The untold story of how efforts to hold big business accountable changed American capitalism. Recent controversies around environmental, social, and governance (ESG) investing and “woke capital” evoke an old idea: the Progressive Era vision of a socially responsible corporation. By midcentury, the notion that big business should benefit society was a consensus view. But as Kyle Edward Williams’s brilliant history, Taming the Octopus, shows, the tools forged by New Deal liberals to hold business leaders accountable, such as the Securities and Exchange Commission, narrowly focused on the financial interests of shareholders. This inadvertently laid the groundwork for a set of fringe views to become dominant: that market forces should rule every facet of society. Along the way, American capitalism itself was reshaped, stripping businesses to their profit-making core. In this vivid and surprising history, we meet activists, investors, executives, and workers who fought over a simple question: Is the role of the corporation to deliver profits to shareholders, or something more? On one side were “business statesmen” who believed corporate largess could solve social problems. On the other were libertarian intellectuals such as Milton Friedman and his oft-forgotten contemporary, Henry Manne, whose theories justified the ruthless tactics of a growing class of corporate raiders. But Williams reveals that before the “activist investor” emerged as a capitalist archetype, Civil Rights groups used a similar playbook for different ends, buying shares to change a company from within. As a rising tide of activists pushed corporations to account for societal harms from napalm to environmental pollution to inequitable hiring, a new idea emerged: that managers could maximize value for society while still turning a maximal profit. This elusive ideal, “stakeholder capitalism,” still dominates our headlines today. Williams’s necessary history equips us to reconsider democracy’s tangled relationship with capitalism.

Leads scholars and anyone who cares about the humanities into more effectively analyzing the fate of the humanities and digging into the very idea of the humanities as a way to find meaning and coherence in the world. The humanities, considered by many as irrelevant for modern careers and hopelessly devoid of funding, seem to be in a perpetual state of crisis, at the mercy of modernizing and technological forces that are driving universities towards academic pursuits that pull in grant money and direct students to lucrative careers. But as Paul Reitter and Chad Wellmon show, this crisis isn’t new—in fact, it’s as old as the humanities themselves. Today’s humanities scholars experience and react to basic pressures in ways that are strikingly similar to their nineteenth-century German counterparts. The humanities came into their own as scholars framed their work as a unique resource for resolving crises of meaning and value that threatened other cultural or social goods. The self-understanding of the modern humanities didn’t merely take shape in response to a perceived crisis; it also made crisis a core part of its project. Through this critical, historical perspective, Permanent Crisis can take scholars and anyone who cares about the humanities beyond the usual scolding, exhorting, and hand-wringing into clearer, more effective thinking about the fate of the humanities. Building on ideas from Max Weber and Friedrich Nietzsche to Helen Small and Danielle Allen, Reitter and Wellmon dig into the very idea of the humanities as a way to find meaning and coherence in the world. ,

Since its publication in 1944, many Americans have described Gunnar Myrdal's An American Dilemma as a defining text on U.S. race relations. Here, Maribel Morey confirms with historical evidence what many critics of the book have suspected: An American Dilemma was not commissioned, funded, or written with the goal of challenging white supremacy. Instead, Morey reveals it was commissioned by Carnegie Corporation president Frederick Keppel, and researched and written by Myrdal, with the intent of solidifying white rule over Black people in the United States. Morey details the complex global origins of An American Dilemma, illustrating its links to Carnegie Corporation's funding of social science research meant to help white policymakers in the Anglo-American world address perceived problems in their governance of Black people. Morey also unpacks the text itself, arguing that Myrdal ultimately complemented his funder's intentions for the project by keeping white Americans as his principal audience and guiding them towards a national policy program on Black Americans that would keep intact white domination. Because for Myrdal and Carnegie Corporation alike, international order rested on white Anglo-Americans' continued ability to dominate effectively.

"The Digital Hustle When we met in the middle of a rare snowstorm in Washington, DC, in January, Charlie was bundled up against the cold in his Carhartt jacket, thick socks, and sturdy work boots, with a knit cap pulled down over his ears. As he peeled off his many layers in our booth at a Dunkin' Donuts, he apologized for smelling like cigarette smoke, saying that bad winter weather always makes him think a little harder about quitting for good. Charlie explained that smoking was a small comfort in what he felt were uncertain times. "It's like, every day you just you walk out your door and you're already stressed. Because we never know, even these days, you never know what the next day is going to be like. You have no idea. I'm just trying to keep my guys busy." Charlie's "guys" are a small crew of two or three manual workers he tried to keep in regular work through a patchwork of contracting, demolition gigs, and moving jobs. Looking older than his forty-seven years, Charlie told me about how he came to start his own home contracting and moving business after he left his union construction job when his boss was replaced by someone much younger than him. He enjoyed the freedom and independence that came with "being his own boss": being my own boss, I don't have to deal with nobody. And for me, because I'm forty-seven, I can't deal with a twenty- or thirty-year-old, some young kid like you being my boss."--

The first comprehensive history of American Jewish philanthropy and its influence on democracy and capitalism For years, American Jewish philanthropy has been celebrated as the proudest product of Jewish endeavors in the United States, its virtues extending from the local to the global, the Jewish to the non-Jewish, and modest donations to vast endowments. Yet, as Lila Corwin Berman illuminates in The American Jewish Philanthropic Complex, the history of American Jewish philanthropy reveals the far more complicated reality of changing and uneasy relationships among philanthropy, democracy, and capitalism. With a fresh eye and lucid prose, and relying on previously untapped sources, Berman shows that from its nineteenth-century roots to its apex in the late twentieth century, the American Jewish philanthropic complex tied Jewish institutions to the American state. The government’s regulatory efforts—most importantly, tax policies—situated philanthropy at the core of its experiments to maintain the public good without trammeling on the private freedoms of individuals. Jewish philanthropic institutions and leaders gained financial strength, political influence, and state protections within this framework. However, over time, the vast inequalities in resource distribution that marked American state policy became inseparable from philanthropic practice. By the turn of the millennium, Jewish philanthropic institutions reflected the state’s growing investment in capitalism against democratic interests. But well before that, Jewish philanthropy had already entered into a tight relationship with the governing forces of American life, reinforcing and even transforming the nation’s laws and policies. The American Jewish Philanthropic Complex uncovers how capitalism and private interests came to command authority over the public good, in Jewish life and beyond.

Hugo and Shirley Jackson award-winning Peter Watts stands on the cutting edge of hard SF with his acclaimed novel, Blindsight Two months since the stars fell... Two months of silence, while a world held its breath. Now some half-derelict space probe, sparking fitfully past Neptune's orbit, hears a whisper from the edge of the solar system: a faint signal sweeping the cosmos like a lighthouse beam. Whatever's out there isn't talking to us. It's talking to some distant star, perhaps. Or perhaps to something closer, something en route. So who do you send to force introductions with unknown and unknowable alien intellect that doesn't wish to be met? You send a linguist with multiple personalities, her brain surgically partitioned into separate, sentient processing cores. You send a biologist so radically interfaced with machinery that he sees x-rays and tastes ultrasound. You send a pacifist warrior in the faint hope she won't be needed. You send a monster to command them all, an extinct hominid predator once called vampire, recalled from the grave with the voodoo of recombinant genetics and the blood of sociopaths. And you send a synthesist—an informational topologist with half his mind gone—as an interface between here and there. Pray they can be trusted with the fate of a world. They may be more alien than the thing they've been sent to find. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Born to live a life of intrigue and adventure, beautiful Secret Service agent Lia Charles has never met a challenge she can't overcome. That is, until she receives her latest assignment–rescue the brilliant, boldly charismatic and bona fide hottie Armand Magliore, a revolutionary leader of a war-ravaged Caribbean republic.

A beautifully packaged edition of one of García Márquez's most beloved novels, with never-before-seen color illustrations by the Chilean artist Luisa Rivera and an interior design created by the author's son, Gonzalo García Barcha. In their youth, Florentino Ariza and Fermina Daza fall passionately in love. When Fermina eventually chooses to marry a wealthy, well-born doctor, Florentino is devastated, but he is a romantic. As he rises in his business career he whiles away the years in 622 affairs—yet he reserves his heart for Fermina. Her husband dies at last, and Florentino purposefully attends the funeral. Fifty years, nine months, and four days after he first declared his love for Fermina, he will do so again.