While Genet had considerable shortcomings as a diplomat, more important was his inability to accept the irreconcilable differences between the two countries, particularly in their commitment to popular sovereignty and the doctrine of the rights of man. In addition, neither Genet nor his government understood the nature or power of the presidency; in his efforts to win popular support for the French cause, Genet provoked Washington and his cabinet, and the administration eventually demanded the minister's recall. While the mission ended in failure, the public controversy stirred up by Genet constituted a vital step in the formation of the first political parties in the United States. The debate over his demands, which involved common people to an unprecedented degree, led to the infusion of a more democratic strain into the political process, long dominated by an elite leadership.

As controversial and explosive as it is elegant and learned, this examination of Thomas Jefferson, as man and icon, through the critical lens of the French Revolution, offers a provocative analysis of the supreme symbol of American history and political culture and challenges the traditional perceptions of both Jeffersonian history and the Jeffersonian legacy. 15 illustrations.

Jean Genet (1910–1986) resonates, perhaps more than any other canonical queer figure from the pre-Stonewall past, with contemporary queer sensibilities attuned to a defiant non-normativity. Not only sexually queer, Genet was also a criminal and a social pariah, a bitter opponent of the police state, and an ally of revolutionary anticolonial movements. In Disturbing Attachments, Kadji Amin challenges the idealization of Genet as a paradigmatic figure within queer studies to illuminate the methodological dilemmas at the heart of queer theory. Pederasty, which was central to Genet's sexuality and to his passionate cross-racial and transnational political activism late in life, is among a series of problematic and outmoded queer attachments that Amin uses to deidealize and historicize queer theory. He brings the genealogy of Genet's imaginaries of attachment to bear on pressing issues within contemporary queer politics and scholarship, including prison abolition, homonationalism, and pinkwashing. Disturbing Attachments productively and provocatively unsettles queer studies by excavating the history of its affective tendencies to reveal and ultimately expand the contexts that inform the use and connotations of the term queer.

As French consul to the Carolinas and Georgia, Citizen Mangourit was dispatched in 1792 to capitalize on the fledgling alliance between the young republics as opportunity to spread the French Revolution into Spanish holdings in the Floridas and Louisiana. In his analysis of the public and clandestine activities of Mangourit during his short tenure in Charleston, Alderson presents a case study of the challenge given to U.S. republicanism by its French counterpart. Mangourit tapped into a wide range of support for the French Revolution and its implications for South Carolina, drawing support for his cause from well-off planters and disenfranchised groups of backcountrymen, slaves, and women..In the end he was recalled before the invasion projects could be carried out. French and American republicanism quickly diverged, and the French lost their best opportunity to reclaim their empire in North America. Aldersons study shows that the tension between republicanism and self-interest could be resolved at the local level, but republicanism could not be the only basis for national relations.

The Criminal Child offers the first English translation of a key early work by Jean Genet. In 1949, in the midst of a national debate about improving the French reform-school system, Radiodiffusion Française commissioned Genet to write about his experience as a juvenile delinquent. He sent back a piece that was a paean to prison instead of the expected horrifying exposé. Revisiting the cruel hazing rituals that had accompanied his incarceration, relishing the special argot spoken behind bars, Genet bitterly denounced any improvement in the condition of young prisoners as a threat to their criminal souls. The radio station chose not to broadcast Genet’s views. “The Criminal Child” appears here with a selection of Genet’s finest essays, including his celebrated piece on the art of Alberto Giacometti.

Jean Genet, French playwright, novelist and poet, turned the experiences in his life amongst pimps, whores, thugs and other fellow social outcasts into a poetic literature, with an honesty and explicitness unprecedented at the time. Widely considered an outstanding and unique figure in French literature, Genet wrote five novels between 1942 and 1947, now being republished by Faber & Faber in beautiful new paperback editions. The Thief's Journal is perhaps Jean Genet's most authentically autobiographical novel; an account of his impoverished travels across 1930s Europe. The narrator is guilty of vagrancy, petty theft and prostitution, but his writing transforms such degradations into an inverted moral code, where criminality and delinquency become heroic. With a holy trinity of his own making - homosexuality, theft and betrayal - in The Thief's Journal Genet produced a startlingly powerful novel without precedent. Includes a new introduction by Ahdaf Soueif.

The 1961 Vienna Convention on Diplomatic Relations has for over 50 years been central to diplomacy and applied to all forms of relations among sovereign States. Participation is almost universal. The rules giving special protection to ambassadors are the oldest established in international law and the Convention is respected almost everywhere. But understanding it as a living instrument requires knowledge of its background in customary international law, of the negotiating history which clarifies many of its terms and the subsequent practice of states and decisions of national courts which have resolved other ambiguities. Diplomatic Law provides this in-depth Commentary. The book is an essential guide to changing methods of modern diplomacy and shows how challenges to its regime of special protection for embassies and diplomats have been met and resolved. It is used by ministries of foreign affairs and cited by domestic courts world-wide. The book analyzes the reasons for the widespread observance of the Convention rules and why in the special case of communications - where there is flagrant violation of their special status - these reasons do not apply. It describes how abuse has been controlled and how the immunities in the Convention have survived onslaught by those claiming that they should give way to conflicting entitlements to access to justice and the desire to punish violators of human rights. It describes how the duty of diplomats not to interfere in the internal affairs of the host State is being narrowed in the face of the communal international responsibility to monitor and uphold human rights.

The creation of American diplomacy and power as an art

When Jean Genet, the enfant terrible of the French theater, died on April 15, 1986, he left a rich and controversial literary legacy. Genet, a homosexual and ex-convict, wrote about events and in a language that could ruffle the complacency of the most sophisticated reader. His work can be seen as a struggle of the social outcast to be heard from beyond the borders of the dominant, heterosexual culture. This challenging book tracks the effects of this struggle in Genet's novels, plays, film, and political essays by means of a general semiotics of performance. By staging a dialogue between Genet and writers such as Derrida, Bakhtin, Metz, Ricoeur, and Benveniste, Laura Oswald pursues the question of performance in the form of a debate rather than that of a closed theoretical system. Her approach puts into play relations between semiotics and philosophy and provides a means of understanding the relationship between Genet's poetics and his radical politics. By focusing on the role of the double in Genet's literary imagination and by reading Genet with his "others" in the realm of theory, Oswald comes to grips with the overriding concerns of a man whose life in literature was never very far from his life as prisoner, as outcast, as self-proclaimed exile