The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs, David Herzberg explores these crises and the drugs that fueled them, from Bayer’s Heroin to Purdue’s OxyContin and all the drugs in between: barbiturate “goof balls,” amphetamine “thrill pills,” the “love drug” Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls “white markets,” where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its “drug wars”—until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America’s divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself—ideas that have been failing us catastrophically for over a century.

John Brown Russwurm (1799-1851) was an educator, abolitionist, editor, government official, emigrationist and colonizationist in the Pan-African movement. His life was one of "firsts" : first African American graduate of Maine's Bowdoin College; co-founder of Freedom's Journal, America's first newspaper to be owned, operated, and edited by African Americans; and, following his emigration to Africa, first black governor of the Maryland section of Liberia. Despite his accomplishments, Russwurm struggled internally with the perennial Pan-Africanist dilemma of whether to go to Africa or stay and fight in the United States, and his ordeal was the first of its kind to be experienced and resolved before the public eye.

"Complex and challenging... push[es] the boundaries of writing about trauma." —The New York Times “A True Crime Masterpiece” – Vogue Entertainment Weekly "Must" List and Best Books of the Year So Far Real Simple's Best New Books Guardian Best Book of the Year Lambda Literary Award Winner Chautauqua Prize Winner "The Fact of a Body is one of the best books I've read this year. It's just astounding." — Paula Hawkins, author of Into the Water and The Girl on the Train "This book is a marvel. The Fact of a Body is equal parts gripping and haunting and will leave you questioning whether any one story can hold the full truth." — Celeste Ng, author of the New York Times bestselling Everything I Never Told You and Little Fires Everywhere Before Alex Marzano-Lesnevich begins a summer job at a law firm in Louisiana, working to help defend men accused of murder, they think their position is clear. The child of two lawyers, they are staunchly anti-death penalty. But the moment convicted murderer Ricky Langley’s face flashes on the screen as they review old tapes—the moment they hear him speak of his crimes -- they are overcome with the feeling of wanting him to die. Shocked by their reaction, they dig deeper and deeper into the case. Despite their vastly different circumstances, something in his story is unsettlingly, uncannily familiar. Crime, even the darkest and most unsayable acts, can happen to any one of us. As Alex pores over the facts of the murder, they find themself thrust into the complicated narrative of Ricky’s childhood. And by examining the details of Ricky’s case, they are forced to face their own story, to unearth long-buried family secrets, and reckon with a past that colors their view of Ricky's crime. But another surprise awaits: They weren’t the only one who saw their life in Ricky’s. An intellectual and emotional thriller that is also a different kind of murder mystery, THE FACT OF A BODY is a book not only about how the story of one crime was constructed -- but about how we grapple with our own personal histories. Along the way it tackles questions about the nature of forgiveness, and if a single narrative can ever really contain something as definitive as the truth. This groundbreaking, heart-stopping work, ten years in the making, shows how the law is more personal than we would like to believe -- and the truth more complicated, and powerful, than we could ever imagine.

Are colleges and universities in a period of unprecedented disruption? Is a bachelor's degree still worth the investment? Are the humanities coming to an end? What, exactly, is higher education good for? In For the Common Good, Charles Dorn challenges the rhetoric of America's so-called crisis in higher education by investigating two centuries of college and university history. From the community college to the elite research university—in states from California to Maine—Dorn engages a fundamental question confronted by higher education institutions ever since the nation's founding: Do colleges and universities contribute to the common good? Tracking changes in the prevailing social ethos between the late eighteenth and early twenty-first centuries, Dorn illustrates the ways in which civic-mindedness, practicality, commercialism, and affluence influenced higher education's dedication to the public good. Each ethos, long a part of American history and tradition, came to predominate over the others during one of the four chronological periods examined in the book, informing the character of institutional debates and telling the definitive story of its time. For the Common Good demonstrates how two hundred years of political, economic, and social change prompted transformation among colleges and universities—including the establishment of entirely new kinds of institutions—and refashioned higher education in the United States over time in essential and often vibrant ways.