An absorbing look at the role of disease and health policy in the construction of race, gender, and class and in urban development in nineteenth- and twentieth-century San Francisco. "Craddock's provocative work offers an invaluable perspective on public health and the construction of race that speaks not only to the past but also to the present." -Bulletin of the History of Medicine "City of Plagues should fuel excitement and increase other geographers' notice of the remarkable work emanating from it. It simply and brilliantly traces how the often-argued triad of power/knowledge/space actually works in a particular place, at a particular time, and around a particular issue. Meticulous and nuanced." -Environment and Planning D: Society and Space "This book provides an engaging, readable, and well-researched account of the social, political, and medical responses to infectious diseases in San Francisco from the mid-nineteenth century to the present day. A wealth of material is brought together to describe, in a geographical, historical, and cultural framework, the experience, among San Francisco's population, of diseases such as tuberculosis, smallpox, syphilis and other sexually transmitted diseases, plague, and, latterly, HIV and AIDS." -Environment and Planning A Susan Craddock is associate professor in the Department of Women's Studies and the Institute for Global Studies at the University of Minnesota.

With the 16th and 17th Century outbreaks of the Plague, came the arrests and executions of many hospital workers who were accused of conspiring to spread the disease. "Plagues, Poisons and Potions" contains a detailed study of this fascinating phenomenon associated with the Plague. It examines the courts and the part played by torture, as well as considering the socio-economic conditions of the workers, highlighting an early modern form of 'class warfare'.

By investigating thousands of descriptions of epidemics reaching back before the fifth-century-BCE Plague of Athens to the distrust and violence that erupted with Ebola in 2014, Epidemics challenges a dominant hypothesis in the study of epidemics, that invariably across time and space, epidemics provoked hatred, blaming of the 'other', and victimizing bearers of epidemic diseases, particularly when diseases were mysterious, without known cures or preventive measures, as with AIDS during the last two decades of the twentieth century. However, scholars and public intellectuals, especially post-AIDS, have missed a fundamental aspect of the history of epidemics. Instead of sparking hatred and blame, this study traces epidemics' socio-psychological consequences across time and discovers a radically different picture: that epidemic diseases have more often unified societies across class, race, ethnicity, and religion, spurring self-sacrifice and compassion.

This volume proposes a theoretical grounding for the study of cities and the people who live and work in them. Using a threefold, interdisciplinary approach to urban identities which links agency, space, and structure, the book examines the work of three major urban theorists.

Beyond her most famous creation—the nightmarish vision of Frankenstein’s Creature—Mary Shelley’s most enduring influence on politics, literature, and art perhaps stems from the legacy of her lesser-known novel about the near-extinction of the human species through war, disease, and corruption. This novel, The Last Man (1826), gives us the iconic image of a heroic survivor who narrates the history of an apocalyptic disaster in order to save humanity—if not as a species, then at least as the practice of compassion or humaneness. In visual and musical arts from 1826 to the present, this postapocalyptic figure has transmogrified from the “last man” into the globally familiar filmic images of the “invisible man” and the “final girl.” Reading Shelley’s work against the background of epidemic literature and political thought from ancient Greece to Covid-19, Eileen M. Hunt reveals how Shelley’s postapocalyptic imagination has shaped science fiction and dystopian writing from H. G. Wells, M. P. Shiel, and George Orwell to Octavia Butler, Margaret Atwood, and Emily St. John Mandel. Through archival research into Shelley’s personal journals and other writings, Hunt unearths Shelley’s ruminations on her own personal experiences of loss, including the death of young children in her family to disease and the drowning of her husband, Percy Bysshe Shelley. Shelley’s grief drove her to intensive study of Greek tragedy, through which she developed the thinking about plague, conflict, and collective responsibility that later emerges in her fiction. From her readings of classic works of plague literature to her own translation of Sophocles’s Oedipus Rex, and from her authorship of the first major modern pandemic novel to her continued influence on contemporary popular culture, Shelley gave rise to a tradition of postapocalyptic thought that asks a question that the Covid-19 pandemic has made newly urgent for many: What do humans do after disaster?

An overview of deadly diseases from throughout world history spanning from prehistoric civilizations to the twenty-first century. All you need for a plague to go pandemic are population clusters and travelers spreading the bacterial or viral pathogens. Many prehistoric civilizations died fast, leaving cities undamaged to mystify archeologists. Plague in Athens killed 30% of the population 430–426 BCE. When Roman Emperor Justinian I caught bubonic plague in 541 CE, contemporary historian Procopius described his symptoms: fever, delirium and buboes—large black swellings of the lymphatic glands in the groin, under the arms and behind the ears. That bubonic plague killed twenty-five million people around the Mediterranean. Later dubbed Black Death, it killed fifty million people 1346-1353, returning to London forty times in the next 300 years. The third bubonic plague pandemic started 1894 in China, claiming fifteen million lives, largely in Asia, before dying down in the 1950s after visiting San Francisco and New York. But it also hit Madagascar in 2014, and the Congo and Peru. The cause, yersinia pestis was identified in 1894. Infected fleas from rats on merchant ships were blamed for spreading it, but Porton Down scientists have a worrying explanation why the plague spread so fast. Any disease can go epidemic. Everyday European infections brought to the Americas by Cortes’ conquistadores killed millions of the natives, whose posthumous revenge was the syphilis the Spaniards brought back to Europe. The mis-named Spanish flu, brought from Kansas to Europe by U.S. troops in 1918 caused more than fifty million deaths. Fifty years later, H3N2 flu from Hong Kong killed more than a million people. One coronavirus produces the common cold, for which neither vaccine nor cure has been found, despite the loss of millions of working days each year. Chillingly, historian Douglas Boyd lists many other sub-microscopic killers still waiting for tourism and trade to bring them to us.

Several of American literature’s most prominent authors, and many of their most perceptive critics and reviewers, argue that fiction of the last quarter century has turned away from the tendencies of postmodernist writing. Yet, the nature of that turn, and the defining qualities of American fiction after postmodernism, remain less than clear. This volume identifies four prominent trends of the contemporary scene: the recovery of the real, a rethinking of historical engagement, a preoccupation with materiality, and a turn to the planetary. Readings of works by various leading figures, including Dave Eggers, Jonathan Franzen, A.M. Homes, Lance Olsen, Richard Powers, William T. Vollmann, and David Foster Wallace, support a variety of arguments about this recent revitalization of American literature. The chapters in this book were originally published as a special issue of the journal Textual Practice.

The book is a commentary on preaching from the book of Revelation. Working through the book of Revelation verse by verse, the commentary seeks to help the preacher recognize what the book (with its apocalyptic theology) invited people in antiquity to believe and do. . . . The book of Revelation communicates through a series of word-pictures. Allen explains each word-picture in light of its ancient setting. The commentary brings the viewpoint of the book of Revelation into conversation (through mutual critical correlation) with contemporary theology, especially process thought. The work aims to help the preacher to help the congregation identify what they can genuinely believe and confidently do. Believing that the best preaching arises from the local context, the volume does not include full sermons, but, rather, seeks to raise issues and questions that might be thought-provoking.