Why is it that western nations stand idly by as their weakest, their children, are being abducted, sexually abused, and brutally killed by the thousands? What if civilization is not society's victory over the "law of the strongest?" This hard-won victory is based on discipline, moral restraint, and on the principle of reason over passion. When reason is supplanted by passion, all that is needed to control the people is to control their passions. This volume argues that those who believe sexual liberation equates to human progress have been misled by social engineers intent on destroying families, society, and civilization. Is it a coincidence that high level clerics and politicians everywhere deny the existence of pedophile and satanic networks? Why is the UN advocating for the legalization of pedophilia by lowering the age of consent? Once human sexuality has been mechanized, severed from affection and biology, the world's gates will be wide open for eugenics, transhumanism, and technocratic rule.

The ancient Greeks and Romans considered it degrading to both parties yet depicted it prolifically in art and literature. The Early Christian Church called it "the worst evil," punishable by seven years of penance and fasting (murder was one year). Nearly all of the 13 original American colonies had laws against it--except Georgia. A Victorian handbook for young brides advised how to "dampen his desire to kiss in forbidden territory." Attitudes about oral sex have varied through the centuries and across cultures--a death sentence in some nations, a religious practice in others. This book explores its history as well as its impact on world events.

Melvin B. Tolson is best known as the poet who wrote The Harlem Gallery and Libretto for the Republic of Liberia. He received national acclaim only toward the end of his life, but early in his career he achieved considerable recognition as a challenging speaker and activist within the black American community. Tolson wrote a weekly column for the Washington Tribune from October 9, 1937, to June 24, 1944, entitled "Caviar and Cabbage." As the title suggests, the subjects he treated were various. He perceived the problems of the black world of the late thirties and early forties with the insight of an intellectual and the verbal richness and rhythms of a poet heavily influenced by a strong pulpit tradition. This combination makes the columns valuable both as literature and as cultural history. Robert Farnsworth has selected and edited these columns. His introduction describes their cultural and biographical context. He has arranged the columns according to subject: "Christ and Radicalism," "Race and Class," "World War II," "Random Shots," "Writers and Readings," and "Reminiscences." The background material and the arrangement of the works underline their significance.

One such night, he finds himself sharing an otherwise deserted bar with a green-eyed woman. Three days later, Stanley wakes to find himself zipped into a sleeping bag, left for dead. He's missing a kidney, and a doctor kindly informs him that there's something wrong--fatally wrong--with his remaining kidney. So Stanley Ahearn finds himself on the street with a new perspective. If he wants revenge, he has to find the woman with the green eyes. If he wants to live, he has to find himself a new kidney. Gritty, dark, and utterly addictive, Prelude to a Scream is Jim Nisbet at his absolute best.

In the late 1990s Angels in America,Tony Kushner’s epic play about homosexuality and AIDS in the Reagan era, toured the country, inspiring protests in a handful of cities while others received it warmly. Why do people fight over some works of art but not others? Not Here, Not Now, Not That! examines a wide range of controversies over films, books, paintings, sculptures, clothing, music, and television in dozens of cities across the country to find out what turns personal offense into public protest. What Steven J. Tepper discovers is that these protests are always deeply rooted in local concerns. Furthermore, they are essential to the process of working out our differences in a civil society. To explore the local nature of public protests in detail, Tepper analyzes cases in seventy-one cities, including an in-depth look at Atlanta in the late 1990s, finding that debates there over memorials, public artworks, books, and parades served as a way for Atlantans to develop a vision of the future at a time of rapid growth and change. Eschewing simplistic narratives that reduce public protests to political maneuvering, Not Here, Not Now, Not That! at last provides the social context necessary to fully understand this fascinating phenomenon.

Vladimir Nabokov, bilingual writer of dazzling masterpieces, is a phenomenon that both resists and requires contextualization. This book challenges the myth of Nabokov as a sole genius who worked in isolation from his surroundings, as it seeks to anchor his work firmly within the historical, cultural, intellectual and political contexts of the turbulent twentieth century. Vladimir Nabokov in Context maps the ever-changing sites, people, cultures and ideologies of his itinerant life which shaped the production and reception of his work. Concise and lively essays by leading scholars reveal a complex relationship of mutual influence between Nabokov's work and his environment. Appealing to a wide community of literary scholars this timely companion to Nabokov's writing offers new insights and approaches to one of the most important, and yet most elusive writers of modern literature.