The Gordon J. Laing Prize is awarded annually by the University of Chicago Press to the faculty author, editor, or translator of a book published in the previous three years that brings the Press the greatest distinction. The varied expertise of past recipients has spanned the disciplines—from intellectual property wars and evolutionary theory to racial profiling and eighteenth-century Italian opera—and helped to generate an enviable listing of scholars that the University is lucky to call their own. On top of all that, this year marks the fiftieth anniversary of the Prize, first awarded to Bernard Weinberg in 1963 for A History of Literary Criticism in the Italian Renaissance.
This year, the 2013 Laing Prize went to Andreas Glaeser, associate professor of soci0logy at the University, for Political Epistemics: The Secret Police, the Opposition, and the End of East German Socialism. Glaeser’s book considers socialist East Germany’s unexpected self-dissolution in 1989, building on extensive in-depth interviews with former secret police officers and the dissidents they tried to control, among other resources, to offer an epistemic account of socialism’s failure that differs markedly from existing explanations.
Included below are some snapshots from the recent Laing Prize reception taken by . . .
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In wrapping of the year’s best-of-2012 lists, we couldn’t help but single out the University of Chicago Press titles that made the cut as reads worth remembering. With that in mind, here’s a list of our books that earned praise as cream of the crop here and abroad, from scholarly journals, literary blogs, metropolitan newspapers, and the like. If you’re looking, might we (and others) recommend—
A Naked Singularity by Sergio De La Pava
made the Philadelphia City Paper’s Best of the Year list named one of the best books of the year by the Houston Chronicle included in Bookriot’s list of the five most overlooked books of 2012 picked as the book of the year by a bookseller at the Oxford Blackwell’s: “ feel so evangelical about I want to run around screaming ‘YOU MUST READ THIS BOOK OR YOUR LIFE WILL BE INCOMPLETE,’ in Billy Graham style.” named one of the ten best fiction books of 2012 by the Wall Street Journal named by Wall Street Journal fiction editor Sam Sacks as one of his own favorite fiction books of 2012 named by Sasha Frere-Jones of the New Yorker as . . .
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“With Antron and Nylon and Lycra and Orlon and Dacron, the world’s a better place. You know we all have a smile on that started with Nylon and stretches across each happy face.” King of the jingle (and prince of the cabaret), Michael Brown wrote and directed DuPont’s “industrial musical” The Wonderful World of Chemistry, which would air an unprecedented 14,600 times, or 40 times per day, during the two-year run of the 1964–65 World’s Fair in New York City. (It should be pointed out that a bit of research on Timothy D. Taylor’s forthcoming The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture led us here. The book hones in on the indiscriminate blurring between advertising copy and popular music, unearthing an as-yet unclaimed piece of our cultural history—the musical aesthetics of consumerism, and its buzz-buzz-buzzing.) Brown was a children’s book author, lyricist, and producer, who penned tales about Santa Mouse and put the words, literally, in Carol Channing’s mouth during a run of Sugar Babies. The Wonderful World of Chemistry was his masterpiece, among songs scribed for notable Broadway musicals (like “Lizzie Borden” in Leonard Sillman’s New Faces of 1952) and other “industrial” pieces. Even his . . .
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In Cop Knowledge: Police Power and Twentieth-Century America, Christopher P. Wilson writes about narratives of police power in mass culture—from crime fiction and film to the denizens of contemporary political discourse who make use of the squad room, the beat, and the badge. His conclusion? That the stories we tell about police power are intimately linked to the course and outcome of modern liberalism, including a current resurgence of neoconservatism.
In January 2003, Slavoj Žižek penned the article “Gerhard Schroeder’s Minority Report and Its Consequences,” which explored themes from Steven Spielberg’s adaptation (2002) of the Philip K. Dick short story—in which criminals are arrested before they can commit their crimes, thanks to the efforts of a specialized police department, working under the government’s protective wing. For Žižek (and also for Spielberg, who went on the record), the police state evoked by the film was clearly transposed to U.S. international relations post-9/11, where the Bush doctrine suggested with a heavy hand that American military might should remain “beyond challenge” in the foreseeable future. Žižek goes on in the piece to point out the election of Gerhard Schroeder—the German Social . . .
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