"Angola Prison is the largest and one of the most notorious state prisons in the United States, built into a slave plantation that Louisiana bought in 1901. It has also been the most musically significant. Following a documentary film project, author Benjamin J. Harbert visited Angola, gathered oral histories, and conducted archival research to piece together an account of how prisoners and the administration have used music for over 120 years. The book brings together well-known musicians who served time there, including Lead Belly, Charles Neville, and James Booker, as well as a litany of musicians who made significant contributions to the prison's music scene only to die there or unable to establish careers upon release. Instrument of the State: A Century of Music in Louisiana State Penitentiary traces how musicians find small but essential freedoms by playing jazz, R&B, country, gospel, rock, and fusion. In doing so, Harbert expands folkloric definitions of "prison music." The book considers the broader musicality of the prison as a way of understanding state power and the fragments of hope and joy that remain in its wake. Music connects to the prison's shifting and often conflicting missions: rehabilitation, slavery, and abandonment. The perspectives of incarcerated musicians will reveal how music responds to violence, reform, prisoner rights, sensationalism, and power through the twentieth century. Instrument of the State is an indictment of the brutality of prison, its disproportionate effects on African-Americans, and the desperate profiteering of a deliberately underfunded state agency"--

The State is a brilliant analysis of some of the fundamental issues of modern political thought from the perspective, not of individuals or subjects, but of the state itself. The author poses the query, "What would you do if you were the state?" The state usually is understood as an instrument, not a personality, and it is presumed to exist so that people can achieve their common ends. However, Jasay asks, what if we suppose the state to have a will and ends of its own? To answer these questions, the author traces the logical and historical progression of the state from a modest-sized protector of life and property through its development into an "agile seducer of democratic majorities, to the welfare-dispensing drudge that it is in many countries today ... Is the rational next step a totalitarian enhancement of its power?" The State presents what has been termed "a disturbingly logical 'agenda' for the state in pursuit of its 'self-fulfillment.'"--Inside jacket flap.

Wang shows how the law in China is conceptually reconfigured and instrumentally employed to shore up an illiberal authoritarian regime.

Anna Sigrídur Arnar explores how the book became a stretegic site for encouraging a modern public to actively partake in the creative act, an idea that informed later 20-century developments such as conceptual and performance art.