Supreme Court Justice Antonin Scalia once remarked that the theory of an evolving, "living" Constitution effectively "rendered the Constitution useless." He wanted a "dead Constitution," he joked, arguing it must be interpreted as the framers originally understood it. In The Living Constitution, leading constitutional scholar David Strauss forcefully argues against the claims of Scalia, Clarence Thomas, Robert Bork, and other "originalists," explaining in clear, jargon-free English how the Constitution can sensibly evolve, without falling into the anything-goes flexibility caricatured by opponents. The living Constitution is not an out-of-touch liberal theory, Strauss further shows, but a mainstream tradition of American jurisprudence--a common-law approach to the Constitution, rooted in the written document but also based on precedent. Each generation has contributed precedents that guide and confine judicial rulings, yet allow us to meet the demands of today, not force us to follow the commands of the long-dead Founders. Strauss explores how judicial decisions adapted the Constitution's text (and contradicted original intent) to produce some of our most profound accomplishments: the end of racial segregation, the expansion of women's rights, and the freedom of speech. By contrast, originalism suffers from fatal flaws: the impossibility of truly divining original intent, the difficulty of adapting eighteenth-century understandings to the modern world, and the pointlessness of chaining ourselves to decisions made centuries ago. David Strauss is one of our leading authorities on Constitutional law--one with practical knowledge as well, having served as Assistant Solicitor General of the United States and argued eighteen cases before the United States Supreme Court. Now he offers a profound new understanding of how the Constitution can remain vital to life in the twenty-first century.

In this exploration of contemporary photography, David Levi Strauss questions the concept that “seeing is believing” Identifying a recent shift in the dominance of photography, David Levi Strauss looks at the power of the medium in the age of Photoshop, smart phones, and the internet, asking important questions about how we look and what we trust. In the first ekphrasis title on photography, Strauss challenges the aura of believability and highlights the potential dangers around this status. He examines how images produced on cameras gradually gained an inordinate power to influence public opinion, prompt action, comfort and assuage, and direct or even create desire. How and why do we believe technical images the way we do? Offering a poignant argument in the era of “fake news,” Strauss draws attention to new changes in the technology of seeing. Some uses of "technical images" are causing the connection between images and belief (between seeing and believing) to fray and pull apart. How is this shifting our relationship to images? Will this crisis in what we can believe come to threaten our very purchase on the real? This book is an inquiry into the history and future of our belief in images.

In an era of social confusion and visual pandemonium, David Levi Strauss tackles issues of photography and politics in a way that few critics today are courageous enough to attempt. The essays collected in Between the Eyesaddress topics ranging from propaganda and the imagery of dreams, to Sebastião Salgado’s epic social documents and the deeply personal photographic revelations of Francesca Woodman. Other issues broached here include the legitimacy of photographic imagery and the media frenzy surrounding the events of September 11, as well as essays on the work of Ania Bien, Miguel Rio Branco, Alfredo Jaar, Joel-Peter Witkin and others, plus an interview with painter Leon Golub (who worked from photographs). Reviewing the first edition of Between the Eyes, Publisher’s Weeklywrote: “‘Photography and Propaganda,’ a study of the work and deaths in ‘80s Central America of photojournalists Richard Cross and John Hoagland, should be required reading in the age of embeddedness, and ‘Photography and Belief’ is a terrific meditation on truth in the age of digital manipulation.”

"David Strauss: the Confessor and the Writer" attacks David Strauss's "The Old and the New Faith: A Confession," which Nietzsche holds up as an example of the German thought of the time. He paints Strauss's "New Faith"— a scientifically-determined universal mechanism based on the progression of history—as a vulgar reading of history in the service of a degenerate culture. Nietzsche polemically attacks not only the book but also Strauss as a Philistine of pseudo-culture.

Abandoning other potential leads, the police quickly focused their investigation on the grieving husband. What followed was a tragic miscarriage of justice. Barbarous Souls tells the story of Darrel Parker's wrongful conviction for Nancy's murder and the decades-long struggle to clear his name. --

David Friedrich Strauss's Das Leben Jesu kritisch bearbeitet (1835) brought about a new dawn in Biblical criticism by applying the 'myth theory' to the life of Jesus. Strauss treated the Gospel narrative like any other historical work, and denied all supernatural elements in the Gospels. Das Leben Jesu created an overnight sensation and Strauss became embroiled in fierce controversy. This earliest English version of 1846 was translated by the novelist George Eliot, and was her first published book.