Richard America here redefines the complex problems of racial economic injustice, poverty, inequality, and lagging competitiveness and productivity in the United States. In a sure-to-be-controversial analysis, the author argues that there is a true debt owed by White America to Black America, that this debt is significant, and that it has now come due. He estimates the size of Whites' debt to Blacks, shows how that debt came to be, and suggests creative ways of paying it back. This book argues persuasively that the social and racial problems in the United States cannot be solved until we acknowledge that the haves truly and literally owe money to the have nots.

Chile is widely known as the first experiment in neoliberalism in Latin America, carried out and made possible through state violence. Since the beginning of the transition in 1990, the state has pursued a national project of reconciliation construed as debts owed to the population. The state owed a "social debt" to the poor accrued through inequalities generated by economic liberalization, while society owed a "moral debt" to the victims of human rights violations. Life in Debt invites us into lives and world of a poor urban neighborhood in Santiago. Tracing relations and lives between 1999 and 2010, Clara Han explores how the moral and political subjects imagined and asserted by poverty and mental health policies and reparations for human rights violations are refracted through relational modes and their boundaries. Attending to intimate scenes and neighborhood life, Han reveals the force of relations in the making of selves in a world in which unstable work patterns, illness, and pervasive economic indebtedness are aspects of everyday life. Lucidly written, Life in Debt provides a unique meditation on both the past inhabiting actual life conditions but also on the difficulties of obligation and achievements of responsiveness.

Over the course of the last ten years the issue of debt has become a serious problem that threatens to destroy the global socio-economic system and ruin the everyday lives of millions of people. This collection brings together a range of perspectives of key thinkers on debt to provide a sociological analysis focused upon the social, political, economic, and cultural meanings of indebtedness. The contributors to the book consider both the lived experience of debt and the more abstract processes of financialisation taking place globally. Showing how debt functions on the level of both macro- and microeconomics, the book also provides a more holistic perspective, with accounts that span sociological, cultural, and economic forms of analysis.

Richard F. America here redefines the complex problems of racial economic injustice, poverty, inequality, and lagging competitiveness and productivity in the United States. In a controversial analysis, the author argues that there is a true debt owed by White America to Black America, that this debt is significant, and that it has now come due. He estimates the size of Whites' debt to Blacks, shows how that debt came to be, and suggests creative ways of paying it back. This book argues persuasively that the social and racial problems in the United States cannot be solved until we acknowledge that the haves truly and literally owe money to the have-nots.

How global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism. If European modernism was premised on the new—on surpassing the past, often by assigning it to the “traditional” societies of the Global South—global contemporary art reanimates the past as a resource for the present. In this account of what globalization means for contemporary art, David Joselit argues that the creative use of tradition by artists from around the world serves as a means of combatting modern art's legacy of Eurocentrism. Modernism claimed to live in the future and relegated the rest of the world to the past. Global contemporary art shatters this myth by reactivating various forms of heritage—from literati ink painting in China to Aboriginal painting in Australia—in order to propose new and different futures. Joselit analyzes not only how heritage becomes contemporary through the practice of individual artists but also how a cultural infrastructure of museums, biennials, and art fairs worldwide has emerged as a means of generating economic value, attracting capital and tourist dollars. Joselit traces three distinct forms of modernism that developed outside the West, in opposition to Euro-American modernism: postcolonial, socialist realism, and the underground. He argues that these modern genealogies are synchronized with one another and with Western modernism to produce global contemporary art. Joselit discusses curation and what he terms “the curatorial episteme,” which, through its acts of framing or curating, can become a means of recalibrating hierarchies of knowledge—and can contribute to the dual projects of decolonization and deimperialization.