In recent years debates about the nature and future of the West have been high on the political agenda. Prognoses of the West’s imminent demise have been countered by those arguing for its continued relevance, or those arguing that while the West will survive its nature, and the balance of power between its constituent units, is transforming. This book argues that understanding contemporary developments requires subjecting the very idea of the West to critical scrutiny and in particular asking what kind of concept it actually is. Locating the West as a discursive concept the book argues attempts to save, fix or reclaim the meaning of the West are illustrative of political agendas rather than indicative of accurate claims about the essential nature of the West. In contrast, the book argues that as a concept the West is impregnated with various discursive legacies, the most embedded of which are those of a civilisational, modern and political West. However, while attempts to define the West’s essence are therefore doomed to fail, given the concept’s historical and discursive flexibility, such attempts reaffirm the legitimising role which claims to the West continue to perform. Beyond this, the book challenges traditional genealogies of the West, which overwhelmingly depict the West as an inside-out concept. In contrast, the book argues that historically outsiders have played an important role in defining the nature of the West and constituting it as a political subject; processes that remain evident today. This book will particularly interest students of critical security studies, critical geopolitics, European politics, American politics and IR theory.

Multiple Award-Winner! Winner of the 2023 Michael Nelson Prize of International Association for Media and History (IAMHIST) Recipient of the 2022 Jane Jacobs Urban Communication Book Award Winner of the 2023 American Journalism Historians Association Book of the Year Winner of the 2023 ULCC’s (Union League Club of Chicago) Outstanding Book on the History of Chicago Award Recipient of a 2023 Best of Illinois History Superior Achievement award from the Illinois State Historical Society Winner of the 2023 BAAS Book Prize (British Association for American Studies) Honorable Mention for the 2021-22 RSAP Book Prize (Research Society for American Periodicals) Buildings once symbolized Chicago's place as the business capital of Black America and a thriving hub for Black media. In this groundbreaking work, E. James West examines the city's Black press through its relationship with the built environment. As a house for the struggle, the buildings of publications like Ebony and the Chicago Defender embodied narratives of racial uplift and community resistance. As political hubs, gallery spaces, and public squares, they served as key sites in the ongoing Black quest for self-respect, independence, and civic identity. At the same time, factors ranging from discriminatory business practices to editorial and corporate ideology prescribed their location, use, and appearance, positioning Black press buildings as sites of both Black possibility and racial constraint. Engaging and innovative, A House for the Struggle reconsiders the Black press's place at the crossroads where aspiration collided with life in one of America's most segregated cities.

"Gregg's book is the closet thing I've encountered in a long time to a one-volume user's manual for operating Western Civilization." —The Stream "Reason, Faith, and the Struggle for Western Civilization offers a concise intellectual history of the West through the prism of the relationship between faith and reason." —Free Beacon The genius of Western civilization is its unique synthesis of reason and faith. But today that synthesis is under attack—from the East by radical Islam (faith without reason) and from within the West itself by aggressive secularism (reason without faith). The stakes are incalculably high. The naïve and increasingly common assumption that reason and faith are incompatible is simply at odds with the facts of history. The revelation in the Hebrew Scriptures of a reasonable Creator imbued Judaism and Christianity with a conviction that the world is intelligible, leading to the flowering of reason and the invention of science in the West. It was no accident that the Enlightenment took place in the culture formed by the Jewish and Christian faiths. We can all see that faith without reason is benighted at best, fanatical and violent at worst. But too many forget that reason, stripped of faith, is subject to its own pathologies. A supposedly autonomous reason easily sinks into fanaticism, stifling dissent as bigoted and irrational and devouring the humane civilization fostered by the integration of reason and faith. The blood-soaked history of the twentieth century attests to the totalitarian forces unleashed by corrupted reason. But Samuel Gregg does more than lament the intellectual and spiritual ruin caused by the divorce of reason and faith. He shows that each of these foundational principles corrects the other’s excesses and enhances our comprehension of the truth in a continuous renewal of civilization. By recovering this balance, we can avoid a suicidal winner-take-all conflict between reason and faith and a future that will respect neither.

At the time of his death in 1820, Benjamin West was the most famous artist in the English-speaking world, and much admired throughout Europe. From humble beginnings in Pennsylvania, he had become the first American artist to study in Italy, and within a few short years of his arrival in London, was instrumental in the foundation of the Royal Academy of Arts (he succeeded Sir Joshua Reynolds to become its second President) and became history painter to King George III. In his lifetime, West's meteoric rise to prominence and the great pleasure he took in his success attracted criticism, and his posthumous reputation took a savage mauling from Victorian critics, one of whom dubbed him 'The Monarch of Mediocrity'. But even at his critical nadir, West's most celebrated work, The Death of General Wolfe, commemorating the British victory at the Battle of Quebec in 1759 and first exhibited at the Royal Academy in 1771, continued to fascinate. Although it was not, as is sometimes claimed, the first history painting to feature contemporary costume, it was the first picture in such a vein to become a critical and popular success in Britain. West remains today the most neglected and misunderstood of Britain's great eighteenth-century artists, lacking the social bite of Hogarth, the bravura of Reynolds or the easy elegance of Gainsborough. Nor was he a forceful writer (unlike Hogarth and Reynolds), and he did not possess the intellectual credentials to which so many of his fellow artists aspired. And yet, as Loyd Grossman asserts in his new book, West was extraordinarily in tune with the artistic and intellectual currents that swirled through his turbulent times. He was in the vanguard of both Neoclassicism and Romanticism, and among the very first artists to give visual expression to the exciting and heroic qualities of contemporary events, as opposed to episodes dredged up from the biblical, classical or mythological past, which had long enjoyed the highest artistic status. West's Wolfe was painted at a time when Europeans were just beginning to abandon the tendency to look backwards. Men and women of letters, philosophers and historians were increasingly convinced that modernity could equal and even surpass the achievements of the ancient Greeks and Romans. This new-found ability to believe in the value of the present and to look forward to a progressive future is very much the foundation of the 'modern' attitude that has affected the way we live and think ever since. While acknowledging that West's reputation is still precarious, Grossman explains why Wolfe was such an instant success and why this thrilling work of art continues to exercise such a strong grip on our imaginations nearly 250 years after it was first shown to the public. He situates West in the midst of Enlightenment thinking about history and modernity, and seeks to demolish some of the prejudices about the talent and intentions of the young man from the Pennsylvania frontier who attained such eminence at the British court.

From postwar efforts to end discrimination in the motion-picture industry, recording studios, and musicians’ unions, through the development of community-based arts organizations, to the creation of searing films critiquing conditions in the black working class neighborhoods of a city touting its multiculturalism—Black Arts West documents the social and political significance of African American arts activity in Los Angeles between the Second World War and the riots of 1992. Focusing on the lives and work of black writers, visual artists, musicians, and filmmakers, Daniel Widener tells how black cultural politics changed over time, and how altered political realities generated new forms of artistic and cultural expression. His narrative is filled with figures invested in the politics of black art and culture in postwar Los Angeles, including not only African American artists but also black nationalists, affluent liberal whites, elected officials, and federal bureaucrats. Along with the politicization of black culture, Widener explores the rise of a distinctive regional Black Arts Movement. Originating in the efforts of wartime cultural activists, the movement was rooted in the black working class and characterized by struggles for artistic autonomy and improved living and working conditions for local black artists. As new ideas concerning art, racial identity, and the institutional position of African American artists emerged, dozens of new collectives appeared, from the Watts Writers Workshop, to the Inner City Cultural Center, to the New Art Jazz Ensemble. Spread across generations of artists, the Black Arts Movement in Southern California was more than the artistic affiliate of the local civil-rights or black-power efforts: it was a social movement itself. Illuminating the fundamental connections between expressive culture and political struggle, Black Arts West is a major contribution to the histories of Los Angeles, black radicalism, and avant-garde art.

At a time when race and inequality dominate national debates, the story of West Charlotte High School illuminates the possibilities and challenges of using racial and economic desegregation to foster educational equality. West Charlotte opened in 1938 as a segregated school that embodied the aspirations of the growing African American population of Charlotte, North Carolina. In the 1970s, when Charlotte began court-ordered busing, black and white families made West Charlotte the celebrated flagship of the most integrated major school system in the nation. But as the twentieth century neared its close and a new court order eliminated race-based busing, Charlotte schools resegregated along lines of class as well as race. West Charlotte became the city's poorest, lowest-performing high school—a striking reminder of the people and places that Charlotte's rapid growth had left behind. While dedicated teachers continue to educate children, the school's challenges underscore the painful consequences of resegregation. Drawing on nearly two decades of interviews with students, educators, and alumni, Pamela Grundy uses the history of a community's beloved school to tell a broader American story of education, community, democracy, and race—all while raising questions about present-day strategies for school reform.

Hailed as "toweringly important" (Baltimore Sun), "a work of scrupulous and significant reportage" (E. L. Doctorow), and "an unforgettable historical drama" (Chicago Sun-Times), Big Trouble brings to life the astonishing case that ultimately engaged President Theodore Roosevelt, Supreme Court justice Oliver Wendell Holmes, and the politics and passions of an entire nation at century's turn. After Idaho's former governor is blown up by a bomb at his garden gate at Christmastime 1905, America's most celebrated detective, Pinkerton James McParland, takes over the investigation. His daringly executed plan to kidnap the radical union leader "Big Bill" Haywood from Colorado to stand trial in Idaho sets the stage for a memorable courtroom confrontation between the flamboyant prosecutor, progressive senator William Borah, and the young defender of the dispossessed, Clarence Darrow. Big Trouble captures the tumultuous first decade of the twentieth century, when capital and labor, particularly in the raw, acquisitive West, were pitted against each other in something close to class war. Lukas paints a vivid portrait of a time and place in which actress Ethel Barrymore, baseball phenom Walter Johnson, and editor William Allen White jostled with railroad magnate E. H. Harriman, socialist Eugene V. Debs, gunslinger Charlie Siringo, and Operative 21, the intrepid Pinkerton agent who infiltrated Darrow's defense team. This is a grand narrative of the United States as it charged, full of hope and trepidation, into the twentieth century.