Shortlist--Oscar Kenshur Book Prize From Jonathan Swift to Washington Irving, those looking to propose and justify exceptions to social and political norms turned to Cervantes’s notoriously mad comic hero as a model. A World of Disorderly Notions examines the literary and political effects of Don Quixote, arguing that what makes this iconic character so influential across oceans and cultures is not his madness but his logic. Aaron Hanlon contends that the logic of quixotism is in fact exceptionalism—the strategy of rendering oneself an exception to everyone else’s rules. As British and American societies of the Enlightenment developed the need to question the acceptance of various forms of imperialism and social contract theory—and to explain both the virtues and limitations of revolutions past and ongoing—it was Quixote’s exceptionalism, not his madness, that captured the imaginations of so many writers and statesmen. As a consequence, the eighteenth century witnessed an explosion of imitations of Quixote in fiction and polemical writing, by writers such as Jonathan Swift, Charlotte Lennox, Henry Fielding, and Washington Irving, among others. Combining literary history and political theory, Hanlon clarifies an ongoing and immediately relevant history of exceptionalism, of how states from Golden Age Spain to imperial Britain to the formative United States rendered themselves exceptions so they could act with impunity. In so doing, he tells the story of how Quixote became exceptional.

This is a field guide to the visionaries - and the fans - who are reinventing the art of storytelling.

In the four centuries leading up to the death of Euripides, Greek singers, poets, and theorists delved deeply into auditory experience. They charted its capacity to develop topologies distinct from those of the other senses; contemplated its use as a communicator of information; calculated its power to express and cause extreme emotion. They made sound too, artfully and self-consciously creating songs and poems that reveled in sonorousness. Dissonance reveals the commonalities between ancient Greek auditory art and the concerns of contemporary sound studies, avant-garde music, and aesthetics, making the argument that “classical” Greek song and drama were, in fact, an early European avant-garde, a proto-exploration of the aesthetics of noise. The book thus develops an alternative to that romantic ideal which sees antiquity as a frozen and silent world.

Over the course of the eighteenth century, race came to seem as corporeal as sex. Kirsten Fischer has mined unpublished court records and travel literature from colonial North Carolina to reveal how early notions of racial difference were shaped by illicit sexual relationships and the sanctions imposed on those who conducted them. Fischer shows how the personal and yet often very public sexual lives of Native American, African American, and European American women and men contributed to the new racial order in this developing slave society. Liaisons between European men and native women, among white and black servants, and between servants and masters, as well as sexual slander among whites and acts of sexualized violence against slaves, were debated, denied, and recorded in the courtrooms of colonial North Carolina. Indentured servants, slaves, Cherokee and Catawba women, and other members of less privileged groups sometimes resisted colonial norms, making sexual choices that irritated neighbors, juries, and magistrates and resulted in legal penalties and other acts of retribution. The sexual practices of ordinary people vividly bring to light the little-known but significant ways in which notions of racial difference were alternately contested and affirmed before the American Revolution.Fischer makes an innovative contribution to the history of race, class, and gender in early America by uncovering a detailed record of illicit sexual exchanges in colonial North Carolina and showing how acts of resistance to sexual rules complicated ideas about inherent racial difference."

A bestseller--more than 300,000 copies sold, translated into seventeen languages, and featured in the Los Angeles Times, Washington Post, Miami Herald, Harvard Business Review, Fast Company, and Fortune; Shows how discoveries in quantum physics, biology, and chaos theory enable us to deal successfully with change and uncertainty in our organizations and our lives; Includes a new chapter on how the new sciences can help us understand and cope with some of the major social challenges of our timesWe live in a time of chaos, rich in potential for new possibilities. A new world is being born. We need new ideas, new ways of seeing, and new relationships to help us now. New science--the new discoveries in biology, chaos theory, and quantum physics that are changing our understanding of how the world works--offers this guidance. It describes a world where chaos is natural, where order exists ''for free.'' It displays the intricate webs of cooperation that connect us. It assures us that life seeks order, but uses messes to get there.Leadership and the New Science is the bestselling, most acclaimed, and most influential guide to applying the new science to organizations and management. In it, Wheatley describes how the new science radically alters our understanding of the world, and how it can teach us to live and work well together in these chaotic times. It will teach you how to move with greater certainty and easier grace into the new forms of organizations and communities that are taking shape.

A breathtaking exploration of the lives of young black women in the early twentieth century. In Wayward Lives, Beautiful Experiments, Saidiya Hartman examines the revolution of black intimate life that unfolded in Philadelphia and New York at the beginning of the twentieth century. Free love, common-law and transient marriages, serial partners, cohabitation outside of wedlock, queer relations, and single motherhood were among the sweeping changes that altered the character of everyday life and challenged traditional Victorian beliefs about courtship, love, and marriage. Hartman narrates the story of this radical social transformation against the grain of the prevailing century-old argument about the crisis of the black family. In wrestling with the question of what a free life is, many young black women created forms of intimacy and kinship that were indifferent to the dictates of respectability and outside the bounds of law. They cleaved to and cast off lovers, exchanged sex to subsist, and revised the meaning of marriage. Longing and desire fueled their experiments in how to live. They refused to labor like slaves or to accept degrading conditions of work. Beautifully written and deeply researched, Wayward Lives recreates the experience of young urban black women who desired an existence qualitatively different than the one that had been scripted for them—domestic service, second-class citizenship, and respectable poverty—and whose intimate revolution was apprehended as crime and pathology. For the first time, young black women are credited with shaping a cultural movement that transformed the urban landscape. Through a melding of history and literary imagination, Wayward Lives recovers their radical aspirations and insurgent desires.

No genre manifests the pleasure of reading—and its power to consume and enchant—more than romance. In suspending the category of the novel to rethink the way prose fiction works, Without the Novel demonstrates what literary history looks like from the perspective of such readerly excesses and adventures. Rejecting the assumption that novelistic realism is the most significant tendency in the history of prose fiction, Black asks three intertwined questions: What is fiction without the novel? What is literary history without the novel? What is reading without the novel? In answer, this study draws on the neglected genre of romance to reintegrate eighteenth-century British fiction with its classical and Continental counterparts. Black addresses works of prose fiction that self-consciously experiment with the formal structures and readerly affordances of romance: Heliodorus’s Ethiopian Story, Cervantes’s Don Quixote, Fielding’s Tom Jones, Sterne’s Tristram Shandy, and Burney’s The Wanderer. Each text presents itself as a secondary, satiric adaptation of anachronistic and alien narratives, but in revising foreign stories each text also relays them. The recursive reading that these works portray and demand makes each a self-reflexive parable of romance itself. Ultimately, Without the Novel writes a wider, weirder history of fiction organized by the recurrences of romance and informed by the pleasures of reading that define the genre.