The Constant Catastrophe: Malnutrition, Famines, and Drought deals with the 1972 drought, and emphasizes the underlying social conditions that are related to its effects. The book examines the relationship of drought as a meteorological event and the famine that results as a social event. The effects of natural catastrophes become transformed by social structures and political processes in many countries of the world, more than which can be attributable to the physical cause itself. A striking parallelism that emerges in the study is that climatological analysis implies reference to large scale space and time processes. Famine also occurs as anomalies within large-scale processes in society—famine changes nutritional levels in communities. The text proposes a theoretical framework for a methodologically-adequate diagnostic tool that can be used in studying the "factual events" in previous cases of major disasters due to climactic factors. Case studies include those that happened in the Sahel, Ethiopia, India, China, the United Kingdom, and Brazil. Among several recommendations, one which the book proposes in the management of the effects of drought, is to adopt an approach similar to that of the Red Cross. The book is suitable for economists, environmentalists, ecologists, and policy makers involved in crisis management, food production, and rural development.

The Future as Catastrophe offers a novel critique of the fascination with disaster. Analyzing the catastrophic imaginary from its historical roots to the contemporary popularity of disaster fiction and end-of-the-world blockbusters, Eva Horn argues that apocalypse always haunts the modern idea of a future that can be anticipated and planned.

A history of scientific ideas about extinction that explains why we learned to value diversity as a precious resource at the same time as we learned to “think catastrophically” about extinction. We live in an age in which we are repeatedly reminded—by scientists, by the media, by popular culture—of the looming threat of mass extinction. We’re told that human activity is currently producing a sixth mass extinction, perhaps of even greater magnitude than the five previous geological catastrophes that drastically altered life on Earth. Indeed, there is a very real concern that the human species may itself be poised to go the way of the dinosaurs, victims of the most recent mass extinction some 65 million years ago. How we interpret the causes and consequences of extinction and their ensuing moral imperatives is deeply embedded in the cultural values of any given historical moment. And, as David Sepkoski reveals, the history of scientific ideas about extinction over the past two hundred years—as both a past and a current process—is implicated in major changes in the way Western society has approached biological and cultural diversity. It seems self-evident to most of us that diverse ecosystems and societies are intrinsically valuable, but the current fascination with diversity is a relatively recent phenomenon. In fact, the way we value diversity depends crucially on our sense that it is precarious—that it is something actively threatened, and that its loss could have profound consequences. In Catastrophic Thinking, Sepkoski uncovers how and why we learned to value diversity as a precious resource at the same time as we learned to think catastrophically about extinction.

The writing of recent history tends to be deeply marked by conflict, by personal and collective struggles rooted in horrific traumas and bitter controversies. Frequently, today’s historians can find themselves researching the same events that they themselves lived through. This book reflects on the concept and practices of what is called “contemporary history,” a history of the present time, and identifies special tensions in the field between knowledge and experience, distance and proximity, and objectivity and subjectivity. Henry Rousso addresses the rise of contemporary history and the relations of present-day societies to their past, especially their legacies of political violence. Focusing on France, Germany, the United Kingdom, and the United States, he shows that for contemporary historians, the recent past has become a problem to be solved. No longer unfolding as a series of traditions to be respected or a set of knowledge to be transmitted and built upon, history today is treated as a constant act of mourning or memory, an attempt to atone. Historians must also negotiate with strife within this field, as older scholars who may have lived through events clash with younger historians who also claim to understand the experiences. Ultimately, The Latest Catastrophe shows how historians, at times against their will, have themselves become actors in a history still being made.

"All disasters are in some sense man-made." Setting the annus horribilis of 2020 in historical perspective, Niall Ferguson explains why we are getting worse, not better, at handling disasters. Disasters are inherently hard to predict. Pandemics, like earthquakes, wildfires, financial crises. and wars, are not normally distributed; there is no cycle of history to help us anticipate the next catastrophe. But when disaster strikes, we ought to be better prepared than the Romans were when Vesuvius erupted, or medieval Italians when the Black Death struck. We have science on our side, after all. Yet in 2020 the responses of many developed countries, including the United States, to a new virus from China were badly bungled. Why? Why did only a few Asian countries learn the right lessons from SARS and MERS? While populist leaders certainly performed poorly in the face of the COVID-19 pandemic, Niall Ferguson argues that more profound pathologies were at work--pathologies already visible in our responses to earlier disasters. In books going back nearly twenty years, including Colossus, The Great Degeneration, and The Square and the Tower, Ferguson has studied the foibles of modern America, from imperial hubris to bureaucratic sclerosis and online fragmentation. Drawing from multiple disciplines, including economics, cliodynamics, and network science, Doom offers not just a history but a general theory of disasters, showing why our ever more bureaucratic and complex systems are getting worse at handling them. Doom is the lesson of history that this country--indeed the West as a whole--urgently needs to learn, if we want to handle the next crisis better, and to avoid the ultimate doom of irreversible decline.

Cover -- Half Title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction -- PART 1: CULTIVATION -- 1 Cultivating the New Negro: The Provision Ground in New York -- 2 Cultivating the Nation: The Reterritorialization of Black Poetry at Midcentury -- 3 Cultivating the Caribbean: "The Star-Apple Kingdom," Property, and the Plantation -- PART 2: CATASTROPHE -- 4 Continuing Catastrophe: The Flood Blues of Sterling Brown and Bessie Smith -- 5 Collecting Catastrophe: How the Hurricane Roars in Zora Neale Hurston's -- 6 Collecting Culture: Hurricane Gilbert's Lyric Archive -- Coda: Unnatural Catastrophe -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Y -- Z

Postcolonial Disaster studies literary fiction about crises of epic proportions in contemporary South Asia and Southern Africa: the oceanic disaster in Sri Lanka, the economic disaster in Zimbabwe, the medical disaster in South Africa and Botswana, and the geopolitical disaster in India and Pakistan. Pallavi Rastogi argues that postcolonial fiction about catastrophe is underpinned by a Disaster Unconscious, a buried but mobile agenda that forces disastrous events to narrate themselves. She writes that in disaster fiction, a literary Story and its real-life Event are in constant dialectic tension. In recent disasters, Story and Event are tied together as the urgency to circulate information and rebuild in the aftermath of the disaster dictates the flow of the narrative. As the Story acquires temporal distance from the Event, such as the seventy-three years since the partition of India in 1947, it plays more with form and theme, to expand beyond a tale about an all-consuming tragedy. Story and Event are in a constant dance with each other, and the Disaster Unconscious plays the tune to which they move. Rastogi creates a narratology for postcolonial disaster fiction and brings concepts from Disaster Studies into the realm of literary analysis.