“Why are Kazakhstan and Montana the same place?” asks one chapter of Kate Brown’s surprising and unusual journey into the histories of places on the margins, overlooked or erased. It turns out that a ruined mining town in Kazakhstan and Butte, Montana—America’s largest environmental Superfund site—have much more in common than one would think thanks to similarities in climate, hucksterism, and the perseverance of their few hardy inhabitants. Taking readers to these and other unlikely locales, Dispatches from Dystopia delves into the very human and sometimes very fraught ways we come to understand a particular place, its people, and its history. In Dispatches from Dystopia, Brown wanders the Chernobyl Zone of Alienation, first on the Internet and then in person, to figure out which version—the real or the virtual—is the actual forgery. She also takes us to the basement of a hotel in Seattle to examine the personal possessions left in storage by Japanese-Americans on their way to internment camps in 1942. In Uman, Ukraine, we hide with Brown in a tree in order to witness the annual male-only Rosh Hashanah celebration of Hasidic Jews. In the Russian southern Urals, she speaks with the citizens of the small city of Kyshtym, where invisible radioactive pollutants have mysteriously blighted lives. Finally, Brown returns home to Elgin, Illinois, in the midwestern industrial rust belt to investigate the rise of “rustalgia” and the ways her formative experiences have inspired her obsession with modernist wastelands. Dispatches from Dystopia powerfully and movingly narrates the histories of locales that have been silenced, broken, or contaminated. In telling these previously unknown stories, Brown examines the making and unmaking of place, and the lives of the people who remain in the fragile landscapes that are left behind.

When Luke O’Neil isn’t angry, he’s asleep. When he’s awake, he gives vent to some of the most heartfelt, political and anger-fueled prose to power its way to the public sphere since Hunter S. Thompson smashed a typewriter’s keys. Welcome to Hell World is an unexpurgated selection of Luke O’Neil’s finest rants, near-poetic rhapsodies, and investigatory journalism. Racism, sexism, immigration, unemployment, Marcus Aurelius, opioid addiction, Iraq: all are processed through the O’Neil grinder. He details failings in his own life and in those he observes around him: and the result is a book that is at once intensely confessional and an energetic, unforgettable condemnation of American mores. Welcome to Hell World is, in the author’s words, a “fever dream nightmare of reporting and personal essays from one of the lowest periods in our country in recent memory.” It is also a burning example of some of the best writing you’re likely to read anywhere.

The author "wanders the Chernobyl Zone of Alienation, first on the Internet and then in person, to figure out which version -- the real or the virtual -- is the actual forgery. She also takes us to the basement of a hotel in Seattle to examine the personal possessions left in storage by Japanese Americans on their way to internment camps in 1942. In Uman, Ukraine, we hide with Brown in a tree in order to witness the male-only Rosh Hashanah celebration of Hasidic Jews. In the Russian southern Urals, she speaks with the citizens of the small city of Kyshtym, where invisible radioactive pollutants have mysteriously blighted lives. Finally, Brown returns home to Elgin, Illinois, in the industrial rust belt, to investigate the rise of "rustalgia" and the ways her formative experiences have inspired her obsession with modernist wastelands."--Jacket flap.

In Plutopia, Brown draws on official records and dozens of interviews to tell the stories of Richland, Washington and Ozersk, Russia-the first two cities in the world to produce plutonium. To contain secrets, American and Soviet leaders created plutopias--communities of nuclear families living in highly-subsidized, limited-access atomic cities. Brown shows that the plants' segregation of permanent and temporary workers and of nuclear and non-nuclear zones created a bubble of immunity, where dumps and accidents were glossed over and plant managers freely embezzled and polluted. In four decades, the Hanford plant near Richland and the Maiak plant near Ozersk each issued at least 200 million curies of radioactive isotopes into the surrounding environment--equaling four Chernobyls--laying waste to hundreds of square miles and contaminating rivers, fields, forests, and food supplies. Because of the decades of secrecy, downwind and downriver neighbors of the plutonium plants had difficulty proving what they suspected, that the rash of illnesses, cancers, and birth defects in their communities were caused by the plants' radioactive emissions. Plutopia was successful because in its zoned-off isolation it appeared to deliver the promises of the American dream and Soviet communism; in reality, it concealed disasters that remain highly unstable and threatening today. -- From publisher description.

How is historical knowledge produced? And how do silence and forgetting figure in the knowledge we call history? Taking us through time and across the globe, David William Cohen's exploration of these questions exposes the circumstantial nature of history. His investigation uncovers the conventions and paradigms that govern historical knowledge and historical texts and reveals the economic, social, and political forces at play in the production of history. Drawing from a wide range of examples, including African legal proceedings, German and American museum exhibits, Native American commemorations, public and academic debates, and scholarly research, David William Cohen explores the "walls and passageways" between academic and non-academic productions of history.

This original work caps years of thought by Leonard Krieger about the crisis of the discipline of history. His mission is to restore history's autonomy while attacking the sources of its erosion in various "new histories," which borrow their principles and methods from disciplines outside of history. Krieger justifies the discipline through an analysis of the foundations on which various generations of historians have tried to establish the coherence of their subject matter and of the convergence of historical patterns. The heart of Krieger's narrative is an insightful analysis of theories of history from the classical period to the present, with a principal focus on the modern period. Krieger's exposition covers such figures as Ranke, Hegel, Comte, Marx, Acton, Troeltsch, Spengler, Braudel, and Foucault, among others, and his discussion involves him in subtle distinctions among terms such as historism, historicism, and historicity. He points to the impact on history of academic political radicalism and its results: the new social history. Krieger argues for the autonomy of historical principles and methods while tracing the importation in the modern period of external principles for historical coherence. Time's Reasons is a profound attempt to rejuvenate and restore integrity to the discipline of history by one of the leading masters of nineteenth- and twentieth-century historiography. As such, it will be required reading for all historiographers and intellectual historians of the modern period.

One of the Washington Post's Top Nonfiction Titles of 2001 In the spring of 1942, the federal government forced West Coast Japanese Americans into detainment camps on suspicion of disloyalty. Two years later, the government demanded even more, drafting them into the same military that had been guarding them as subversives. Most of these Americans complied, but Free to Die for Their Country is the first book to tell the powerful story of those who refused. Based on years of research and personal interviews, Eric L. Muller re-creates the emotions and events that followed the arrival of those draft notices, revealing a dark and complex chapter of America's history.

Publisher Description

While social scientists and historians have been exchanging ideas for a long time, they have never developed a proper dialogue about social theory. William H. Sewell Jr. observes that on questions of theory the communication has been mostly one way: from social science to history. Logics of History argues that both history and the social sciences have something crucial to offer each other. While historians do not think of themselves as theorists, they know something social scientists do not: how to think about the temporalities of social life. On the other hand, while social scientists’ treatments of temporality are usually clumsy, their theoretical sophistication and penchant for structural accounts of social life could offer much to historians. Renowned for his work at the crossroads of history, sociology, political science, and anthropology, Sewell argues that only by combining a more sophisticated understanding of historical time with a concern for larger theoretical questions can a satisfying social theory emerge. In Logics of History, he reveals the shape such an engagement could take, some of the topics it could illuminate, and how it might affect both sides of the disciplinary divide.