The New York Times bestselling author of Woke Inc. and a 2024 presidential candidate makes the case that the essence of true American identity is to pursue excellence unapologetically and reject victimhood culture. Hardship is now equated with victimhood. Outward displays of vulnerability in defeat are celebrated over winning unabashedly. The pursuit of excellence and exceptionalism are at the heart of American identity, and the disappearance of these ideals in our country leaves a deep moral and cultural vacuum in its wake. But the solution isn’t to simply complain about it. It’s to revive a new cultural movement in America that puts excellence first again. Leaders have called Ramaswamy “the most compelling conservative voice in the country” and “one of the towering intellects in America,” and this book reveals why: he spares neither left nor right in this scathing indictment of the victimhood culture at the heart of America’s national decline. In this national bestseller, Ramaswamy explains that we’re a nation of victims now. It’s one of the few things we still have left in common—across black victims, white victims, liberal victims, and conservative victims. Victims of each other, and ultimately, of ourselves. This fearless, provocative book is for readers who dare to look in the mirror and question their most sacred assumptions about who we are and how we got here. Intricately tracing history from the fall of Rome to the rise of America, weaving Western philosophy with Eastern theology in ways that moved Jefferson and Adams centuries ago, this book describes the rise and the fall of the American experiment itself—and hopefully its reincarnation.

Charles Sykes's ProfScam sparked a furious debate over the mission and the failure of our universities. Now he turns his attention to an even more controversial subject. A Nation of Victims is the first book on the startling decay of the American backbone and the disease that is causing it. The spread of victimism has been widely noted in the media; indeed, its symptoms have produced best-selling books, fueled television ratings, spawned hundreds of support groups, and enriched tens of thousands of lawyers across the country. The plaint of the victim - Its not my fault - has become the loudest and most influential voice in America, an instrument of personal and lasting political change. In this incisive, pugnacious, frequently hilarious book, Charles Sykes reveals a society that is tribalizing, where individuals and groups define themselves not by shared culture, but by their status as victims. Victims of parents, of families, of men, of women, of the workplace, of sex, of stress, of drugs, of food, of college reading lists, of personal physical characteristics - these and a host of other groups are engaged in an ever-escalating fight for attention, sympathy, money, and legal or governmental protection. What's going on and how did we get to this point? Sykes traces the inexorable rise of the therapeutic culture and the decline of American self-reliance. With example after example, he shows how victimism has co-opted the genuine victories of the civil-rights movement for less worthy goals. And he offers hope: the prospect of a culture of renewed character, where society lends compassion to those who truly need it. Like Shelby Steele, Charles Murray, and Dinesh D'Souza, Charles Sykes defines the ground of what will be a significant national debate.

The re-emergence of the issue of wartime suffering to the fore of German public discourse represents the greatest shift in German memory culture since the Historikerstreit of the 1980s. The (international) attention and debates triggered by, for example, W.G. Sebald’s Luftkrieg und Literatur, Günter Grass’s Im Krebsgang, Jörg Friedrich’s Der Brand testify to a change in focus away from the victims of National Socialism to the traumatic experience of the ‘perpetrator collective’ and its legacies. The volume brings together German, English and Israeli literary and film scholars and historians addressing issues surrounding the representation of German wartime suffering from the immediate post-war period to the present in literature, film and public commemorative discourse. Split into four sections, the volume discusses the representation of Germans as victims in post-war literature and film, the current memory politics of the Bund der Vertriebenen, the public commemoration of the air raids on Hamburg and Dresden and their representation in film, photography, historiography and literature, the impact and reception of W.G. Sebald’s Luftkrieg und Literatur, the representation of flight and expulsion in contemporary writing, the problem of empathy in representations of Germans as victims and the representation of suffering and National Socialism in Oliver Hirschbiegel’s film Der Untergang.

Stalin's reign of terror in the Soviet Union has been called 'the other Holocaust'. During the Stalin years, it is thought that more innocent men, women and children perished than in Hitler's destruction of the European Jews. Many millions died in Stalin's Gulag of torture prisons and forced-labour camps, yet others survived and were freed after his death in 1953. This book is the story of the survivors. Long kept secret by Soviet repression and censorship, it is now told by renowned author and historian Stephen F. Cohen, who came to know many former Gulag inmates during his frequent trips to Moscow over a period of thirty years. Based on first-hand interviews with the victims themselves and on newly available materials, Cohen provides a powerful narrative of the survivors' post-Gulag saga, from their liberation and return to Soviet society, to their long struggle to salvage what remained of their shattered lives and to obtain justice. Spanning more than fifty years, "The Victims Return" combines individual stories with the fierce political conflicts that raged, both in society and in the Kremlin, over the victims of the terror and the people who had victimized them. This compelling book will be essential reading for anyone interested in Russian history.

* Reframes major events like South Africa’s Truth and Reconciliation Commission, the Holocaust, and the war in Bosnia to take into account the "complex victim" * Calls for a more effective and encompassing support of all types of victims, especially those not typically recognized as such Images of the political victim are powerful, gripping, and integral in helping us makes sense of conflict, particularly in making moral calculations, determining who is "good" and who is "evil". These images, and the discourse of victimization that surrounds them, inform the international community when deciding to recognize certain individuals as victims and play a role in shaping response policies. These policies in turn create the potential for long term, stable peace after episodes of political victimization. Bouris finds weighty problems with this dichotomous conception of actors in a conflict, which pervades much of contemporary peacebuilding scholarship. She instead argues that victims, much like the conflicts themselves, are complex. Rather than use this complexity as a way to dismiss victims or call for limits on the response from the international community, the book advocates for greater and more effective responses to conflict.

North American law has been transformed in ways unimaginable before 9/11. Laws now authorise and courts have condoned indefinite detention without charge on secret evidence, mass secret surveillance, and targeted killing of U.S. citizens, suggesting a shift in the cultural currency of a liberal form of legality to authoritarian legality. This book demonstrates that extreme measures have been consistently embraced in politics, scholarship, and public opinion in a specific belief that 9/11 was the harbinger of a new order of terror.

The Rise of Victimhood Culture offers a framework for understanding recent moral conflicts at U.S. universities, which have bled into society at large. These are not the familiar clashes between liberals and conservatives or the religious and the secular: instead, they are clashes between a new moral culture—victimhood culture—and a more traditional culture of dignity. Even as students increasingly demand trigger warnings and “safe spaces,” many young people are quick to police the words and deeds of others, who in turn claim that political correctness has run amok. Interestingly, members of both camps often consider themselves victims of the other. In tracking the rise of victimhood culture, Bradley Campbell and Jason Manning help to decode an often dizzying cultural milieu, from campus riots over conservative speakers and debates around free speech to the election of Donald Trump.