A compelling and timely collection that combines two distinct but related theories in rhetoric and communication studies

The convergence of activists in Seattle during the World Trade Organization meetings captured the headlines in 1999. These demonstrations marked the first major expression on U.S. soil of worldwide opposition to inequality, privatization, and political and intellectual repression. This turning point in world politics coincided with an ongoing quandary in academia-particularly in the humanities where the so-called "death of theory" has left the field on tenuous footing. In What Democracy Looks Like, the editors and twenty-seven contributors argue that these crises-in the world and the academy-are not unrelated. The essays insist that, in the wake of "Seattle," teachers and scholars of American literature and culture are faced with the challenge of addressing new points of intersection between American studies and literary studies. The narrative, the poem, the essay, and the drama need to be reexamined in ways that are relevant to the urgent social and political issues of our time. Collectively urging scholars and educators to pay fresh attention to the material conditions out of which literature arises, this path-breaking book inaugurates a new critical realism in American literary studies. It provides a crucial link in the growing need to merge theory and practice with the goal of reconnecting the ivory tower elite to the activists on the street.

This Is What Democracy Looked Like, the first illustrated history of printed ballot design, illuminates the noble but often flawed process at the heart of our democracy. An exploration and celebration of US ballots from the nineteenth and early twentieth centuries, this visual history reveals unregulated, outlandish, and, at times, absurd designs that reflect the explosive growth and changing face of the voting public. The ballots offer insight into a pivotal time in American history—a period of tectonic shifts in the electoral system—fraught with electoral fraud, disenfranchisement, scams, and skullduggery, as parties printed their own tickets and voters risked their lives going to the polls.

Occupy Wall Street, as centered in New York City, received much publicity. Little attention, however, has been granted to the hundreds of Occupy groups in marginal locations whose creative politics were certainly not limited by the influential example of Occupy in Zuccotti Park. This volume rectifies this oversight, with thirteen essays critically addressing the politics of occupation in places such as Indiana, Oregon, Texas, Ohio, Pennsylvania, Montana, and California. It initiates an interdisciplinary and critical discussion concerned with the importance of the ‘local’ to contemporary politics; the evolution of Occupy Wall Street tactics as they changed to fit differing, non-spectacular contexts; and what worked or did not work politically in various contexts. All of the above is designed to inform and improve that as-of-yet-unnamed movement which will come after Occupy. Boasting scholars from sociology, English, anthropology, peace studies, and history, the volume is divided into three major sections: Occupying the Local: Promise and Predicament; Occupying Space and Borders: South, East, and West; and Occupying the Media: Local, Regional, and National Dilemmas.

A stunning collection of plays from Pulitzer Prize-winning playwright Suzan-Lori Parks that captures the societal rupture of the early days of the COVID-19 pandemic. On March 13, 2020, as theaters shut their doors and so many of us went into lockdown, Suzan-Lori Parks picked up her pen and set out to write a play every day. What emerged is a breathtaking chronicle of our collective experience throughout the troubling days and nights that followed. Plays for the Plague Year is at once a personal story of one family's daily lives, as well as a sweeping account of all we faced as a city, a nation, and a global community. Parks' groundbreaking new work is brimming with humanity, bears witness to what we’ve experienced, and offers inspiration as we look ahead.

Grief-stricken after his mother's death and three years of wandering the world, Victor is longing for a family and a sense of purpose. He believes he's found both when he returns home to Seattle only to be swept up in a massive protest. With young, biracial Victor on one side of the barricades and his estranged father -- the white chief of police -- on the opposite, the day descends into chaos, capturing in its confusion the activists, police, bystanders, and citizens from all around the world who'd arrived that day brimming with hope. By the day's end, they have all committed acts they never thought possible. As heartbreaking as it is pulse-pounding, Yapa's virtuosic debut asks profound questions about the power of empathy in our hyper-connected modern world, and the limits of compassion, all while exploring how far we must go for family, for justice, and for love.

Democratic theorists frequently assume that the "people" must have something in common, or else democracy will fail. This produces an ironically anti-democratic tendency to emphasize the passive possession of commonality. Sharing Democracy counters this tendency with a radical vision of democracy grounded instead in the active exercise of political freedom.

Democracy is very much an open question in the early twenty-first century. While voter participation declines in many traditional democracies, new movements for democracy are emerging around the world. This book brings the question of democracy out of the halls of political power and home to our daily lives, pitting "official democracy" and "democracy from below" against one another in a lively debate. For more information see www.democraticimagination.com.

This collection of essays, by some of the most distinguished public intellectuals and cultural critics in America explores various dimensions of what it means to live in the age of debt. They ask, what is the debt age? For that matter, what is debt? Is its meaning transhistorical or transcultural? Or is it imbued in ideology and thus historically contingent? What is the relationship between debt and theory? Whose debt is acknowledged and whose is ignored? Who is the paradigmatic subject of debt? How has debt affected contemporary academic culture? Their responses to these and other aspects of debt are sure to become required reading for anyone who wants to understand what it means to live in the debt age.