At a recent meeting of the World Economic Forum in Davos, it was reported that a ghost was haunting the deliberations of the assembled global elite - that of the renowned social scientist and economic historian, Karl Polanyi. In his classic work, The Great Transformation, Polanyi documented the impact of the rise of market society on western civilization and captured better than anyone else the destructive effects of the economic, political and social crisis of the 1930s. Today, in the throes of another Great Recession, Polanyi’s work has gained a new significance. To understand the profound challenges faced by our democracies today, we need to revisit history and revisit his work. In this new collection of unpublished texts - lectures, draft essays and reports written between 1919 and 1958 - Polanyi examines the collapse of the liberal economic order and the demise of democracies in the inter-war years. He takes up again the fundamental question that preoccupied him throughout his work - the place of the economy in society - and aims to show how we might return to an economy anchored in society and its cultural, religious and political institutions. For anyone concerned about the danger to democracy and social life posed by the unleashing of capital from regulatory control and the dominance of the neoliberal ideologies of market fundamentalism, this important new volume by one of the great thinkers of the twentieth century is a must-read.

No evolution of a geographical region was more rapid and transformative than that of the American West at Mid-Century. "New West" explores the innovations that shaped this unique architectural landscape, through the vibrant, compelling images of the colour-saturated, highly-textured, popular art form of the Linen Post Card. Collision, eruption, and erosion are the formative forces that account for the raw vitality and breathtaking beauty of the American West. While it has taken 4.5 billion years to write the complex geological and hydrological history embedded in this region, it has taken less than 200 years to write the story of its modern transformation into an interdependent network of cities, parks, roads, infrastructure, and communications. "New West" draws from over 500 Mid-Century Linen Post Card images, to explore in detail the changes that the four waves of innovation; steam, steel, oil, and information, have wrought upon the land

This wide-ranging collection of essays is intended to provoke both thought and action. The pieces collected here explore a variety of issues facing the American West—disappearing Native American languages, deteriorating air quality, suburban sprawl, species loss, grassland degradation, and many others—and suggest steps toward “healing.” More than “dealing with” or “solving,” according to the editors, healing addresses not just symptoms but their underlying causes, offering not just a temporary cure but a permanent one. The signs of illness and trauma can seem omnipresent in today’s West: land and soil disrupted from mining, overgrazing, logging, and farming; wildlife habitat reduced and fragmented; native societies disturbed and threatened; open space diminished by cities and suburbs; wilderness destroyed by roads and recreation-seekers. But as these essays suggest, the “treatment program” for healing the West has many healthful side effects. Engaging in the kinds of projects suggested by contributors is therapeutic not only for the environment but for participants as well. Restoration, repair, and recovery can counter symptoms of despair with concentrated doses of promise and possibility. The more “lesions” the West has, this book suggests, the more opportunities there are for westerners to revive and ultimately cure the ailing patient they have helped to create. The very idea of restoring the West to health, contributors and editors contend, unleashes our imaginations, sharpens our minds, and gives meaning to the ways we choose to live our lives. At the same time, acknowledging the profound difficulties of the work that lies ahead immunizes us against our own arrogance as we set about the task of healing the West.

In the early 1970s, empowered by the civil rights and women's movements, a new group of women writers began speaking to the American public. Their topic, broadly defined, was the postmodern American West. By the mid-1980s, their combined works made for a bona fide literary groundswell in both critical and commercial terms. However, as Krista Comer notes, despite the attentions of publishers, the media, and millions of readers, literary scholars have rarely addressed this movement or its writers. Too many critics, Comer argues, still enamored of western images that are both masculine and antimodern, have been slow to reckon with the emergence of a new, far more "feminine," postmodern, multiracial, and urban west. Here, she calls for a redesign of the field of western cultural studies, one that engages issues of gender and race and is more self-conscious about space itself_especially that cherished symbol of western "authenticity," open landscape. Surveying works by Joan Didion, Wanda Coleman, Maxine Hong Kingston, Leslie Marmon Silko, Barbara Kingsolver, Pam Houston, Louise Erdrich, Sandra Cisneros, and Mary Clearman Blew, Comer shows how these and other contemporary women writers have mapped new geographical imaginations upon the cultural and social spaces of today's American West.

Inspired by Chicago’s successful 1893 World Columbian Exposition, the cities of Portland, Seattle, San Diego, and San Francisco all held fairs between 1905 and 1915. From the start of the Lewis and Clark Exposition to the close of the Panama-California Exposition a decade later, millions of Americans visited exhibits, watched live demonstrations and performances, and wandered amusement zones. Millions more thumbed through brochures or read news articles. Fair publicity directors embraced the emerging science of consumer marketing. Conceived to attract new citizens, showcase communities, and highlight farming and industrial opportunities, the four expositions’ promotional campaigns and vendor and exhibit choices offer a unique opportunity to examine western leaders’ perceptions of their city and region, as well as their future goals and how they both fed and tried to mitigate misconceptions of a wild, wooly West. They also expose biased attitudes toward Native Americans, Mexican Americans, Filipinos, and others. Boosting a New West explores the fairs’ cultural and social meaning by focusing on and comparing the promotions that surrounded them. It details their origins and describes why each city chose to host, conveying the expected economic, social, and cultural benefits. It also shows how organizers articulated their significance to urban, regional, and national audiences, and how they attempted to shape a new western identity.

Originally published in 1974, this book is now regarded as a classic book of photography in the pantheon of landmark projects exploring American culture and society.

Lost in the New West investigates a group of writers – John Williams, Cormac McCarthy, Annie Proulx and Thomas McGuane – who have sought to explore the tensions inherent to the Western, where the distinctions between old and new, myth and reality, authenticity and sentimentality are frequently blurred. Collectively these authors demonstrate a deep-seated attachment to the landscape, people and values of the West and offer a critical appraisal of the dialogue between the contemporary West and its legacy. Mark Asquith draws attention to the idealistic young men at the center of such works as Williams's Butcher's Crossing (1960), McCarthy's Blood Meridian (1985) and Border Trilogy, Proulx's Wyoming stories and McGuane's Deadrock novels. For each writer, these characters struggle to come to terms with the difference between the suspect mythology of the West that shapes their identity and the reality that surrounds them. They are, in short, lost in the new West.