Turn on the news and it looks as if we live in a time and place unusually consumed by the specter of disaster. The events of 9/11 and the promise of future attacks, Hurricane Katrina and the destruction of New Orleans, and the inevitable consequences of environmental devastation all contribute to an atmosphere of imminent doom. But reading an account of the San Francisco earthquake of 1906, with its vivid evocation of buildings “crumbling as one might crush a biscuit,” we see that calamities—whether natural or man-made—have long had an impact on the American consciousness. Uncovering the history of Americans’ responses to disaster from their colonial past up to the present, Kevin Rozario reveals the vital role that calamity—and our abiding fascination with it—has played in the development of this nation. Beginning with the Puritan view of disaster as God’s instrument of correction, Rozario explores how catastrophic events frequently inspired positive reactions. He argues that they have shaped American life by providing an opportunity to take stock of our values and social institutions. Destruction leads naturally to rebuilding, and here we learn that disasters have been a boon to capitalism, and, paradoxically, indispensable to the construction of dominant American ideas of progress. As Rozario turns to the present, he finds that the impulse to respond creatively to disasters is mitigated by a mania for security. Terror alerts and duct tape represent the cynical politician’s attitude about 9/11, but Rozario focuses on how the attacks registered in the popular imagination—how responses to genuine calamity were mediated by the hyperreal thrills of movies; how apocalyptic literature, like the best-selling Left Behind series, recycles Puritan religious outlooks while adopting Hollywood’s style; and how the convergence of these two ways of imagining disaster points to a new postmodern culture of calamity. The Culture of Calamity will stand as the definitive diagnosis of the peculiarly American addiction to the spectacle of destruction.

When hurricanes, earthquakes, wildfires, and other disasters strike, we count our losses, search for causes, commiserate with victims, and initiate relief efforts. Amply illustrated and expansively researched, Inventing Disaster explains the origins and development of this predictable, even ritualized, culture of calamity over three centuries, exploring its roots in the revolutions in science, information, and emotion that were part of the Age of Enlightenment in Europe and America. Beginning with the collapse of the early seventeenth-century Jamestown colony, ending with the deadly Johnstown flood of 1889, and highlighting fires, epidemics, earthquakes, and exploding steamboats along the way, Cynthia A. Kierner tells horrific stories of culturally significant calamities and their victims and charts efforts to explain, prevent, and relieve disaster-related losses. Although how we interpret and respond to disasters has changed in some ways since the nineteenth century, Kierner demonstrates that, for better or worse, the intellectual, economic, and political environments of earlier eras forged our own twenty-first-century approach to disaster, shaping the stories we tell, the precautions we ponder, and the remedies we prescribe for disaster-ravaged communities.

From antiquity through the Enlightenment, disasters were attributed to the obscure power of the stars or the vengeance of angry gods. As philosophers sought to reassess the origins of natural disasters, they also made it clear that humans shared responsibility for the damages caused by a violent universe. This far-ranging book explores the way writers, thinkers, and artists have responded to the increasingly political concept of disaster from the Enlightenment until today. Marie-Hélène Huet argues that post-Enlightenment culture has been haunted by the sense of emergency that made natural catastrophes and human deeds both a collective crisis and a personal tragedy. From the plague of 1720 to the cholera of 1832, from shipwrecks to film dystopias, disasters raise questions about identity and memory, technology, control, and liability. In her analysis, Huet considers anew the mythical figures of Medusa and Apollo, theories of epidemics, earthquakes, political crises, and films such as Blow-Up and Blade Runner. With its scope and precision, The Culture of Disaster will appeal to a wide public interested in modern culture, philosophy, and intellectual history.

Drawing on decades of research on the most infamous human and environmental calamities, Button shows how states, corporations, and other actors attempt to create meaning and control social relations in post-disaster struggles for the redistribution of power.

This is an age of great calamities. War and revolution, famine and pestilence, are again rampant on this planet, and they still exact their deadly toll from suffering humanity. Calamities influence every moment of our existence: our mentality and behavior, our social life and cultural processes. Like a demon, they cast their shadow upon every thought we think and every action we perform. In this classic volume, Sorokin attempts to account for the effects these calamities exert on the mental processes, behavior, social organization, and cultural life of the population involved. In what way do famine and pestilence, war and revolution tend to modify our mind and conduct, our social organization and cultural life? To what extent do they succeed in this, and when and why do they prove less effective? What are the causes of these calamities, and what are the ways out? In dealing with these problems Sorokin tries to give a detailed description of the typical effects of famine and pestilence, war and revolution, such as have repeatedly occurred in all major catastrophes of this kind. To use academic language, he attempts to formulate the principal uniformities regularly manifested during such calamities. This book is a forgotten masterpiece of explanation and prediction. It opened new fields of study and broadened the scope of existing specialties.

What are the implications of how we talk about apocalypse? A new philosophical field has emerged. “Existential risk” studies any real or hypothetical human extinction event in the near or distant future. This movement examines catastrophes ranging from runaway global warming to nuclear warfare to malevolent artificial intelligence, deploying a curious mix of utilitarian ethics, statistical risk analysis, and, controversially, a transhuman advocacy that would aim to supersede almost all extinction scenarios. The proponents of existential risk thinking, led by Oxford philosopher Nick Bostrom, have seen their work gain immense popularity, attracting endorsement from Bill Gates and Elon Musk, millions of dollars, and millions of views. Calamity Theory is the first book to examine the rise of this thinking and its failures to acknowledge the ways some communities and lifeways are more at risk than others and what it implies about human extinction. Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

Focusing on one landmark catastrophic event in the history of an emerging modern nation—the Great Kanto Earthquake that devastated Tokyo and surrounding areas in 1923—this fascinating volume examines the history of the visual production of the disaster. The Kanto earthquake triggered cultural responses that ran the gamut from voyeuristic and macabre thrill to the romantic sublime, media spectacle to sacred space, mournful commemoration to emancipatory euphoria, and national solidarity to racist vigilantism and sociopolitical critique. Looking at photography, cinema, painting, postcards, sketching, urban planning, and even scientific visualizations, Weisenfeld demonstrates how visual culture has powerfully mediated the evolving historical understanding of this major national disaster, ultimately enfolding mourning and memory into modernization.

The guiding principle of "Cultural emergency in conflict and disaster" is that culture is a basic need. International heritage specialists, relief workers and politicians discuss the importance of protecting cultural heritage that is threatened by war and calamity, as well as thesignificance of culture as a positive force in the process of recovering from catastrophes and the rebuilding of the communities affected. Reports about projects in conflict zones are alternated with contributions about international administrative and legal aspects, political dimensions and sociocultural perspectives. The result is both an indictment of the senseless destruction of cultural heritage and an unflinching argument for culture as a fundamental factor in the rebuilding and restoration of societies that have been afflicted by conflict and catastrophe.

The Angry Earth explores how various cultures in different historical moments have responded to calamity, offering insight into the complex relationship between societies and their environments. From hurricanes, floods, and earthquakes to oil spills and nuclear accidents, disasters triggered by both natural and technological hazards have become increasingly frequent and destructive across the planet. Through case studies drawn from around the globe the contributors to this volume examine issues ranging from the social and political factors that set the stage for disaster, to the cultural processes experienced by survivors, to the long-term impact of disasters on culture and society. In the second edition, each chapter has been updated with a postscript to reflect on recent developments in the field. There is also new material on key present-day topics including epidemics, drought, non-governmental organizations, and displacement and resettlement. This book demonstrates the relevance of studying disaster from an anthropological perspective and is a valuable resource not only for anthropologists but for other fields concerned with education, policy and practice.

The mesmerizing bestseller that combines the storytelling gifts of Donna Tartt and the suspense of Alfred Hitchcock—A New York Times Ten Best Book of the Year Special Topics in Calamity Physics is a darkly hilarious coming-of-age tale and a richly plotted suspense story, told with dazzling intelligence and wit. At the center of the novel is clever, deadpan Blue van Meer, who has a head full of literary, philosophical, scientific, and cinematic knowledge. But she could use some friends. Upon entering the elite St. Gallway School, she finds some—a clique of eccentrics known as the Bluebloods. One drowning and one hanging later, Blue finds herself puzzling out a byzantine murder mystery. Nabokov meets Donna Tartt (then invites the rest of the Western Canon to the party) in this novel—with visual aids drawn by the author—that has won over readers of all ages.