Zograscope. Say it with me: zograscope. ZooooOOOOOoooograscope. There are many optical wonders in Maki Fukuoka’s new book The Premise of Fidelity: Science, Visuality, and Representing the Real in 19th-Century Japan (Stanford University Press, 2012),
Contemporary baseball seems like a big city game. Major League Baseball does not have a Green Bay Packers, a small-market team that can contend with the big shots. As David Vaught reminds us in The Farmer’s Game: Baseball in Rural America (Johns Hopkin...
Before the Second World War, very few Americans visited psychologists or psychiatrists. Today, millions and millions of Americans do. How did seeing a “shrink” become, quite suddenly, a typical part of the “American Experience?
It’s getting warmer, there ain’t no doubt about it. What are we going to do? Most folks say we should cut back on bad things like carbon emissions. That would probably be a good idea. The trouble is we would have to cut back on all the good things that...
Anyone who studies police corruption will be aware of the Knapp Commission that examined allegations of police corruption in New York City in the 1970s. Not only was this famous because of the movie Serpico,
The poems in Katy Didden‘s debut The Glacier’s Wake (Pleiades Press, 2013) are civilized and dignified and so are their surfaces: sophisticated soundscapes, pitch-perfect diction, a humane voice. And in The Glacier’s Wake, we do, in fact,
Christopher Browning is one of the giants in the field of Holocaust Studies. He has contributed vitally to at least two of the basic debates in the field: the intentionalist/functionalist discussion about when,
The American penitentiary model began as not merely a physical construct, but as a philosophical and religious one. Prisoners were to use their time in silence and isolation to contemplate their crimes/sins and to pursue God’s grace.
What’s the difference between a fiddle and a violin? What about the difference between a hornpipe and a reel, a hoedown and a breakdown? The answer to the former, of course, is that you don’t spill beer on a violin. For answers to the latter,
Claire Roth can’t believe her luck when the owner of Boston’s most prestigious art gallery offers her a one-woman show. Of course, there’s a catch: he asks her to copy a painting. A small price to pay to revive her stalled career,