Barry Brown’s mother wished for a different child. Red, unruly hair! A stammer! Non-stop fidgeting! A weird birthmark! To add to all her woes, the silly boy cherished a ridiculous desire to learn magic! She couldn't remember how Mr Foggitt, a most unusual teacher of the real arcane magick arts, encountered in a dusty old shop in London, had persuaded her to allow Barry to have lessons. Barry loved Mr Foggitt’s weaving of wondrous tales of Magius, the greatest of all wizards; and the man who became a bear; and the mysterious Dual Veil, a great wall of mist that separated the human world from Elfenndorr, the world inhabited by marvellous and scary things that humans thought were mere fantasies. Little did Barry know that when Gwyddon, Mr Foggitt’s flame-red owl, flew away, she had delivered a message to Teag-of-the-Laurel (elf lord of Tylwyth Teg, a district of Elfenndorr): The dragon stirs in the long-awaited boy, and the girl we have yet to find. Barry soon discovered that all those tales told by Mr Foggitt were true. Along with school-friend, Maybellyne, he was a child of prophecy destined to travel through the mists of the Dual Veil into Elfenndorr. Only he and Maybellyne could stop Dredammorg, the darkest of all wizards, from melting the glue that holds the worlds together.

In the period between the Civil War and the Great Depression, Louisville, Kentucky was host to what George C. Wright calls "a polite form of racism." There were no lynchings or race riots, and to a great extent, Louisville blacks escaped the harsh violence that was a fact of life for blacks in the Deep South. Furthermore, black Louisvillians consistently enjoyed and exercised an oft-contested but never effectively retracted enfranchisement. However, their votes usually did not amount to any real political leverage, and there were no radical improvements in civil rights during this period. Instead, there existed a delicate balance between relative privilege and enforced passivity.A substantial paternalism carried over from antebellum days in Louisville, and many leading white citizens lent support to a limited uplifting of blacks in society. They helped blacks establish their own schools, hospitals, and other institutions. But the dual purpose that such actions served, providing assistance while making the maintenance of strict segregation easier, was not incidental. Whites salved their consequences without really threatening an established order. And blacks, obliged to be grateful for the assistance, generally refrained from arguing for real social and political equality for fear of jeopardizing a partially improved situation and regressing to a status similar to that of other southern blacks.In Life Behind a Veil: Blacks in Louisville, Kentucky, 1865 - 1930, George Wright looks at the particulars of this form of racism. He also looks at the ways in which blacks made the most of their less than ideal position, focusing on the institutions that were central to their lives. Blacks in Louisville boasted the first library for blacks in the United States, as well as black-owned banks, hospitals, churches, settlement houses, and social clubs. These supported and reinforced a sense of community, self-esteem, and pride that was often undermined by the white world.Life Behind a Veil is a comprehensive account of race relations, black response to white discrimination, and the black community behind the walls of segregation in this border town. The title echoes Blyden Jackson's recollection of his childhood in Louisville, where blacks were always aware that there were two very distinct Louisvilles, one of which they were excluded from.

W.E.B Du Bois is widely considered one of the most accomplished and controversial African American intellectuals in U.S. history. A pioneering historian, sociologist, political economist, and civil rights activist, his masterpiece The Souls of Black Folk remains one of the most widely read books in the history of American literature. In this new book, Reiland Rabaka critically explores Du Bois’s multidimensional legacy, lucidly introducing his main contributions in areas ranging from American sociology and critical race studies to black feminism and black Marxism. Rabaka argues that Du Bois’s corpus, particularly when attention is given to his contributions to the critique of racism, sexism, capitalism and colonialism, can be persuasively interpreted as both an undeniable and unprecedented contribution to the origins and evolution of one of our most important contemporary critical concepts: intersectionality. Du Bois: A Critical Introduction is an indispensable resource for scholars and students of history, sociology, politics, and economics. It will also be very valuable for those working in interdisciplinary fields, ranging from African American studies, critical race studies, and critical white studies to black feminism, black Marxism, and black internationalism.

This volume is a very interesting research project that includes the most careful work on constitutional power and limits to authority of which I am aware. In general, the contributors find that constitutional negotiations normally took place in settings where uncertainty was considerable. They also find that the more detailed the characterization of power relationships, the more liberal and durable the democracy tends to be. Roger D. Congleton This book addresses the issue of the impact of uncertainty in constitutional design. To what extent do constitution drafters and adopters make their decisions behind a veil of ignorance? More fundamentally, can we infer from constitutional texts the degree of uncertainty faced by constitution drafters and adopters? After an introduction (chapter 1), the book proceeds in two parts. The first part (chapters 2 to 4) introduces to the intellectual filiation of the project and to its theoretical and methodological foundations. The second part (chapters 5 to 13) presents nine case studies built on the same structure: historical account of the making of the Constitution, results of the content analysis of the constitutional text, and discussion of specific issues raised in the analysis. Chapter 14 concludes.

Examined within their economic, cultural, and political context, the work of women Maghrebi filmmakers forms a cohesive body of work. Florence Martin examines the intersections of nation and gender in seven films, showing how directors turn around the politics of the gaze as they play with the various meanings of the Arabic term hijab (veil, curtain, screen). Martin analyzes these films on their own theoretical terms, developing the notion of "transvergence" to examine how Maghrebi women's cinema is flexible, playful, and transgressive in its themes, aesthetics, narratives, and modes of address. These are distinctive films that traverse multiple cultures, both borrowing from and resisting the discourses these cultures propose.

Capitalism and Classical Social Theory, Second Edition offers solid coverage of the classical triumvirate (Marx, Durkheim, and Weber), but also extends the canon strategically to include Simmel, four early female theorists, and the writings of Du Bois.