"It is widely recognized that the Hebrew Bible is filled with rape and sexual violence. However, feminist approaches to the topic remain dominated by Phyllis Trible's 1984 Texts of Terror, which describes feminist criticism as a practice of "telling sad stories." Pushing beyond Trible, Texts after Terror offers a new framework for reading biblical sexual violence, one that draws on recent work in feminist, queer, and affect theory and activism against sexual violence and rape culture. In the Hebrew Bible as in the contemporary world, sexual violence is frequently fuzzy, messy, and icky. Fuzzy names the ambiguity and confusion that often surround experiences of sexual violence. Messy identifies the consequences of rape, while also describing messy sex and bodies. Icky points out the ways that sexual violence fails to fit into neat patterns of evil perpetrators and innocent victims. Building on these concepts, Texts after Terror offers a number of new feminist strategies and approaches to sexual violence: critiquing the framework of consent, offering new models of sexual harm, emphasizing the importance of relationships between women (even in the context of stories of heterosexual rape), reading biblical rape texts with and through contemporary texts written by survivors, advocating for "unhappy reading" that makes unhappiness and open-endedness into key feminist sites of possibility. Texts after Terror also discusses a wide range of biblical rape stories, including Dinah (Gen. 43), Tamar (2 Sam. 13), Lot's daughters (Gen. 19), Bathsheba (2 Sam. 11), Hagar (Gen. 16 and 21), Daughter Zion (Lam. 1 and 2), and the Levite's concubine (Judg. 19)"--

Texts after Terror offers an important new theory of rape and sexual violence in the Hebrew Bible. While the Bible is filled with stories of rape, scholarly approaches to sexual violence in the scriptures remain exhausted, dated, and in some cases even un-feminist, lagging far behind contemporary discourse about sexual violence and rape culture. Graybill responds to this disconnect by engaging contemporary conversations about rape culture, sexual violence, and #MeToo, arguing that rape and sexual violence - both in the Bible and in contemporary culture - are frequently fuzzy, messy, and icky, and that we need to take these features seriously. Texts after Terror offers a new framework informed by contemporary conversations about sexual violence, writings by victims and survivors, and feminist, queer, and affect theory. In addition, Graybill offers significant new readings of biblical rape stories, including Dinah (Gen. 34), Tamar (2 Sam. 13), Bathsheba (2 Sam. 11), Hagar (Gen. 16), Daughter Zion (Lam. 1-2), and the unnamed woman known as the Levite's concubine (Judges 19). Texts after Terror urges feminist biblical scholars and readers of all sorts to take seriously sexual violence and rape, while also holding space for new ways of reading these texts that go beyond terror, considering what might come after.

In this book, Phyllis Trible examines four Old Testament narratives of suffering in ancient Israel: Hagar, Tamar, an unnamed concubine and the daughter of Jephthah. These stories are for Trible the "substance of life", which may imspire new beginnings and by interpreting these stories of outrage and suffering on behalf of their female victims, the author recalls a past that is all to embodied in the present, and prays that these terrors shall not come to pass again. "Texts of Terror" is perhaps Trible's most readable book, that brings biblical scholarship within the grasp of the non-specialist. These "sad stories" about women in the Old Testament prompt much refelction on contemporary misuse of the Bible, and therefore have considerable relevance today.

In this seminal work of biblical studies, renowned scholar Phyllis Trible focuses on four variations on the theme of terror in the Bible. By combining the discipline of literary criticism with the hermeneutics of feminism, she reinterprets the tragic stories of four women in ancient Israel: Hagar, Tamar, an unnamed concubine, and the daughter of Jephthah. In highlighting the silence, absence, and opposition of God, as well as human cruelty, Trible shows how these neglected stories--interpreted in memoriam--challenge both the misogyny of Scripture and its use in church, synagogue, and academy.

Ian Ward places contemporary political and jurisprudential responses to terrorism within a broader literary, cultural and historical context.

After Terror presents sustained reflections by some of the world's most celebrated thinkers on the most pressing question of our time: how can we find ways to defuse the ticking bombs of terrorism and excessive interventions against it? It offers an antidote to the fatalistic global holy war perspective that afflicts much contemporary thought, focusing instead on the principles, issues, and acts needed to shift course from alienation and conflict to a path of sanity and goodwill among cultures and civilizations. The central aim of the book is to advance contemporary thinking on the causes and implications of 9/11 and thus provide the essential elements of a blueprint for humanity. It features 28 original essays by some of the world's leading public figures, scholars, and religious leaders, including Benjamin Barber, Zbigniew Brzezinski, Jean Bethke Elshtain, Amitai Etzioni, Bernard Lewis, Martin Marty, Queen Noor, Joseph Nye, Judea Pearl, Jonathan Sacks, Ravi Shankar, Bishop Desmond Tutu, E.O. Wilson and James D. Wolfensohn. After Terror attests to the power of dialogue and mutual understanding and the possibility of tolerance, respect, cooperation, and commitment. Without ignoring the dangers of the modern world, it points to a future in which people can celebrate both the fundamental sentiments and interests that we share and the diversities that make us human.

The Afterlives of the Terror explores how those who experienced the mass violence of the French Revolution struggled to come to terms with it. Focusing on the Reign of Terror, Ronen Steinberg challenges the presumption that its aftermath was characterized by silence and enforced collective amnesia. Instead, he shows that there were painful, complex, and sometimes surprisingly honest debates about how to deal with its legacies. As The Afterlives of the Terror shows, revolutionary leaders, victims' families, and ordinary citizens argued about accountability, retribution, redress, and commemoration. Drawing on the concept of transitional justice and the scholarship on the major traumas of the twentieth century, Steinberg explores how the French tried, but ultimately failed, to leave this difficult past behind. He argues that it was the same democratizing, radicalizing dynamic that led to the violence of the Terror, which also gave rise to an unprecedented interrogation of how society is affected by events of enormous brutality. In this sense, the modern question of what to do with difficult pasts is one of the unanticipated consequences of the eighteenth century's age of democratic revolutions.

In this groundbreaking book, a leading clinical psychiatrist redefines how we think about and treat victims of trauma. A "stunning achievement" that remains a "classic for our generation." (Bessel van der Kolk, M.D., author of The Body Keeps the Score). Trauma and Recovery is revered as the seminal text on understanding trauma survivors. By placing individual experience in a broader political frame, Harvard psychiatrist Judith Herman argues that psychological trauma is inseparable from its social and political context. Drawing on her own research on incest, as well as a vast literature on combat veterans and victims of political terror, she shows surprising parallels between private horrors like child abuse and public horrors like war. Hailed by the New York Times as "one of the most important psychiatry works to be published since Freud," Trauma and Recovery is essential reading for anyone who seeks to understand how we heal and are healed.

An entire generation of young adults has never known an America without the War on Terror. This book contends with the pervasive effects of post-9/11 policy and myth-making in every corner of American life. Never-Ending War on Terror is organized around five keywords that have come to define the cultural and political moment: homeland, security, privacy, torture, and drone. Alex Lubin synthesizes nearly two decades of United States war-making against terrorism by asking how the War on Terror has changed American politics and society, and how the War on Terror draws on historical myths about American national and imperial identity. From the PATRIOT Act to the hit show Homeland, from Edward Snowden to Guantanamo Bay, and from 9/11 memorials to Trumpism, this succinct book connects America's political economy and international relations to our contemporary culture at every turn.

Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen? Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.