Books about Dissents from Amazon.com

This distinctive reader is the only collection of truly critical readings on American government available Its approach goes far beyond the mainstream debate between liberalism and conservatism to fundamentally challenge the status quo, stimulating reconsideration about what are sometimes assumed to be “givens” within the American system..
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A concise and accessible thematic overview of the various ways Christians have approached God in prayer and practice..
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Attorney Kevin Ring has assembled Justice Antonin Scalia's most scathing, most poignant, and most accessible opinions to date. Specific rulings and speeches are explained as Ring invites readers into the judicial world..
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In 1920, socialist leader Eugene V. Debs ran for president while serving a ten-year jail term for speaking against America’s role in World War I. Though many called Debs a traitor, others praised him as a prisoner of conscience, a martyr to the cause of free speech. Nearly a million Americans agreed, voting for a man whom the government had branded an enemy to his country.

In a beautifully crafted narrative, Ernest Freeberg shows that the campaign to send Debs from an Atlanta jailhouse to the White House was part of a wider national debate over the right to free speech in wartime. Debs was one of thousands of Americans arrested for speaking his mind during the war, while government censors were silencing dozens of newspapers and magazines. When peace was restored, however, a nationwide protest was unleashed against the government’s repression, demanding amnesty for Debs and his fellow political prisoners. Led by a coalition of the country’s most important intellectuals, writers, and labor leaders, this protest not only liberated Debs, but also launched the American Civil Liberties Union and changed the course of free speech in wartime.

The Debs case illuminates our own struggle to define the boundaries of permissible dissent as we continue to balance the right of free speech with the demands of national security. In this memorable story of democracy on trial, Freeberg excavates an extraordinary episode in the history of one of America’s most prized ideals.

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In this thought-provoking collection of essays, editor Thomas Frank and other contributors to the contrarian journal the Baffler examine the unprecedented ascendancy of business as the dominating force in American life. If the closest historical parallel is with the Gilded Age and its all-powerful robber barons, Frank and his ilk clearly see themselves as the muckrakers out to expose the absurdities and abuses of big business. Today, however, advertising has come to permeate every aspect of our society, and corporations are in the business of manufacturing culture--what Frank calls the "Culture Trust." These essays analyze the ways in which this Culture Trust has co-opted the power of dissent by appropriating the language and symbolism of nonconformist youth culture, from hippie slang to grunge fashion; in other words, when the media markets rebellion, it becomes just another consumer choice. As evidence, the essayists explore the image of consumer as rebel pioneered by publications such as Details and Wired, as well as the preeminence of "revolutionary" business gurus such as Tom Peters. The result is a highly original book, a satirical and savage indictment of '90s consumerist culture..
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In Bodies in Dissent Daphne A. Brooks argues that from the mid-nineteenth century to the early twentieth, black transatlantic activists, actors, singers, and other entertainers frequently transformed the alienating conditions of social and political marginalization into modes of self-actualization through performance. Brooks considers the work of African American, Anglo, and racially ambiguous performers in a range of popular entertainment, including racial melodrama, spectacular theatre, moving panorama exhibitions, Pan-Africanist musicals, Victorian magic shows, religious and secular song, spiritualism, and dance. She describes how these entertainers experimented with different ways of presenting their bodies in public—through dress, movement, and theatrical technologies—to defamiliarize the spectacle of “blackness” in the transatlantic imaginary.

Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of “bodily insurgency” which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. She also considers Henry Box Brown’s public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams’s and George Walker’s musical In Dahomey (1902–04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic..
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