Virtual Library

From the Pulitzer Prize-winning journalist, a revelatory portrait of religion in China today--its history, the spiritual traditions of its Eastern and Western faiths, and the ways in which it is influencing China's future. The Souls of China tells the story of one of the world's great spiritual revivals. Following a century of violent anti-religious campaigns, China is now filled with new temples, churches, and mosques--as well as cults, sects, and politicians trying to harness religion for their own ends. Driving this explosion of faith is uncertainty--over what it means to be Chinese and how to live an ethical life in a country that discarded traditional morality a century ago and is searching for new guideposts.

Ian Johnson first visited China in 1984; in the 1990s he helped run a charity to rebuild Daoist temples, and in 2001 he won a Pulitzer Prize for his coverage of the suppression of the Falun Gong spiritual movement. While researching this book, he lived for extended periods with underground church members, rural Daoists, and Buddhist pilgrims. Along the way, he learned esoteric meditation techniques, visited a nonagenarian Confucian sage, and befriended government propagandists as they fashioned a remarkable embrace of traditional values. He has distilled these experiences into a cycle of festivals, births, deaths, detentions, and struggle--a great awakening of faith that is shaping the soul of the world's newest superpower.

This book is about the relationship between the spectators in countries of the west, and the distant sufferer on the television screen; the sufferer in Somalia, Nigeria, Bangladesh, India, Indonesia, but also from New York and Washington DC. How do we relate to television images of the distant sufferer? The question touches on the ethical role of the media in public life today. They address the issue of whether the media can cultivate a disposition of care for and engagement with the far away other; whether television can create a global public with a sense of social responsibililty towards the distant sufferer.

"In the four years before the Supreme Court's 1973 Roe vs. Wade decision, most women determined to get abortions had to subject themselves to the power of illegal, unregulated abortionists...But a Chicago woman who happened to stumble across a secret organization code-named 'Jane' had an alternative. Laura Kaplan, who joined Jane in 1971, has pieced together the histories of the anonymous (here identified only by pseudonyms), average-sounding women who transformed themselves into outlaws."—Cleveland Plain Dealer 

From its extraction through sale, use and disposal, all the stuff in our lives affects communities at home and abroad, yet most of this is hidden from view. The Story of Stuff is a 20-minute, fast-paced, fact-filled look at the underside of our production and consumption patterns. The Story of Stuff exposes the connections between a huge number of environmental and social issues, and calls us together to create a more sustainable and just world. It’ll teach you something, it’ll make you laugh, and it just may change the way you look at all the stuff in your life forever.

The Street tells the poignant, often heartbreaking story of Lutie Johnson, a young black woman, and her spirited struggle to raise her son amid the violence, poverty, and racial dissonance of Harlem in the late 1940s. Originally published in 1946 and hailed by critics as a masterwork, The Street was Ann Petry's first novel, a beloved bestseller with more than a million copies in print. Its haunting tale still resonates today.

On September 8, 1922, the body of Xi Shangzhen was found hanging in the Shanghai newspaper office where she worked. Although her death occurred outside of Chinese jurisdiction, her U.S.-educated employer, Tang Jiezhi, was kidnapped by Chinese authorities and put on trial. In the unfolding scandal, novelists, filmmakers, suffragists, reformers, and even a founding member of the Chinese Communist Party seized upon the case as emblematic of deep social problems. Xi’s family claimed that Tang had pressured her to be his concubine; his conviction instead for financial fraud only stirred further controversy.

The creation of a republic ten years earlier had inspired a vision of popular sovereignty and citizenship premised upon gender equality and legal reform. After the quick suppression of the first Chinese parliament, commercial circles took up the banner of democracy in their pursuit of wealth. But, Bryna Goodman shows, the suicide of an educated “new woman” exposed the emptiness of republican democracy after a flash of speculative finance gripped the city. In the shadow of economic crisis, Tang’s trial also exposed the frailty of legal mechanisms in a political landscape fragmented by warlords and enclaves of foreign colonial rule.

The Suicide of Miss Xi opens a window onto how urban Chinese in the early twentieth century navigated China’s early passage through democratic populism, in an ill-fated moment of possibility between empire and party dictatorship. Xi Shangzhen became a symbol of the failures of the Chinese Republic as well as the broken promises of citizen’s rights, gender equality, and financial prosperity betokened by liberal democracy and capitalism.

From the 1960s until the early 1990s, the South African security police and counterinsurgency units collected over 7,000 photographs of apartheid’s enemies. The political rogue’s gallery was known as the “terrorist album,” copies of which were distributed covertly to police stations throughout the country. Many who appeared in the album were targeted for surveillance. Sometimes the security police tried to turn them; sometimes the goal was elimination.

All of the albums were ordered destroyed when apartheid’s violent collapse began. But three copies survived the memory purge. With full access to one of these surviving albums, award-winning South African historian and journalist Jacob Dlamini investigates the story behind these images: their origins, how they were used, and the lives they changed. Extensive interviews with former targets and their family members testify to the brutal and often careless work of the police. Although the police certainly hunted down resisters, the terrorist album also contains mug shots of bystanders and even regime supporters. Their inclusion is a stark reminder that apartheid’s guardians were not the efficient, if morally compromised, law enforcers of legend but rather blundering agents of racial panic.

With particular attentiveness to the afterlife of apartheid, Dlamini uncovers the stories of former insurgents disenchanted with today’s South Africa, former collaborators seeking forgiveness, and former security police reinventing themselves as South Africa’s newest export: “security consultants” serving as mercenaries for Western nations and multinational corporations. The Terrorist Album is a brilliant evocation of apartheid’s tragic caprice, ultimate failure, and grim legacy.

In Dachau, Auschwitz, Yad Vashem, and thousands of other locations throughout the world, memorials to the Holocaust are erected to commemorate its victims and its significance. This fascinating work by James E. Young examines Holocaust monuments and museums in Europe, Israel, and America, exploring how every nation remembers the Holocaust according to its own traditions, ideals, and experiences, and how these memorials reflect their place in contemporary aesthetic and architectural discourse. The result is a groundbreaking study of Holocaust memory, public art, and their fusion in contemporary life.

Among the issues Young discusses are: how memorials suppress as much as they commemorate; how museums tell as much about their makers as about events; the differences between memorials conceived by victims and by victimizers; and the political uses and abuses of officially cast memory. Young describes, for example, Germany's "counter monuments," one of which was designed to disappear over time, and the Polish memorials that commemorate the whole of Polish destruction through the figure of its murdered Jewish part. He compares European museums and monuments that focus primarily on the internment and killing process with Israeli memorials that include portrayals of Jewish life before and after the destruction. In his concluding chapters, he finds that American Holocaust memorials are guided no less by distinctly American ideals, such as liberty and pluralism.

Interweaving graceful prose and arresting photographs, the book is eloquent testimony to the way varied cultures and nations commemorate an era that breeds guilt, shame, pain, and amnesia, but rarely pride. By reinvigorating these memorials with the stories of their origins, Young highlights the ever-changing life of memory over its seemingly frozen face in the landscape.

Charting the intersection of technology and ideology, cultural production and social science, Fatimah Tobing Rony explores early-twentieth-century representations of non-Western indigenous peoples in films ranging from the documentary to the spectacular to the scientific. Turning the gaze of the ethnographic camera back onto itself, bringing the perspective of a third eye to bear on the invention of the primitive other, Rony reveals the collaboration of anthropology and popular culture in Western constructions of race, gender, nation, and empire. Her work demonstrates the significance of these constructions—and, more generally, of ethnographic cinema—for understanding issues of identity.

No contemporary figure is more demonized than the Islamist foreign fighter who wages jihad around the world. Spreading violence, disregarding national borders, and rejecting secular norms, so-called jihadists seem opposed to universalism itself. In a radical departure from conventional wisdom on the topic, The Universal Enemy argues that transnational jihadists are engaged in their own form of universalism: these fighters struggle to realize an Islamist vision directed at all of humanity, transcending racial and cultural difference.

Anthropologist and attorney Darryl Li reconceptualizes jihad as armed transnational solidarity under conditions of American empire, revisiting a pivotal moment after the Cold War when ethnic cleansing in the Balkans dominated global headlines. Muslim volunteers came from distant lands to fight in Bosnia-Herzegovina alongside their co-religionists, offering themselves as an alternative to the US-led international community. Li highlights the parallels and overlaps between transnational jihads and other universalisms such as the War on Terror, United Nations peacekeeping, and socialist Non-Alignment. Developed from more than a decade of research with former fighters in a half-dozen countries, The Universal Enemy explores the relationship between jihad and American empire to shed critical light on both.