"Cooper shows how the reaction to slavery unveiled the characteristics of freedom and established the foundation for the human rights movement. The book demonstrates how the legacy of slavery continues to shape individual identity as well as the nature of state power to exercise discipline and control over its citizens"--

Students of American history know of the law's critical role in systematizing a racial hierarchy in the United States. Showing that this history is best appreciated in a comparative perspective, The Long, Lingering Shadow looks at the parallel legal histories of race relations in the United States, Brazil, and Spanish America. Robert J. Cottrol takes the reader on a journey from the origins of New World slavery in colonial Latin America to current debates and litigation over affirmative action in Brazil and the United States, as well as contemporary struggles against racial discrimination and Afro-Latin invisibility in the Spanish-speaking nations of the hemisphere. Ranging across such topics as slavery, emancipation, scientific racism, immigration policies, racial classifications, and legal processes, Cottrol unravels a complex odyssey. By the eve of the Civil War, the U.S. slave system was rooted in a legal and cultural foundation of racial exclusion unmatched in the Western Hemisphere. That system's legacy was later echoed in Jim Crow, the practice of legally mandated segregation. Jim Crow in turn caused leading Latin Americans to regard their nations as models of racial equality because their laws did not mandate racial discrimination--a belief that masked very real patterns of racism throughout the Americas. And yet, Cottrol says, if the United States has had a history of more-rigid racial exclusion, since the Second World War it has also had a more thorough civil rights revolution, with significant legal victories over racial discrimination. Cottrol explores this remarkable transformation and shows how it is now inspiring civil rights activists throughout the Americas.

Several months after arriving home from her service as a United States Army Signal Corps operator in the Great War, Arabella Stewart’s major goals are saving her family’s resort and boosting her hometown, both of which suffered during the war and flu pandemic. Opening day of the summer season begins with optimism but ends with a murdered guest. Eager to solve the crime quickly and avoid negative publicity for the resort, Bella again volunteers to help Constable Jackson Hastings, her dead brother Matt’s best friend and former comrade-in-arms, investigate. Jax resists at first, but with his department shorthanded and his war wounds hampering him, he accepts her assistance. Finding the killer must be a primary concern, but so is Bella’s safety. As Bella and Jax pursue answers, they confront lingering shadows over the suspects, the victim, the resort, the town, and themselves.

Lose yourself in Maggie Stiefvater's NEW YORK TIMES bestselling Shiver series: SHIVER, LINGER, and FOREVER. shiverSam's not just a normal boy -- he has a secret. During the summer he walks and talks as a human, but when the cold comes, he runs with his pack as a wolf. Grace has spent years watching the wolves in the woods behind her house -- but never dreamed that she would fall in love with one of them. Now that they've found each other, the clock ticks down on what could be Grace and Sam's only summer together.lingerCan Grace and Sam last? Each will have to fight to stay together -- whether it means a reckoning with his werewolf past for Sam, or for Grace, facing a future that is less and less certain. Enter Cole, a new wolf who is wrestling with his own demons, embracing the life of a wolf while denying the ties of being human. For Grace, Sam, and Cole, life is harrowing and euphoric, enticing and alarming. As their world falls apart, love is what lingers. But can it be enough?

Shadow of the Third Century: A Revaluation of Christianity, first published in 1949, begins with the assertions that a true history of Christianity has never before been written and that the roots of the Christian religion lie in earlier religions and philosophies of the ancient world. The author, Alvin Boyd Kuhn, asserts that Christianity as we know it took the form it did due to a degeneration of knowledge rather than to an energization produced by a new release of light and truth into the world. In the ancient world, knowledge was commonly passed down by esoteric traditions, its inner meaning known only to the initiated. The Gospels, according to Kuhn, should therefore be understood as symbolic narratives rather than as history. Sacred scriptures are always written in a language of myth and symbol, and the Christian religion threw away and lost their true meaning when it mistranslated this language into alleged history instead of reading it as spiritual allegory. This literalism necessarily led to a religion antagonistic toward philosophy. Moreover, it produced a religion that failed to recognize its continuity with, and debt to, earlier esoteric schools. As evidence of this, Kuhn finds that many of the gospel stories and sayings have parallels in earlier works, in particular those of Egypt and Greece. The transformation of Jesus’ followers into Pauline Christians drew on these sources. Moreover, the misunderstanding of true Christianity led to the excesses of misguided asceticism. Overall, the book seeks to serve as a “clarion call to the modern world to return to the primitive Christianity which the founder of Christian theology, Augustine, proclaimed had been the true religion of all humanity.” With its many citations from earlier works, Shadow of the Third Century also serves as a bibliographic introduction to alternative histories of Christianity.

This book introduces the topics of Enlightenment, Counter-Enlightenment, and social demography in Western art musics and demonstrates their historical and sociological importance. The essays in this book explore the concepts of “existential irony” and “sanctification,” which have been mentioned or discussed by music scholars, historians, and musicologists only either in connection with specific composers’ works (Shostakovich’s, in the case of “existential irony”) or very parenthetically, merely in passing in the biographies of composers of “classical” musics. This groundbreaking work illustrates their generality and sociological sources and correlates in contemporary Western art musics.