Radical Black feminist refusal through the works of mid-twentieth-century African American women writers Monstrous Work and Radical Satisfaction offers new and insightful readings of African American women’s writings in the 1930s–1950s, illustrating how these writers centered Black women’s satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers’ dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women’s capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people’s quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women’s completeness, joy, and happiness outside the bounds of normative racial inclusion.

In 1989, from East Berlin to Budapest and Bucharest to Moscow, communism was falling. The walls were coming down and the world was being changed in ways that seemed entirely new. The conflict of ideas and ideals that began with the French Revolution of 1789 culminated in these revolutions, which raised the prospects of the "return to Europe" of East and Central European nations, the "restarting of their history," even, for some, the "end of history." What such assertions and aspirations meant, and what the larger events that inspired them mean-not just for the world of history and politics, but for our very understanding of that world-are the questions Krishan Kumar explores in 1989. A well-known and widely respected scholar, Kumar places these revolutions of 1989 in the broadest framework of political and social thought, helping us see how certain ideas, traditions, and ideological developments influenced or accompanied these movements-and how they might continue to play out. Asking questions about some of the central dilemmas facing modern society in the new century, Kumar offers critical insight into how these questions might be answered and how political, social, and historical ideas and ideals can shape our destiny. Contradictions Series, volume 12

A Powerful Look at Corporate Change and Why Mergers, Reorganizations, and Transformations Succeed or Fail “[One of the] best business books of 2001 . . . [a] useful and intelligent tool for coping with the inevitable metamorphoses of business (and life).” —Miami Herald “Provocative imagery . . . useful questions for managers to ask themselves.” —Harvard Business Review “The Change Monster not only talks intelligently about the social dynamics and emotions of people [in change efforts], it does so with wisdom, insight, and practicality.”—Daniel Leemon, executive vice president and chief strategy officer, Charles Schwab Corporation “A practitioner’s primer on revitalization that puts you in the shoes of some who have failed and others who have succeeded. In doing so, Jeanie Daniel Duck graphically delivers her main message to management: Learn to master the emotions and obsessions of those who stand in the way of change, including your own, and once you do, you have your hands on a miraculous engine for change.” —Michael Useem, professor of management and director of the Center for Leadership and Change at the Wharton School, University of Pennsylvania, and author of The Leadership Moment and Leading Up “Duck is an acute and empathetic observer of the changes erupting in the workplace from the convulsive nature of corporate evolution. . . . Jeanie Duck’s terrific book is a . . . useful and intelligent tool for coping with the inevitable metamorphoses of business (and life). Sensitive but tough, Duck’s compassionate wisdom is street smart without a trace of glibness.” —Miami Herald

Establishing an imaginative space for blackness, four mid-century American writers resist literary segregation

A recent string of popular-level books written by the New Atheists have leveled the accusation that the God of the Old Testament is nothing but a bully, a murderer, and a cosmic child abuser. This viewpoint is even making inroads into the church. How are Christians to respond to such accusations? And how are we to reconcile the seemingly disconnected natures of God portrayed in the two testaments? In this timely and readable book, apologist Paul Copan takes on some of the most vexing accusations of our time, including: God is arrogant and jealous God punishes people too harshly God is guilty of ethnic cleansing God oppresses women God endorses slavery Christianity causes violence and more Copan not only answers God's critics, he also shows how to read both the Old and New Testaments faithfully, seeing an unchanging, righteous, and loving God in both.

"The volume's first section demonstrates the subtle influence of the Great Depression's devastation on Black literary themes and methodologies by situating more well-known figures within a wide matrix of lesser known writers, thinkers, and cultural workers. In this way, the volume's opening chapters expand our grasp of the literary tradition by foregrounding the manifestation of economic anxieties in the career trajectories of numerous Black writers as well as the subject matter and conventions employed in their various works. Sharon L. Jones proposes in her introductory chapter that we might trace writers' preoccupations with excess and deprivation as emerging as staple tropes of Depression-era writing"--

In almost all critical writings on the horror film, woman is conceptualised only as victim. In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, T