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Topics range from the conceptual framework of modern legal practices to the legal construction of the relations between individual, state and community. These essays also look at deploying the law as a means of furthering feminist values.
In readings that link works of Cervantes, Shakespeare, and Descartes with current debates in philosophy, psychoanalysis, and literary and cultural criticism, the author reassesses the grounds of literary and philosophical history as a materialist practice of eventful reading.
A master of the personal essay candidly explores love, death, and the counterfeit rituals of American life in this "brave, funny compendium" (Slate) Nearly fifteen years after her debut collection, My Misspent Youth, captured the ambitions and anxieties of a generation, Meghan Daum returns to the personal essay with The Unspeakable, a powerful collection of ten new works. Where her previous collection explores what it is to be a struggling twenty-something urban dweller with an overdrawn bank account and oversized ambition, The Unspeakable contends with parental death, the decision not to have children, and more-a new set of challenges tackled by a writer at her best, investigated in the same uncompromising voice that made Daum one of the most engaging thinkers writing today. In The Unspeakable, Daum pushes back against the false sentimentality and shrink-wrapped platitudes that surround so much of the contemporary American experience. But Daum also operates in a comic register. With perfect precision, she reveals the absurdities of the New Age search for the "Best Possible Experience," champions the merits of cream-of-mushroom-soup casserole, and gleefully recounts a quintessential "only-in-L.A." story of playing charades at a famous person's home. Combining the piercing insight of Joan Didion with humor reminiscent of Nora Ephron's, Daum dissects our culture's most dangerous illusions while retaining her own joy and compassion. Through it all, she dramatizes the search for an authentic self in a world where achieving an identity is never simple and never complete.
One of the youngest recipients of a MacArthur “genius” grant, Kara Walker, an African American artist, is best known for her iconic, often life-size, black-and-white silhouetted figures, arranged in unsettling scenes on gallery walls. These visually arresting narratives draw viewers into a dialogue about the dynamics of race, sexuality, and violence in both the antebellum South and contemporary culture. Walker’s work has been featured in exhibits around the world and in American museums including the Museum of Modern Art, the Guggenheim, and the Whitney. At the same time, her ideologically provocative images have drawn vociferous criticism from several senior African American artists, and a number of her pieces have been pulled from exhibits amid protests against their disturbing representations. Seeing the Unspeakable provides a sustained consideration of the controversial art of Kara Walker. Examining Walker’s striking silhouettes, evocative gouache drawings, and dynamic prints, Gwendolyn DuBois Shaw analyzes the inspiration for and reception of four of Walker’s pieces: The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven, John Brown, A Means to an End, and Cut. She offers an overview of Walker’s life and career, and contextualizes her art within the history of African American visual culture and in relation to the work of contemporary artists including Faith Ringgold, Carrie Mae Weems, and Michael Ray Charles. Shaw describes how Walker deliberately challenges viewers’ sensibilities with radically de-sentimentalized images of slavery and racial stereotypes. This book reveals a powerful artist who is questioning, rather than accepting, the ideas and strategies of social responsibility that her parents’ generation fought to establish during the civil rights era. By exploiting the racist icons of the past, Walker forces viewers to see the unspeakable aspects of America’s racist past and conflicted present.
Chris Hedges on the most taboo topics in America, with David Talbot. The War on Terror is a profitable crusade against convenient enemies. “Muslim rage” is an understandable response to US state terror. Rising oligarchy in America has made democracy a sham and turned the electoral process into an increasingly absurd circus. Police violence against minorities is part of a systematic effort to crush social discontent. Proliferating violence against women’s health clinics is part of the war on women’s bodies. Freedom of speech is an illusion, with government agencies and corporate media dictating acceptable boundaries of public discourse. America’s only hope is a revolution to create genuine structures of popular power. This kind of insight into America’s deeply troubled current state cannot be found on television, in the pages of leading newspapers, or on Google News. Many of our most important thinkers are relegated to the shadows because their ideas are deemed too radical—or true—for public consumption. Among these intellectual bomb throwers is Chris Hedges, who, after decades on the front lines, continues to confront power in America in the most incisive, challenging ways. Hedges’s unfettered conversation with Hot Books editorial director David Talbot— founder of Salon and author of New York Times bestseller, The Devil’s Chessboard: Allen Dulles, the CIA and the Rise of America’s Secret Government—will be the first in a series for Hot Books called “Unspeakable,” featuring some of the most important – and censored – voices in the world today.
Junius Wilson (1908-2001) spent seventy-six years at a state mental hospital in Goldsboro, North Carolina, including six in the criminal ward. He had never been declared insane by a medical professional or found guilty of any criminal charge. But he was deaf and black in the Jim Crow South. Unspeakable is the story of his life. Using legal records, institutional files, and extensive oral history interviews--some conducted in sign language--Susan Burch and Hannah Joyner piece together the story of a deaf man accused in 1925 of attempted rape, found insane at a lunacy hearing, committed to the criminal ward of the State Hospital for the Colored Insane, castrated, forced to labor for the institution, and held at the hospital for more than seven decades. Junius Wilson's life was shaped by some of the major developments of twentieth-century America: Jim Crow segregation, the civil rights movement, deinstitutionalization, the rise of professional social work, and the emergence of the deaf and disability rights movements. In addition to offering a bottom-up history of life in a segregated mental institution, Burch and Joyner's work also enriches the traditional interpretation of Jim Crow by highlighting the complicated intersections of race and disability as well as of community and language. This moving study expands the boundaries of what biography can and should be. There is much to learn and remember about Junius Wilson--and the countless others who have lived unspeakable histories.
The sexual exploitation of children by adults has a long, fraught history. Yet how cultures have reacted to it is shaped by a range of forces, beliefs, and norms, like any other social phenomenon. Changes in how Anglo-American culture has understood intergenerational sex can be seen with startling clarity in the life of British writer Norman Douglas (1868–1952), who was a beloved and popular author, a friend of luminaries like Graham Greene, Aldous Huxley, and D.H. Lawrence, and an unrepentant and uncloseted pederast. Rachel Hope Cleves’s careful study opens a window onto the social history of intergenerational sex in the nineteenth and twentieth centuries, revealing how charisma, celebrity, and contemporary standards protected Douglas from punishment—until they didn’t. Unspeakable approaches Douglas as neither monster nor literary hero, but as a man who participated in an exploitative sexual subculture that was tolerated in ways we may find hard to understand. Using letters, diaries, memoirs, police records, novels, and photographs—including sources by the children Douglas encountered—Cleves identifies the cultural practices that structured pedophilic behaviors in England, Italy, and other places Douglas favored. Her book delineates how approaches to adult-child sex have changed over time and offers insight into how society can confront similar scandals today, celebrity and otherwise.
Unspeakable Violence addresses the epistemic and physical violence inflicted on racialized and gendered subjects in the U.S.–Mexico borderlands from the mid-nineteenth century through the early twentieth. Arguing that this violence was fundamental to U.S., Mexican, and Chicana/o nationalisms, Nicole M. Guidotti-Hernández examines the lynching of a Mexican woman in California in 1851, the Camp Grant Indian Massacre of 1871, the racism evident in the work of the anthropologist Jovita González, and the attempted genocide, between 1876 and 1907, of the Yaqui Indians in the Arizona–Sonora borderlands. Guidotti-Hernández shows that these events have been told and retold in ways that have produced particular versions of nationhood and effaced other issues. Scrutinizing stories of victimization and resistance, and celebratory narratives of mestizaje and hybridity in Chicana/o, Latina/o, and borderlands studies, she contends that by not acknowledging the racialized violence perpetrated by Mexicans, Chicanas/os, and indigenous peoples, as well as Anglos, narratives of mestizaje and resistance inadvertently privilege certain brown bodies over others. Unspeakable Violence calls for a new, transnational feminist approach to violence, gender, sexuality, race, and citizenship in the borderlands.
The incarnation of God in Jesus poses numerous challenges for the historical consciousness. How does a particular human at a particular time embody the eternal? And how does that embodiment work itself out in faith across the centuries? A gulf would appear to stand between what Christians say about Christ and the historical event of the man Jesus; indeed, the true reality of the incarnation seems unspeakable. Unspeakable Cults considers the nature and potential resolution of the conflict between the relativistic assumptions of the modern historical worldview and the classical Christian assertion of the absolute status of Jesus of Nazareth as God's saving incarnation in history. Paul DeHart contends that an understanding of Jesus' history is possible, proposing a model of the relation of divine causation to historical causation that allows the affirmation of Jesus' divinity without a miraculous rupture of the world's immanent causal patterns. The book first identifies classic articulations of the conflict in nineteenth-century German thought (Troeltsch, D. F. Strauss), and then draws on the history of religions to suggest possible relevant motifs in first-century culture that mitigate the axiomatic tension between Jesus' humanity and his deified status in early Christianity. With a creative appropriation of Thomas Aquinas, the heart of the argument aims to understand the eternal Word's presence in a human being as a thoroughly cultural event, but one dependent on divine power conceived as quasi-formal rather than merely efficient cause. Such an approach undercuts opposition between the absoluteness of Jesus and the relativism of historicism. DeHart ultimately confronts the resulting challenges to traditional belief resulting from this proposed model, including the irremediable ambiguity of Jesus' miraculous performances and the constitutively unfinished nature of his human identity. Rather than treating these as scandals of modern consciousness, Unspeakable Cults vindicates them as necessary aspects of the offense perennially confronting faith in the incarnation.