Nestled in the Berkshire Mountains in western Massachusetts, Williams College routinely ranks atop the best liberal arts colleges in the United States. The 450-acre campus, master-planned by the esteemed Olmsted Brothers, is home to 2,000 students and 100 academic and residential buildings, some dating back to the late 18th century. This beautifully written and illustrated portrait showcases many fine examples of American campus architecture by Cram Goodhue & Ferguson; Shepley, Bulfinch, Richardson & Abbot; Stanford White; Mitchell-Giurgola; Tadao Ando; Cambridge Seven; Bohlin Cywinski Jackson; Einhorn, Yaffee, Prescott; and Polshek Partners. Williams College: The Campus Guide, with newly commissioned color photography and axonometric color maps to engage visitors, students, and alumni, is the newest edition to the acclaimed Campus Guide series of American colleges and universities.

This book is designed as a sequel to Williamstown and Williams College: Explorations in Local History, published in 2018 by the University of Massachusetts Press, and Williamstown and Williams College: Further Explorations in Local History, published by Blurb in 2021. As in Dustin Griffin's former volumes, it is a collection of microhistories, each sharply focused on a single topic in the history of Williamstown and Williams College. As in Griffin's earlier volumes, the essays are arranged in three sections: those that concern the history of the town; those that treat a topic that involves both town and college; and those that concern some episode in the history of the college. They are based on the premise that digging deep is a way to illuminate a particular topic and at the same time to reveal the underlying character of both town and college. Three of the final group of essays treat the history of individual Williams College presidencies. Based on documentary research, Williamstown and Williams College: Volume III, like its predecessors, is designed to be accessible to the general reader. It will be of great interest to those who live in Williamstown, but requires no special knowledge and will thus appeal to the town's many visitors, and to anybody with a connection to Williams College.

Democracy in crisis -- Pandemic resilience -- Federalism is an asset -- A transformed peace: an agenda for healing our social contract.

Dick Farley planned to be the head coach of track and field, assistant football coach, and P.E. instructor at Williams College for a couple of years before moving on to higher levels of football and eventually become an assistant coach in the NFL.Farley had starred in both sports at Boston University (BU), where he earned the scholar athlete award and the top athletic honor. He was inducted into the Boston University Hall of Fame in 1982. He competed in 14 events for BU in track and was drafted as a safety by the San Diego Chargers, where he started for two years. A back injury ended Farley's Chargers career. What Farley learned early on at Williams is that he could not separate his love of football and track and field and he could not leave Williams College. He just could not dedicate himself to football 12 months a year. He encouraged all of his football players to play another sport or take a semester abroad or in some other manner avail of all that Williams had to offer academically. It was never about winning and losing for Dick Farley it was all about giving one's best every day.Farley is likely the only member of the College Football Hall of Fame who coached more college track and field (44 years) than he did football (32).When Farley took over the reins of the Williams football team in 1987 the Ephs lost their first three games, however, the Ephs rebounded to finish 4-4 and Farley began a streak of 128 consecutive games without back to back losses. Little wonder he was named to the ESPN List of the 150 Greatest Football Coaches in 2019. In 1989 Farley's football Ephs recorded the first perfect season in school history 8-0-0 and in his 17-year run as Eph head coach he recorded five perfect seasons and compiled a career record of 114-19-3, .849.Dick Farley will never leave Williams and Williamstown as he has secured a burial plot in the Williams College Cemetery.

This book tells the story of the beginnings, the blossoming, and the eventual banishment of fraternities at Williams College, together with the ensuing transformation of Williams, based in Williamstown, Massachusetts, as the old fraternal order was replaced with a new residential system in the nineteen-sixties and after. A key figure emerged: John Sawyer, president of the college between 1961-1973. In John Chandler's measured recounting of events, Sawyer oversaw not only the end of fraternity life at the college, but positioned Williams for its subsequent ascent to the top tier of liberal arts colleges.

Set in San Francisco, Brocken Spectre examines the way the past presses up against the present. The speaker, raised in the wake of the AIDS crisis, engages with ideas of belatedness, of looking back to a past that cannot be inhabited, of the ethics of memory, and of the dangers in memorializing and romanticizing tragedy.

In How Do We Look? Fatimah Tobing Rony draws on transnational images of Indonesian women as a way to theorize what she calls visual biopolitics—the ways visual representation determines which lives are made to matter more than others. Rony outlines the mechanisms of visual biopolitics by examining Paul Gauguin’s 1893 portrait of Annah la Javanaise—a trafficked thirteen-year-old girl found wandering the streets of Paris—as well as US ethnographic and documentary films. In each instance, the figure of the Indonesian woman is inextricably tied to discourses of primitivism, savagery, colonialism, exoticism, and genocide. Rony also focuses on acts of resistance to visual biopolitics in film, writing, and photography. These works, such as Rachmi Diyah Larasati’s The Dance that Makes You Vanish, Vincent Monnikendam’s Mother Dao (1995), and the collaborative films of Nia Dinata, challenge the naturalized methods of seeing that justify exploitation, dehumanization, and early death of people of color. By theorizing the mechanisms of visual biopolitics, Rony elucidates both its violence and its vulnerability.