From climate change to fake news, an entertaining and enlightening look at the widespread phenomenon of denial in our society Donald Trump won the election; climate change isn't real; America is a color-blind country. Despite overwhelming evidence to the contrary, why do so many of us refuse to admit the truth? In fact, as Jared Del Rosso argues in this thought-provoking book, denial is so much a part of our lives that we deny its existence all the time, even when this works against our best interest, even when we are being choked by its very fumes. Denial is one of those rare books that will change the way you think. In a highly readable style that draws on examples from current events, politics, and pop culture, Del Rosso teases out the complexities of denial, from "not noticing" that someone has food stuck in their teeth, to companies that engage in widespread fraud, like Enron and Wells Fargo, to the much larger-scale denials of climate change or systemic racism. Drawing on classic studies in the social sciences and his own research of the denial of torture, Del Rosso builds a fascinating typology of the forms and meanings of denial, exploring the behavior of those who refuse to acknowledge their actions, and what it means to live in a society where such lying, fraud, and corruption is commonplace. In wide-ranging examples, Del Rosso explores the causes, strategies, and consequences of denial. When scandal hits and accusations of misconduct are made, he argues that individuals like Harvey Weinstein or Brett Kavanaugh, or organizations like the Catholic Church or Penn State, go through a series of moves to try to avoid accountability. Del Rosso focuses on the individuals involved but also asks: how could so many people not know what their priests, or their coaches, or their coworkers were doing? Del Rosso effectively argues that recognizing what denial looks like is the crucial first step in mitigating its effects on us and society as a whole. At a time when powerful people and institutions are increasingly being held accountable for their actions, Denial provides an undeniable reality check.

When the photographs depicting torture at Iraq's Abu Ghraib prison were released in 2004, U.S. politicians attributed the incident to a few bad apples in the American military, exonerated high-ranking members of the George W. Bush administration, promoted Guantanamo as a model prison, and dismissed the illegality of the CIA's use of "enhanced interrogation." By the end of the Bush administration, members of both major congressional parties had come to denounce enhanced interrogation as torture and argue for the closing of Guantanamo. What initiated this shift? In Talking About Torture, Jared Del Rosso reviews transcripts from congressional hearings and scholarship on denial, torture, and state violence to document this wholesale change in rhetoric and attitude toward the use of torture by the CIA and the U.S. military during the War on Terror. He plots the evolution of the "torture issue" in U.S. politics and its manipulation by politicians to serve various ends. Most important, Talking About Torture integrates into the debate about torture the testimony of those who suffered under American interrogation practices and demonstrates how the conversation continues to influence current counterterrorism policies, such as the reliance on drones.

From novelists to political cartoonists, artists have long brought a unique perspective to important public discussions of social and political issues. Yet, fury and debate over the role of the artist has resulted in blacklisting, banning, and symbolically burning artists who use their work as a means of social critique and social change. The Art of Social Critique makes a case for the complexity of artistic ways of "seeing" social life - observing, analyzing and portraying society - by examining the interdisciplinary nature of imagination. The authors cover a range of novelists, painters, musicians, cartoonists, poets and others whose explorations of the human condition directly connect to complex methods of social inquiry often associated with other disciplines. Specific parallels are drawn between the social sciences and the theories, lenses, and aesthetics that allow these artists to gain a clearer view of social life. Artistic techniques, such as metaphor, caricature, and irony, are examined as unique methods of social inquiry, while the novelist and poet become ethnographers of social life. By treading the common ground between the arts, humanities and social sciences, The Art of Social Critique raises a number of important questions about the role of art in society: What are the relationships between imagination, creativity, perspective, experimentation and unveiling social life? How does the artistic perspective engage in representation, give voice, or unveil? How have artists examined the relationship between the individual and society, social structures, or social norms that we take for granted? Each chapter explores how the "artistic eye," as a form of qualitative social inquiry, helps both the artist and the audience arrive at a more complex understanding of society. From art as a social movement to the important relationship between art and collective memory, The Art of Social Critique covers imagination as an interdisciplinary concept that draws on the sociological, psychological, historical, and political. Together these essays reveal art as more than mere entertainment or amusement - it is an interdisciplinary way of knowing our social world.