Of The State Writer

This book completes the author's study of the sociology of the literary process in Soviet Russia, begun in The Making of the State Reader: Social and Aesthetic Contexts of the Reception of Soviet Literature (Stanford, 1997). The author demonstrates that Socialist Realism is not so much directed as it is self-directed; the transformation of the author into his own censor is the true history of Soviet literature.

This book extends what we know about the development of civil rights and the role of the NAACP in American politics. Through a sweeping archival analysis of the NAACP's battle against lynching and mob violence from 1909 to 1923, this book examines how the NAACP raised public awareness, won over American presidents, secured the support of Congress, and won a landmark criminal procedure case in front of the Supreme Court.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

A history of the shaping of the reader of Soviet literature, the State appropriation of the reader. Literature from the revolutionary and Soviet eras performed substantive political and ideological functions in the authorities' overall system (which included the publishing business, the book trade, and schools) aimed at ultimately creating a new Soviet person. This book shows how people from various social classes, in a dynamic unknown in pre-Soviet history, not only consumed the products of a new culture but in fact created that culture.

This book completes the author's study of the sociology of the literary process in Soviet Russia, begun in The Making of the State Reader: Social and Aesthetic Contexts of the Reception of Soviet Literature (Stanford, 1997). The history of the literary process of the Soviet era, understood as the living process of the clash of political and ideological aspirations and the interests and psychology of cultural elites, allows one to understand the social origins and cultural aims of Stalinist art in an entirely new way. Previous scholarship has concentrated largely on Sovietological answers to the basic problems of Stalinist aesthetics--such as "political control," "repressions," and "pressure from the regime." However, the author demonstrates that Socialist Realism is not so much directed as it is self-directed; it is not a matter of control but of self-control. The transformation of the author into his own censor is the true history of Soviet literature. Socialist Realism is cultural revolution not only from above but from below as well. The state simply took into account, and accurately discerned, the demands of the masses, and Soviet literature became the reader's answer to these demands. The reader not only shaped Socialist Realist aesthetics down to his own expectations, but in fact created it. The Soviet writer was yesterday's Soviet reader who had learned how to write books. The Soviet writer can be called the product of authority only to the extent that this authority recognized and institutionalized what Lenin called the "lively creativity of the masses." On the other hand, the author shows, the Soviet writer is the radical realization and embodiment of the nineteenth-century Russian populist utopia of enlightenment of the people.

American political history has been built around narratives of crisis, in which what “counts” are the moments when seemingly stable political orders collapse and new ones rise from the ashes. But while crisis-centered frameworks can make sense of certain dimensions of political culture, partisan change, and governance, they also often steal attention from the production of categories like race, gender, and citizenship status that transcend the usual break points in American history. Brent Cebul, Lily Geismer, and Mason B. Williams have brought together first-rate scholars from a wide range of subfields who are making structures of state power—not moments of crisis or partisan realignment—integral to their analyses. All of the contributors see political history as defined less by elite subjects than by tensions between state and economy, state and society, and state and subject—tensions that reveal continuities as much as disjunctures. This broader definition incorporates investigations of the crosscurrents of power, race, and identity; the recent turns toward the history of capitalism and transnational history; and an evolving understanding of American political development that cuts across eras of seeming liberal, conservative, or neoliberal ascendance. The result is a rich revelation of what political history is today.

President Donald J. Trump lays out his professional and personal worldview in this classic work—a firsthand account of the rise of America’s foremost deal-maker. “I like thinking big. I always have. To me it’s very simple: If you’re going to be thinking anyway, you might as well think big.”—Donald J. Trump Here is Trump in action—how he runs his organization and how he runs his life—as he meets the people he needs to meet, chats with family and friends, clashes with enemies, and challenges conventional thinking. But even a maverick plays by rules, and Trump has formulated time-tested guidelines for success. He isolates the common elements in his greatest accomplishments; he shatters myths; he names names, spells out the zeros, and fully reveals the deal-maker’s art. And throughout, Trump talks—really talks—about how he does it. Trump: The Art of the Deal is an unguarded look at the mind of a brilliant entrepreneur—the ultimate read for anyone interested in the man behind the spotlight. Praise for Trump: The Art of the Deal “Trump makes one believe for a moment in the American dream again.”—The New York Times “Donald Trump is a deal maker. He is a deal maker the way lions are carnivores and water is wet.”—Chicago Tribune “Fascinating . . . wholly absorbing . . . conveys Trump’s larger-than-life demeanor so vibrantly that the reader’s attention is instantly and fully claimed.”—Boston Herald “A chatty, generous, chutzpa-filled autobiography.”—New York Post

“One of the most profound and illuminating studies of this century to have been published in recent decades.”—John Gray, New York Times Book Review Hailed as “a magisterial critique of top-down social planning” by the New York Times, this essential work analyzes disasters from Russia to Tanzania to uncover why states so often fail—sometimes catastrophically—in grand efforts to engineer their society or their environment, and uncovers the conditions common to all such planning disasters. “Beautifully written, this book calls into sharp relief the nature of the world we now inhabit.”—New Yorker “A tour de force.”— Charles Tilly, Columbia University