What forces shaped the twentieth-century world? Capitalism and communism are usually seen as engaged in a fight-to-the-death during the Cold War. With the establishment of the People's Republic of China in 1949, the Chinese Communist Party aimed to end capitalism. Karl Gerth argues that despite the socialist rhetoric of class warfare and egalitarianism, Communist Party policies actually developed a variety of capitalism and expanded consumerism. This negated the goals of the Communist Revolution across the Mao era (1949–1976) down to the present. Through topics related to state attempts to manage what people began to desire - wristwatches and bicycles, films and fashion, leisure travel and Mao badges - Gerth challenges fundamental assumptions about capitalism, communism, and countries conventionally labeled as socialist. In so doing, his provocative history of China suggests how larger forces related to the desire for mass-produced consumer goods reshaped the twentieth-century world and remade people's lives.

Aldous Huxley began as a poet. He perfected the voice of the modern satirical poet of ideas, who used art against itself to produce a parodic poetry of breakdowns, collapses, stalemates, and dead ends best suited to the apparent pointlessness of the post-war era. His cleverest, most irreverent poems are contrapuntal: they, in effect, silence venerable poets and cancel traditional formats. Huxley's poetic personas either fail to preserve conventional forms or purposely sabotage them. By 1920, Huxley became the parodic equivalent of the formative intelligences (i.e., Dante, Goethe, and Lucretius) who once synthesized their respective eras positively. In this book, author Jerome Meckier explicates most of Huxley's poems, including Leda, his masterpiece, an ironical modern myth. Meckier traces Huxley's development in terms of the poets he inserted in five of his eleven novels, along with their poems. These poets mostly fail as poets, their different stances falling apart one after another. But Huxley began to detect a spiritual significance underlying the creative urge. This allowed him to rehabilitate many of the Romantic and Victorian poets he formerly ridiculed as frauds and liars. Eventually, he celebrated mystical contemplation as silent poetry, positing a utopia in which everyone is a poet to the limits of his or her potentiality. Huxley became the perennial philosopher, a neo-Brahmin: the sage-like figure he initially personified parodically. His paradigmatic career took him from a Pyrrhonic silencing of outmoded poems and poets to the advocacy of a poetry of silence. (Series: "Human Potentialities". Studien zu Aldous Huxley & zeitgenossischer Kultur/Studies in Aldous Huxley & Contemporary Culture - Vol. 11)

Vols. for 1828-1934 contain the Proceedings at large of the American Board of Commissioners for Foreign Missions.