If human burials were our only window onto the past, what story would they tell? Skeletal injuries constitute the most direct and unambiguous evidence for violence in the past. Whereas weapons or defenses may simply be statements of prestige or status and written sources are characteristically biased and incomplete, human remains offer clear and unequivocal evidence of physical aggression reaching as far back as we have burials to examine. Warfare is often described as ‘senseless’ and as having no place in society. Consequently, its place in social relations and societal change remains obscure. The studies in The Routledge Handbook of the Bioarchaeology of Human Conflict present an overview of the nature and development of human conflict from prehistory to recent times as evidenced by the remains of past people themselves in order to explore the social contexts in which such injuries were inflicted. A broadly chronological approach is taken from prehistory through to recent conflicts, however this book is not simply a catalogue of injuries illustrating weapon development or a narrative detailing ‘progress’ in warfare but rather provides a framework in which to explore both continuity and change based on a range of important themes which hold continuing relevance throughout human development.

Author of such classic wartime novels as Birdy and A Midnight Clear, William Wharton was one of the most acclaimed writers of his generation. However, he was also a very private man—he wrote under a pseudonym and rarely gave interviews—so fans and critics could only speculate how much of his work was autobiographical and how much was fiction. Now, for the first time, we are able to read the author's own account of his experiences during World War II—events that went on to influence some of his greatest works. These are the tales that Wharton never wanted to tell his children. Together, they illuminate a deeply personal, transformative experience: of learning to kill, to "abandon my natural desire to live, survive, and to risk my life for reasons I often did not understand and sometimes did not accept." Moving and insightful, Shrapnel is a powerful, timeless work from an acclaimed American master.

Writing into the wounds and reverberations of the Israel/Palestine conflict, Philip Metres’ fourth book of poems, Shrapnel Maps, is at once elegiac and activist, an exploratory surgery to extract the slivers of cartography through palimpsest and erasure. A wedding in Toura, a suicide bombing in Jerusalem, uneasy interactions between Arab and Jewish neighbors in University Heights, the expulsion of Palestinians in Jaffa, another bombing in Gaza: Shrapnel Maps traces the hurt and tender places, where political noise turns into the voices of Palestinians and Israelis. Working with documentary flyers, vintage postcards, travelogues, cartographic language, and first person testimonies, Shrapnel Maps ranges from monologue sonnets to prose vignettes, polyphonics to blackouts, indices to simultaneities, as Palestinians and Israelis long for justice and peace, for understanding and survival.

For the first time, one book gives voice to the haunting, painful, tender, and healing tales of those who lost so much in America's least popular war.

A weekend in the country erupts into a free-for-all of mutiny, sex, and murder On the anniversary of the Eve of the Battle of Waterloo, an assortment of unusual dinner guests gather at a remote country house to pay homage to Henry Shrapnel, inventor of the exploding cannonball. But all is not peaceful at the Shrapnel Academy: The downstairs servants, a group of third-world refugees led by a South African butler, are plotting to overthrow their upstairs oppressors. When a blizzard hits the countryside and traps everyone indoors, the rebellion erupts into bloody warfare throughout the Academy, “a shrine to the ethos of military excellence.” With characters that include a domineering female sergeant, a war-mongering general, a brain-damaged spy, and an idiot-savant arms dealer, Fay Weldon gives us a country house novel replete with sexual atrocity and class warfare. No one will emerge unscathed in this stinging tale of modern-day barbarians, where the deadliest weapons are the ever-raging battles between the haves and the have-nots.

Suicide is a puzzling phenomenon. Not only is its demarcation problematic but it also eludes simple explanation. The cultures in which suicide mortality is high do not necessarily have much else in common, and neither is a single mental illness such as depression sufficient to lead a person to suicide. In a word, despite its statistical regularity, suicide is unpredictable on the individual level. The main argument emerging from this collection is that suicide should not be understood as a separate realm of pathological behavior but as a form of human action. As such it is always dependent on the decision that the individual makes in a cultural, ethical and socio-economic context, but the context never completely determines the decision. This book also argues that cultural narratives concerning suicide have a problematic double function: in addition to enabling the community to make sense of self-inflicted death, they also constitute a blueprint depicting suicide as a solution to common human problems.

Victor Rios has a vibrant reputation as America s leading ethnographer of Latino youth. His personal storygoing from drug pusher (selling heroin on the streets as a teenager) to a hard worker at a mechanic shop within a matter of weeksshows how he stands in the place of the Latino youths he studies. His story underscores the degree to which delinquent urban youths can become adaptable, fluid, amenable individuals, able to shift their views of the world as well as their actions. Rios rejects the old storyline that said gangs are bad and they do bad things because they are bad people. Kids on the street, he argues, can drift between different identities, indeed, they can shift seamlessly between responsible and deviant displays within a few hours time. The key to understanding gang-associated youth lies in analysis of the way authority figures (teachers and police officers) interact with young people. The kids need caring adults who offer tangible resources. Story and characters are always front-and-center in Rios s narrative: Jorge, Mark, Wilson, and others, are boys we get to know as they negotiate day-to-day life on the streets and across institutional settings. We learn a great deal about Cholo subculture, the clothing and hairstyles, and the argot that are adopted by Latino youth in response to the forces that seek to marginalize or punish them. The crisis of a perceived epidemic of police brutality in our post-Ferguson era is a product of culture in Rios s view: contested symbols, negative interactions, and day-to-day encounters that freeze youth identities as gang-associated, and that freeze authority identities as negative shapers of youth attitudes and actions are the dynamic. Fear of young males of color leads to police misreading and dehumanizing of young black and Latino men. Rios raises our awareness of how this dynamic operates by studying his subjects whole: following young gang members into their schools, their homes, their community organizations, their detention facilities, and watching them interact with police, watching them grow up to become fathers, get jobs, get rap sheets. Get killed. This book will be a landmark contribution to the social psychology of poverty and crime."

In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN. Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing. In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed. Included in this volume are case studies that traverse multiple scales and durations, ranging from the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere. Weizman’s Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. Their practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.