It's no surprise that, as he claims in his thoughtful and witty introduction, humorist Queenan (Balsamic Dreams) relished the opportunity to pore over and select the hilarious and sometimes disturbing works in this anthology. As he points out, "One of the great pleasures in reading books that are hundreds and even thousands of years old is in discovering how little the targets of the satirist have changed over the centuries." The buffoonery and sometimes depravity of such targets are on full display in this volume, which features 30 works by 19 authors and includes such classics as "A Modest Proposal," Candide, and shorter pieces by Mark Twain and Flann O'Brien. Gargantua and Pantagruel and Don Quixote rollick through brief selections as well. Queenan makes a good case for the less obvious choices rounding out the collection, notably Machiavelli's The Prince and de Sade's Justine, but he fails to link the ancient with the contemporary: the last half-century of bitter and cynical writing goes disappointingly ignored. And yet, though heavily weighted toward "classic satire," this anthology is likely the best of its kind to date. Recommended for all libraries.

What role does ritual play in the everyday lives of modern Africans? How are so-called "traditional" cultural forms deployed by people seeking empowerment in a world where "modernity" has failed to deliver on its promises? Some of the essays in Modernity and Its Malcontents address familiar anthropological issues—like witchcraft, myth, and the politics of reproduction—but treat them in fresh ways, situating them amidst the polyphonies of contemporary Africa. Others explore distinctly nontraditional subjects—among them the Nigerian popular press and soul-eating in Niger—in such a way as to confront the conceptual limits of Western social science. Together they demonstrate how ritual may be powerfuly mobilized in the making of history, present, and future. Addressing challenges posed by contemporary African realities, the authors subject such concepts as modernity, ritual, power, and history to renewed critical scrutiny. Writing about a variety of phenomena, they are united by a wish to preserve the diversity and historical specificity of local signs and practices, voices and perspectives. Their work makes a substantial and original contribution toward the historical anthropology of Africa. The contributors, all from the Africanist circle at the University of Chicago, are Adeline Masquelier, Deborah Kaspin, J. Lorand Matory, Ralph A. Austen, Andrew Apter, Misty L. Bastian, Mark Auslander, and Pamela G. Schmoll.

Behind every pronunciamiento, a formal list of grievances designed to spark political change in nineteenth-century Mexico, was a disgruntled individual, rebel, or pronunciado. Initially a role undertaken by soldiers, a pronunciado rallied military communities to petition for local, regional, and even national interests. As the popularity of these petitions grew, however, they evolved from a military-led practice to one endorsed and engaged by civilians, priests, indigenous communities, and politicians. The second in a series of books exploring the phenomenon of the pronunciamiento, this volume examines case studies of individual and collective pronunciados in regions across Mexico. Top scholars examine the motivations of individual pronunciados and the reasons they succeeded or failed; why garrisons, town councils, and communities adopted the pronunciamiento as a political tool and form of representation and used it to address local and national grievances; and whether institutions upheld corporate aims in endorsing, supporting, or launching pronunciamientos. The essays provide a better understanding of the rebel leaders behind these public acts of defiance and reveal how an insurrectionary repertoire became part of a national political culture.

Thomas Freer is a prosperous solicitor who is also the Registrar responsible for his cathedral’s legal business. His son Stephen is one of a secret group known as the core. When Stephen’s group activities land them in terrible trouble, no one guesses that the consequences will lead to a death and more.

"This Malevole is one of the most prodigious affections that ever conversed with nature: a man, or rather a monster, more discontent than Lucifer." The Malcontent is a striking example of the new satiric tone and moral seriousness in English comedy of the early 1600s. The play's vision of a fallen humanity driven by lust and ambition is created partly by its depiction of Machiavellian intrigue in the court of Genoa, and partly by the disaffected Malevole, the malcontent of the title, who is actually the deposed Duke Altofronto in disguise. Marston's tragi-comedy is full of reversals, surprises and moral transformations and offers a thin disguise for the Jacobean court and its vices. This new student edition contains a lengthy new Introduction with background on the author, date and sources, theme, critical interpretation and stage history.

A hilarious collection of overlapping stories that explores the dark zone between artistic ambition and its achievement by the author of Early Work. Bookended by the misadventures of Leslie, an aspiring writer who moves form New York to Missoula, Montana, hoping to shake off lingering depression, this story collection follows young people pushed hard against—and often crashing into—their limits as not only would-be Tolstoys but also functioning, feeling human beings. As Martin’s characters age out of punk shows and all-night benders and into book clubs and elaborate weddings, they find that neither family life nor community ties can quite shore up the dam against despair. Has redemption through art ever been more than a pipe dream? Could writing the perfect sentence ever make such broken lives turn out right? Or is it time to sell the books and head for the barricades? Whatever the case, Andrew Martin’s winsome malcontents can be counted on to make agonized indecision cool again for the twenty-first century. Praise for Cool for America Long-listed for the Story Prize “Fun, irresistible, smart and wise . . . Shot through with flashes of crackling lucidity.” —Nathan Deuel, Los Angeles Times “Simultaneously sharp and self-lacerating and generous and agreeable.” —Matthew Schneier, The New York Times Book Review