Radical Justice investigates the convoluted relationship between memory and justice in Spain and the Southern Cone as it is portrayed in political documentaries and detective fiction from Spain and the Southern Cone. It argues that the possibility of achieving justice in these regions lies beyond market and state and is yet to come. This book appeals to a wide range of scholars, ranging from national literature and film specialists of Argentina, Chile, and Spain, to philosophers and students of ethics, human rights, and questions of justice.

The postromantic works of the Spaniard Rosalía de Castro and the Colombian José Asunción Silva are indispensable in any anthology of 19th century Spanish and Latin American poetry. However, they found few appreciative readers during their lifetimes, even while displaying two of the most sincere voices of the day. Dever's book is unique: it is the first comparison of Castro's and Silva's poetry. Their works have meaningful differences but share remarkable likenesses in theme, tone, and style, though it is doubtful that either was aware of the other's existence. Of interest to feminist critics is an interpretation of Castro's literary vocation within a patriarchal society. Using the ideas of three 20th century Spanish thinkers, José Ortega y Gasset, Xavier Zubiri, and Pedro Laín Entralgo, Dever applies the concept of radical insufficiency to a comparison of the poets' works. Radical insufficiency holds that humans lack a determined being and fixed course for life, thus norms are not available to make the world intelligible. Humans experience feelings of uncertainty and emptiness, which inevitably lead to anxiety. Confronted by the mystery and pathos of human life, Castro and Silva both describe futile attempts to overcome this insufficiency through creation and contemplation of art, human relationships, and religion. The significance of these writers has transcended their own time; when examined in the context of Spanish and Latin American authors and thinkers who succeeded them, the importance of their works will continue to grow.

Winner of the Overseas Press Club of America's Cornelius Ryan Award • Finalist for the Pulitzer Prize in Nonfiction A New York Times Book Review Notable Book • Named a Best Book of the Year by New York Magazine and The Progressive "A deeply honest and brave portrait of of an individual sensibility reckoning with her country's violent role in the world." —Hisham Matar, The New York Times Book Review In the wake of the September 11 attacks and the U.S.-led invasion of Iraq, Suzy Hansen, who grew up in an insular conservative town in New Jersey, was enjoying early success as a journalist for a high-profile New York newspaper. Increasingly, though, the disconnect between the chaos of world events and the response at home took on pressing urgency for her. Seeking to understand the Muslim world that had been reduced to scaremongering headlines, she moved to Istanbul. Hansen arrived in Istanbul with romantic ideas about a mythical city perched between East and West, and with a naïve sense of the Islamic world beyond. Over the course of her many years of living in Turkey and traveling in Greece, Egypt, Afghanistan, and Iran, she learned a great deal about these countries and their cultures and histories and politics. But the greatest, most unsettling surprise would be what she learned about her own country—and herself, an American abroad in the era of American decline. It would take leaving her home to discover what she came to think of as the two Americas: the country and its people, and the experience of American power around the world. She came to understand that anti-Americanism is not a violent pathology. It is, Hansen writes, “a broken heart . . . A one-hundred-year-old relationship.” Blending memoir, journalism, and history, and deeply attuned to the voices of those she met on her travels, Notes on a Foreign Country is a moving reflection on America’s place in the world. It is a powerful journey of self-discovery and revelation—a profound reckoning with what it means to be American in a moment of grave national and global turmoil.

Human beings have lived by very different conceptions of the good life. In this book, Stuart Hampshire argues that no individual and no modern society can avoid conflicts between incompatible moral interests. Philosophers have tried in the past to find some underlying moral idea of justice which could resolve these conflicts and would be valid for any society. Hampshire claims that there can be no such thing. States can be held together, and war between them avoided, only by respect for the political process itself, and it is in these terms that justice must be defined. The book closely examines the critical relationship between morality and justice, paying particular attention to Hume's moral subjectivism (which Hampshire disputes) and proposing a reply to Machiavelli's claim that the realities of politics inevitably oblige leaders to choose between unavoidable evils. Most academic and moral philosophy, Hampshire argues, has been a fairy tale, representing ideals of private innocence rather than the realities of public experience. Conflicts between incompatible moral interests are as unavoidable in social and international arenas as they are in the lives of individuals. Philosophers, politicians, and theologians have all looked for an underlying moral consensus that will be valid for any just society. But the diversity of the human species and important differences in how various cultures define the good life militate against the formation of any such consensus. Ultimately, conflicts can be mediated only by respect for procedural justice. Hampshire believes that themes of moral philosophy come from the writer's own experience, and he has given a brief but compelling account of his own life to help the reader understand the sources of his philosophy. Combining intellectual rigor with imaginative power, in Innocence and Experience Stuart Hampshire vividly illuminates the tensions between justice and other sources of value in society and in the life of the individual.

“Both creepy…and quite moving.” —New York Times Book Review “Wall’s story couldn’t be more timely.” —People Stolen Innocence is the gripping New York Times bestselling memoir of Elissa Wall, the courageous former member of Utah’s infamous FLDS polygamist sect whose powerful courtroom testimony helped convict controversial sect leader Warren Jeffs in September 2007. At once shocking, heartbreaking, and inspiring, Wall’s story of subjugation and survival exposes the darkness at the root of this rebel offshoot of the Mormon faith.

Contested Identities in Costa Rica explores the concept of national identity within the paradigm of the dominant image of the traditional and idealised tico. Considering literature from the 1970s and cinema from the twenty-first century, it analyses how this identity has been challenged through the soft power of creative protest.

“Fake news existed long before Donald Trump…. What is ironic is that fake news has indeed been the only news disseminated by the rulers of U.S. empire.”—From American Exceptionalism and American Innocence According to Robert Sirvent and Danny Haiphong, Americans have been exposed to fake news throughout our history—news that slavery is a thing of the past, that we don’t live on stolen land, that wars are fought to spread freedom and democracy, that a rising tide lifts all boats, that prisons keep us safe, and that the police serve and protect. Thus, the only “news” ever reported by various channels of U.S. empire is the news of American exceptionalism and American innocence. And, as this book will hopefully show, it’s all fake. Did the U.S. really “save the world” in World War II? Should black athletes stop protesting and show more gratitude for what America has done for them? Are wars fought to spread freedom and democracy? Or is this all fake news? American Exceptionalism and American Innocence examines the stories we’re told that lead us to think that the U.S. is a force for good in the world, regardless of slavery, the genocide of indigenous people, and the more than a century’s worth of imperialist war that the U.S. has wrought on the planet. Sirvent and Haiphong detail just what Captain America’s shield tells us about the pretensions of U.S. foreign policy, how Angelina Jolie and Bill Gates engage in humanitarian imperialism, and why the Broadway musical Hamilton is a monument to white supremacy.