Imagine the world as a twisted game, where powerful nations exploit weaker ones under the guise of "civilization." Mark Twain, the master of satire, invites you into this shadowy reality in "To the Person Sitting in Darkness." Brace yourself for a hilarious yet scathing critique of imperialism. Twain, with a sharp wit, exposes the hypocrisy of nations claiming to bring light while leaving a trail of destruction. Are you the "Person Sitting in Darkness," unknowingly complicit? Open this book and let Twain's razor-sharp wit illuminate the truth behind the grand pronouncements of empire.

Perhaps the most popular of all canonical American authors, Mark Twain is famous for creating works that satirize American formations of race and empire. While many scholars have explored Twain’s work in African Americanist contexts, his writing on Asia and Asian Americans remains largely in the shadows. In Sitting in Darkness, Hsuan Hsu examines Twain’s career-long archive of writings about United States relations with China and the Philippines. Comparing Twain’s early writings about Chinese immigrants in California and Nevada with his later fictions of slavery and anti-imperialist essays, he demonstrates that Twain’s ideas about race were not limited to white and black, but profoundly comparative as he carefully crafted assessments of racialization that drew connections between groups, including African Americans, Chinese immigrants, and a range of colonial populations. Drawing on recent legal scholarship, comparative ethnic studies, and transnational and American studies, Sitting in Darkness engages Twain’s best-known novels such as Tom Sawyer, Huckleberry Finn, and A Connecticut Yankee in King Arthur’s Court, as well as his lesser-known Chinese and trans-Pacific inflected writings, such as the allegorical tale “A Fable of the Yellow Terror” and the yellow face play Ah Sin. Sitting in Darkness reveals how within intersectional contexts of Chinese Exclusion and Jim Crow, these writings registered fluctuating connections between immigration policy, imperialist ventures, and racism.

A study of postbellum fiction and its engagement in debates over African American education and America's new colonial territories.

Fall under the spell of the Beautiful Darkness, the sequel to the instant New York Times bestselling gothic fantasy, Beautiful Creatures! There were no surprises in Gatlin County. At least, that's what I thought. Turns out, I couldn't have been more wrong. Ethan Wate used to think of Gatlin as a place where nothing ever changed. Then mysterious newcomer Lena Duchannes revealed a secret world of curses and Supernaturals with terrifying abilities. Lena showed him a Gatlin where impossible, magical, life-altering events happen. Sometimes life-ending. And now that Ethan's eyes have been opened to the darker side of Gatlin, there's no going back. Haunted by strange visions only he can see, Ethan is pulled deeper into his town's tangled history and finds himself caught up in the dangerous network of underground passageways endlessly crisscrossing the South, where nothing is as it seems.

Sitting in Darkness explores how fiction of the Reconstruction and the New South intervenes in debates over black schools, citizen-building, Jim Crow discrimination, and U.S. foreign policy towards its territories and dependencies. The author urges a reexamination not only of the contents and formal innovations of New South literature but also its importance in U.S. literary history. Many rarely studied fiction authors (such as Ellwood Griest, Ellen Ingraham, George Marion McClellan, and Walter Hines Page) receive generous attention here, and well-known figures such as Albion Tourgee, Frances E. W. Harper, Sutton Griggs, George Washington Cable, Mark Twain, Thomas Dixon, Owen Wister, and W. E. B. Du Bois are illuminated in significant new ways. The book's readings seek to synthesize developments in literary and cultural studies, ranging through New Criticism, New Historicism, postcolonial studies, black studies, and "whiteness" studies. This volume posits and answers significant questions. In what ways did the "uplift" projects of Reconstruction-their ideals and their contradictions-affect U.S. colonial policies in the new territories after 1898? How can fiction that treated these historical changes help us understand them? What relevance does this period have for us in the present, during a moment of great literary innovation and strong debate over how well the most powerful country in the world uses its resources?

As a boy growing up in Iowa, Missouri, Nebraska, and Kansas, I had no objective conception of evil. We were practicing Roman Catholics in our family, so our consideration of evil was focused on self: urges which could lead to sin-urges which themselves constituted sin. Evil was what lay in the barely hidden recesses of our personalities. There was no objective correlative of evil-the church taught we were evil embodied. Thus, we never regarded others as evil or even bad. What would have happened had we ever encountered anyone who was truly evil? Surely out there were people who couldn't be justified or whose behavior couldn't be rationalized away. What would happen when we met?

Light for them that Sit in Darkness. 58 Pages.

“Vampires. Why do we care? In these pages you will find what is very simply, the most literate, imaginative, and just plain fascinating answer to that question ever written.” ?Whitley Strieber In a culture that does not do death particularly well, we are obsessed with mortality. Margot Adler writes, “Vampires let us play with death and the issue of mortality. They let us ponder what it would mean to be truly long lived. Would the long view allow us to see the world differently, imagine social structures differently? Would it increase or decrease our reverence for the planet? Vampires allow us to ask questions we usually bury.” As Adler, a longtime NPR correspondent and question asker, sat vigil at her dying husband’s bedside, she found herself newly drawn to vampire novels and their explorations of mortality. Over the next four years—by now she has read more than 270 vampire novels, from teen to adult, from gothic to modern, from detective to comic—she began to see just how each era creates the vampires it needs. Dracula, an Eastern European monster, was the perfect vehicle for 19th-century England’s fear of outsiders and of disease seeping in through its large ports. In 1960s America, Dark Shadows gave us the morally conflicted vampire struggling against his own predatory nature, who still enthralls us today. Think Spike and Angel, Stefan and Damon, Bill and Eric, the Cullens. Vampires Are Us explores the issues of power, politics, morality, identity, and even the fate of the planet that show up in vampire novels today. Perhaps, Adler suggests, our blood is oil, perhaps our prey is the planet. Perhaps vampires are us.

"Teach Us to Sit Still is the visceral, thought-provoking, and inexplicably entertaining story of how Tim Parks found himself in serious pain, how doctors failed to help, and the quest he took to find his own way out. Overwhelmed by a crippling conditionwhich nobody could explain or relieve, Parks follows a fruitless journey through the conventional medical system only to find relief in the most unexpected place: a breathing exercise that eventually leads him to take up meditation. This was the very last place Parks anticipated finding answers; he was about as far from New Age as you can get. As everything that he once held true is called into question, Parks confronts the relationship between his mind and body, the hectic modern world that seems to demand all our focus, and his chosen life as an intellectual and writer. He is drawn to consider the effects of illness on the work of other writers, the role of religion in shaping our sense of self, and the influence of sports and art on our attitudes toward health and well-being. Most of us will fall ill at some point; few will describe that journey with the same verve, insight, and radiant intelligence as Tim Parks"--Provided by publisher.