Amidst the Fray: My Life in Politics, Culture, and Mississippi by William D. Billy Mounger with Joseph L. Maxwell, is a firsthand account of state and national political scandals such as the internal conflict of Republicans at the 1976 GOP national convention, the cloud of controversy surrounding former Mississippi Governor Bill Allain and Congressman Jon Hinson, and an inside look at the Watergate cover-up by the Nixon White House staff. Mounger documents his role in President Ronald Reagan's rise to power and how the Mississippi GOP regained momentum against the Democratic stronghold. US Senator Trent Lott said, I consider myself one of the first generations of progeny of Billy Mounger's Republican generation.

In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of “craftivism”—the politics and social practices associated with handmaking—Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s—including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuña, the small hand-sewn tapestries depicting Pinochet’s torture, and the NAMES Project AIDS Memorial Quilt—are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much “in the fray” of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles—high and low, untrained and highly skilled, conformist and disobedient, craft and art.

Punishment is the imposition, by a legitimate authority, of a painful consequence upon one who has offended the social order by indulging in acts contrary to the social good. Punishment is understood to serve a primary objective in any society: it rehabilitates or reforms (re-forms or shapes anew) the psyches of social offenders to bring them in line with prevailing codes of behavior. Punishment thus is a highly conservative force, affirming simultaneously the codes of conduct deemed desirable within the society and the status quo of power relations that hold sway in the society. Punishment is a form of social teaching. One of the favorite forms of didactic pain to which legitimate authorities turn, in teaching conformity to social regulations, is the psychological pain of shame. Shame is a special favorite in the penology of societies of the Western world, whose governing logic is already grounded in the shame-based religions of Judaism and Christianity. Parents, school teachers, religious leaders, and state authorities readily employ shame as an effective method for teaching social lessons. Shame is a powerful force that reaches deep into the psyche of the offender and gnaws away at her sense of self-worth and identity, with longstanding and devastating existential effects. Shame has profound and enduring effects, because it has the capacity to transform an empirical fact (of having done something unacceptable) into an ontological reality (of being unacceptable as a human being). Shame dehumanizes. Shame is a powerfully effective tool for altering behavior, but because shame dehumanizes, it often fails to have the effect that the punisher is seeking to bring about. Shame sickens souls, rather than cures them. It sickens them to such a degree that shame more often acts as a promoter of criminality than as a teacher of the social good.

Reprint of the original, first published in 1873. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.