UFOs. Aliens. Strange crop circles. Giant figures scratched in the desert surface along the coast of Peru. The amazing alignment of the pyramids. Strange lines of clouds in the sky. The paranormal is alive and well in the American cultural landscape. In UFOs, Chemtrails, and Aliens, Donald R. Prothero and Tim Callahan explore why such demonstrably false beliefs thrive despite decades of education and scientific debunking. Employing the ground rules of science and the standards of scientific evidence, Prothero and Callahan discuss a wide range of topics including the reliability of eyewitness testimony, psychological research into why people want to believe in aliens and UFOs, and the role conspiratorial thinking plays in UFO culture. They examine a variety of UFO sightings and describe the standards of evidence used to determine whether UFOs are actual alien spacecraft. Finally, they consider our views of aliens and the strong cultural signals that provide the shapes and behaviors of these beings. While their approach is firmly based in science, Prothero and Callahan also share their personal experiences of Area 51, Roswell, and other legendary sites, creating a narrative that is sure to engross both skeptics and believers.

Why, Timothy Melley asks, have paranoia and conspiracy theory become such prominent features of postwar American culture? In Empire of Conspiracy, Melley explores the recent growth of anxieties about thought-control, assassination, political indoctrination, stalking, surveillance, and corporate and government plots. At the heart of these developments, he believes, lies a widespread sense of crisis in the way Americans think about human autonomy and individuality. Nothing reveals this crisis more than the remarkably consistent form of expression that Melley calls "agency panic" -- an intense fear that individuals can be shaped or controlled by powerful external forces. Drawing on a broad range of forms that manifest this fear -- including fiction, film, television, sociology, political writing, self-help literature, and cultural theory -- Melley provides a new understanding of the relation between postwar American literature, popular culture, and cultural theory.

Empire of Conspiracy offers insightful new readings of texts ranging from Joseph Heller's Catch-22 to the Unabomber "Maniffesto, " from Vance Packard's Hidden Persuaders to recent addition discourse, and from the "stalker" novels of Margaret Atwood and Diane Johnson to the conspiracy fictions of Thomas Pynchon, William Burroughs, Don DeLillo, and Kathy Acker. Throughout, Melley finds recurrent anxieties about the power of large organizations to control human beings. These fears, he contends, indicate the continuing appeal of a form of individualism that is no longer wholly accurate or useful, but that still underpins a national fantasy, of freedom from social control.

A daughter's tale of living in the thrall of her magnetic, complicated mother, and the chilling consequences of her complicity

Every time I fail to become more like my mother, I become more like me.

On a hot August night on Cape Cod, when Adrienne was 14, her mother Malabar woke her at midnight with five simple words that would set the course of both of their lives for years to come: Ben Souther just kissed me.

Adrienne instantly became her mother’s confidante and helpmate, blossoming in the sudden light of her attention; from then on, Malabar came to rely on her daughter to help orchestrate what would become an epic affair with her husband’s closest friend. The affair would have calamitous consequences for everyone involved, impacting Adrienne’s life in profound ways, driving her into a doomed marriage of her own, and then into a deep depression. Only years later will she find the strength to embrace her life -- and her mother -- on her own terms.

This is a book about how the people close to us can break our hearts simply because they have access to them. It's about the lies we tell in order to justify the choices we make. It’s about mothers and daughters and the nature of family. And ultimately, it's a story of resilience, a reminder that we need not be the parents our parents were to us; that moving forward is possible.

Ingenious automatons which appeared to think on their own. Dubious mermaids and wild men who resisted classification. Elegant sleight-of-hand artists who routinely exposed the secrets of their trade. These were some of the playful forms of fraud which astonished, titillated, and even outraged nineteenth-century America's new middle class, producing some of the most remarkable urban spectacles of the century.

In "The Arts of Deception," James W. Cook explores this distinctly modern mode of trickery designed to puzzle the eye and challenge the brain. Championed by the "Prince of Humbug," P. T. Barnum, these cultural puzzles confused the line between reality and illusion. Upsetting the normally strict boundaries of value, race, class, and truth, the spectacles offer a revealing look at the tastes, concerns, and prejudices of America's very first mass audiences. We are brought into the exhibition halls, theaters, galleries, and museums where imposture flourished, and into the minds of the curiosity-seekers who eagerly debated the wonders before their eyes. Cook creates an original portrait of a culture in which ambiguous objects, images, and acts on display helped define a new value system for the expanding middle class, as it confronted a complex and confusing world.