A new and chilling study of lethal human exploitation in the Soviet forced labor camps, one of the pillars of Stalinist terror In a shocking new study of life and death in Stalin’s Gulag, historian Golfo Alexopoulos suggests that Soviet forced labor camps were driven by brutal exploitation and often administered as death camps. The first study to examine the Gulag penal system through the lens of health, medicine, and human exploitation, this extraordinary work draws from previously inaccessible archives to offer a chilling new view of one of the pillars of Stalinist terror.

"[W]ill be welcomed by students of comparative slavery.... [It] makes us reconsider the significance of slavery in the subcontinent." -- Edward A. Alpers, UCLA Despite its pervasive presence in the South Asian past, slavery is largely overlooked in the region's historiography, in part because the forms of bondage in question did not always fit models based on plantation slavery in the Atlantic world. This important volume will contribute to a rethinking of slavery in world history, and even the category of slavery itself. Most slaves in South Asia were not agricultural laborers, but military or domestic workers, and the latter were overwhelmingly women and children. Individuals might become slaves at birth or through capture, sale by relatives, indenture, or as a result of accusations of criminality or inappropriate sexual behavior. For centuries, trade in slaves linked South Asia with Africa, the Middle East, and Central Asia. The contributors to this collection of original essays describe a wide range of sites and contexts covering more than a thousand years, foregrounding the life stories of individual slaves wherever possible. Contributors are Daud Ali, Indrani Chatterjee, Richard M. Eaton, Michael H. Fisher, Sumit Guha, Peter Jackson, Sunil Kumar, Avril A. Powell, Ramya Sreenivasan, Sylvia Vatuk, and Timothy Walker.

The twentieth century will be remembered for great innovation in two particular areas: art and culture, and technological advancement. Much of its prodigious technical inventiveness, however, was pressed into service in the conduct of warfare. Why, asks Margot Norris, did violence and suffering on such an immense scale fail to arouse artistic and cultural expressions powerful enough to prevent the recurrence of these horrors? Why was art not more successful--through its use of dramatic, emotionally charged material, its ability to stir imagination and arouse empathy and outrage--in producing an alternative to the military logic that legitimates war? Military argument in the twentieth century has been fortified by the authority of the rationalism that we attribute to science, Norris argues. Warfare is therefore legitimized by powerful discourses that art's own arsenal of styles and genres has limited power to counter. Art's difficulty in representing the violent death of entire generations or populations has been particularly acute. Choosing works that have become representative of their historically violent moment, Norris explores not only their aesthetic strategies and perspectives but also the nature of the power they wield and the ethical engagements they enable or impede. She begins by mapping the altered ethical terrain of modern technological warfare, with its increasing targeting of civilian populations for destruction. She then proceeds historically with chapters on the trench poetry and modernist poetry of World War I, Hemingway's A Farewell to Arms and Erich Maria Remarque's All Quiet on the Western Front, both the book and the film of Schindler's List, the conflicting historical stories of the Manhattan Project, a comparison of American and Japanese accounts of Hiroshima, Francis Ford Coppola's film Apocalypse Now, and the effects of press censorship in the Persian Gulf War. By looking at the whole span of the century's writing on war, Norris provides a fascinating critique of art's ethical power and limitations, along with its participation in--as well as protest against--the suffering that human beings have brought upon themselves.