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Shadows of Nagasaki
A critical introduction to how the Nagasaki atomic bombing has been remembered, especially in contrast to that of Hiroshima. In the decades following the atomic bombing of Nagasaki on August 9, 1945, the city’s residents processed their trauma and formed narratives of the destruction and reconstruction in ways that reflected their regional history and social makeup. In doing so, they created a multi-layered urban identity as an atomic-bombed city that differed markedly from Hiroshima’s image. Shadows of Nagasaki traces how Nagasaki’s trauma, history, and memory of the bombing manifested through some of the city’s many post-atomic memoryscapes, such as literature, religious discourse,...
And the River Flowed as a Raft of Corpses
"Tanka poems compiled, translated, and edited by Chad Diehl"--T.p. verso.
Jackson Pollock
Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.
You Are Not So Smart
Explains how self-delusion is part of a person's psychological defense system, identifying common misconceptions people have on topics such as caffeine withdrawal, hindsight, and brand loyalty.
Knowledge and the Public Interest, 1575–1725
This study shows that modernity has its origins in the advancement of knowledge, and not in the Scientific Revolution.
The English Constitution
There is a great difficulty in the way of a writer who attempts to sketch a living Constitution-a Constitution that is in actual work and power. The difficulty is that the object is in constant change. An historical writer does not feel this difficulty: he deals only with the past; he can say definitely, the Constitution worked in such and such a manner in the year at which he begins, and in a manner in such and such respects different in the year at which he ends; he begins with a definite point of time and ends with one also. But a contemporary writer who tries to paint what is before him is puzzled and a perplexed: what he sees is changing daily. He must paint it as it stood at some one time, or else he will be putting side by side in his representations things which never were contemporaneous in reality.
