Below follows an excerpt from “Our Aggressive ‘War on Drugs’ Is Not Actually about Drugs,” by Alexandra Chasin, author of Assassin of Youth: A Kaleidoscopic History of Harry J. Anslinger’s War on Drugs, at Alternet. *** Trump inherits a very old war on drugs in the United States, one with prisons almost as overpopulated as Duterte’s detention centers, where the “insanity” of the “purely repressive approach,” “counterproductive and cruel,” is the law and practice of the land. This war on drugs goes back before Nixon’s famous declaration and the Rockefeller Drug Laws of the 1970s. Our national commitment to drug prohibition goes back almost as far as our commitment to alcohol prohibition, a thirteen-year disaster that dramatized all the perils of a strategy of suppression but somehow did not persuade us not to use the same one with narcotics. With the installation of Harry J. Anslinger as Commissioner of the newly established Federal Bureau of Narcotics in 1930, the federal government began a campaign of drug prohibition which, during his three decades in office, in making into federal law. So why, if it only took us thirteen years to prove that alcohol prohibition was both costly and ineffective, have we failed to . . .
Our free e-book for March is Lincoln’s Constitution by Daniel Farber. Download your copy here. In Lincoln’s Constitution, Daniel Farber leads the reader to understand exactly how Abraham Lincoln faced the inevitable constitutional issues brought on by the Civil War. Examining what arguments Lincoln made in defense of his actions and how his words and deeds fit into the context of the times, Farber illuminates Lincoln’s actions by placing them squarely within their historical moment. The answers here are crucial not only for a better understanding of the Civil War but also for shedding light on issues-state sovereignty, presidential power, and limitations on civil liberties in the name of national security-that continue to test the limits of constitutional law even today. To read more about Lincoln’s Constitution, click here. To download your free e-book edition, click here. . . .
David S. Shields, drawing upon his research for The Culinarians: Lives and Careers from the First Age of American Fine Dining (forthcoming; Fall 2017), and in honor of Black History Month, put together this list of every black restauranteur in the city of Charleston, South Carolina, from 1880 to 1920 (first printed in the Charleston City Paper, and now run in full below). Agnes, G. W. 89 St. Phillip 1908 Allen, F. A. 81 East Bay 1881 Allen, Paul 530 King Street 1896 Allen, W. I. 41 Market Street 1882 Alston, George 19 Queen Street 1917 Atkinson, L. J. 104 Columbus St. 1910 Baker, Anna 161 Market Street 1920 Baker, Stephen 161 Market Street 1919 Barron, J. F. 401 King Street 1911, 1912 Barron, Rebecca 3 State Street 1901 Barron, William G. 12 State Street 1883, 1884, 1886, 1887, 1888, 1889, 1890, 1891, 1892, 1893, 1894, 1895, 1896, 1897 3 State Street 1898, 1900 (dies) Baskin, Joseph 623 King Street 1919 Beckett, Ann E. 92 King Street 1886 Blake, Eliza 11 Tradd Street 1886 Bold, J. 161 Market Street 1883 Bonneau, S. 51 Lines Street 1910, 1911, Bonneau House 1914 Bowen, F. 524 King Street 1883 Brockington, Adele E. 16 Market 1915, 1916 . . .
Congrats to sociologist Michèle Lamont, winner of the 2017 Erasmus Prize, which honors an individual or group who has made “an exceptional contribution to the humanities or the arts, in Europe and beyond.” The Erasmus Foundation cited Lamont—a professor of sociology and African/African-American Studies, the Robert I. Goldman Professor of European Studies, and director of the Weatherhead Center at Harvard University—for her “devoted contribution to social science research into the relationship between knowledge, power and diversity.” Books written, edited, or coedited by Lamont and published by the University of Chicago Press include the collection Cultivating Differences: Symbolic Boundaries and the Making of Inequality (coedited with Marcel Fournier); The Cultural Territories of Race: Black and White Boundaries (edited by Lamont); and Money, Morals, and Manners: The Culture of the French and American Upper-Middle Class. To read more about Lamont’s work, click here. . . .
Gems and Jewels is an app and the product of a unique collaboration between the University of Chicago Press and the Grainger Hall of Gems at Chicago’s Field Museum of Natural History (along with the Field Museum’s senior vice-president and curator of gems and gemstones, Lance Grande), published by the digital mavens at Touch Press. Crystals, crystals, crystals—also Etruscan gold necklaces, insects paralyzed in Baltic amber, and a 16th-century Aztec opal made in the image of the Sun God—all in 360-degree rotation, along with detailed captions and scientific data from Wolfram|Alpha, including classification, group, hardness scale, and chemical compound. Accompanying text unfolds from the upper left corner of each page and explores the roles of particular gems in human culture, explains geographic origins, and recounts the extraordinary histories of particular jeweled pieces. Starting today and for the next week, all Touch Press apps are 50 percent off at the iTunes store, including Gems and Jewels. You can check out the sale here. If you’ve never had a look at the app before, the video below should give you an indication of what you’re missing: To read more about Gems and Jewels, click here. . . .
From Richard Fairman’s review of Beethoven for a Later Age at the Financial Times: The book follows personal journey, while simultaneously threading through the parallel stories of Beethoven’s development as a composer, of the string quartet in general, and of early 19th-century culture and politics. Does all that seem a tall order? The narrative is potentially as complex as one of Beethoven’s knotty four-part fugues in the late quartets, but 20 years’ experience of playing chamber music has made Dusinberre adept at handling the interplay of multiple themes. Self-awareness and a sense of humor play their part. Sleight of hand makes the book entertaining and easy to digest. Back in 1993, the invitation to join the august Takács Quartet was not extended lightly. “This is not a job,” warned one of the other three. “It’s your family, your life.” Periods of months away on international concert tours mean that any kind of settled social life has to be forgotten. From day one, the diary involved criss-crossing continents in a dirty white Ford Granada alternating with long hours of rehearsal sessions, day and night in the company of the same three colleagues. Every string quartet sets out with the intrinsically contradictory aim . . .
From Lawrence Lenhart’s recent review of The Great Derangement: Climate Change and the Unthinkable, at the Rumpus: The largest section of The Great Derangement examines “Story” (the consignment and suppression of literary forms), but Ghosh also looks at the impact of alternate histories and global politics on climate change discourse. He wags his finger at those who would blame Indian and Chinese modernization for bringing us to the tipping point; instead he points to western idealism and technophilia that created the myth that everyone can have two cars, a washing machine, and refrigerator, when in fact “modernity can only be practiced by a small minority of the world’s population… not because of technical or economic limitations but because the earth would asphyxiate in the process.” What’s more, Ghosh directs our attention to the irony that “the Anthropocene has reversed the temporal order of modernity: those at the margins,” Tuvaluans and southern Bangladeshis for example, “are now the first to experience the future that awaits all of us.” Elsewhere Ghosh takes exception to John Updike’s description of the novel as an “individual moral adventure.” This conception makes us more likely to tell stories about the fall of the Berlin Wall or the . . .
Darby English’s 1971: A Year in the Life of Color points to a moment when the self-representation of black American artists working in the wake of modernism manifested in two shows staged during a tumultuous period of cultural, political, and aesthetic change—Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, “a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto.” *** Hyperallergic (in a piece by Jessica Bell Brown) has more commentary on what the convergence of these two shows meant for dismantling a homogeneous narrative of black modernist expression: Enter 1971, which takes as its starting point a most urgent year in aesthetic and racial politics. English’s object of study are two exhibitions essential to the ongoing relationship between black American artists and modernism: The Deluxe Show and the Contemporary Black Artists in America exhibition at the Whitney Museum, preceding Deluxe in the spring of 1971. In his book, English magnifies “an unprecedented brief swell of dissent within black political culture” that year, centering his study on the status and relevance of “color” as an aesthetic and social obsession. For so long, historians of African American art were unable . . .