Derived from the word "to propagate," the idea and practice of propaganda concerns nothing less than the ways in which human beings communicate, particularly with respect to the creation and widespread dissemination of attitudes, images, and beliefs. Much larger than its pejorative connotations suggest, propaganda can more neutrally be understood as a central means of organizing and shaping thought and perception, a practice that has been a pervasive feature of the twentieth century and that touches on many fields. It has been seen as both a positive and negative force, although abuses under the Third Reich and during the Cold War have caused the term to stand in, most recently, as a synonym for untruth and brazen manipulation. Propaganda analysis of the 1950s to 1989 too often took the form of empirical studies about the efficacy of specific methods, with larger questions about the purposes and patterns of mass persuasion remaining unanswered. In the present moment where globalization and transnationality are arguably as important as older nation forms, when media enjoy near ubiquity throughout the globe, when various fundamentalisms are ascendant, and when debates rage about neoliberalism, it is urgent that we have an up-to-date resource that considers propaganda as a force of culture writ large. The handbook will include twenty-two essays by leading scholars from a variety of disciplines, divided into three sections. In addition to dealing with the thorny question of definition, the handbook will take up an expansive set of assumptions and a full range of approaches that move propaganda beyond political campaigns and warfare to examine a wide array of cultural contexts and practices.

Part science fiction, part dystopian fantasy, part radical socialist tract, Jack London's The Iron Heel offers a grim depiction of warfare between the classes in America and around the globe. Originally published nearly a hundred years ago, it anticipated many features of the past century, including the rise of fascism, the emergence of domestic terrorism, and the growth of centralized government surveillance and authority. What begins as a war of words ends in scenes of harrowing violence as the state oligarchy, known as "the Iron Heel," moves to crush all opposition to its power. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

This book focuses on the intense intimacy between author and first-person narrator in the fictions of Poe, Hawthorne, and James: the narrator is both the central actor and the retrospective teller of his tale, at once hero and historian. Auerbach defends the beleaguered `I' in these works against the depersonalizing tendencies of post-structuralism. In reaffirming the importance of the human subject for the study of narrative, Auerbach shows how the first-person form, in particular, underscores fundamental problems of literary representation: how fictions come to be made, and the relation between these plots and the people who make them.

""Body Shots" is a provocative and compelling account of the centrality of corporeal movement and stillness to early cinema. Auerbach puts theory and history into productive conversation, significantly extending our knowledge of the contexts and strategies of cinema in its early years. It is an original and important book."--Lee Grieveson, author of "Policing Cinema: Movies and Censorship in Early Twentieth-Century-America"
"With his intense focus on the human body (the body running, the body kissing, the body posing, the body at rest), Jonathan Auerbach has managed to re-dramatize the newness of a new medium in its original decade. The combination of analytical patience, historical precision, and conceptual panache will startle readers into seeing even well-known early American films as though for the first time. In other words: "Body Shots" will prove to be a shot indeed."--Bill Brown, author of "A Sense of Things: The Object Matter of American Literature"

"Dark Borders" connects anxieties about citizenship and national belonging in midcentury America to the sense of alienation conveyed by American film noir. Jonathan Auerbach provides in-depth interpretations of more than a dozen of these dark crime thrillers, considering them in relation to U.S. national security measures enacted from the mid-1930s to the mid-1950s. The growth of a domestic intelligence-gathering apparatus before, during, and after the Second World War raised unsettling questions about who was American and who was not, and how to tell the difference. Auerbach shows how politics and aesthetics merge in these noirs, whose oft-noted uncanniness betrays the fear that "un-American" foes lurk within the homeland. This tone of dispossession was reflected in well-known films, including "Double Indemnity," "Out of the Past," and "Pickup on South Street," and less familiar noirs such as "Stranger on the Third Floor," "The Chase," and "Ride the Pink Horse." Whether tracing the consequences of the Gestapo in America, or the uncertain borderlines that separate the United States from Cuba and Mexico, these movies blur boundaries; inside and outside become confused as (presumed) foreigners take over domestic space. To feel like a stranger in your own home: this is the peculiar affective condition of citizenship intensified by wartime and Cold War security measures, as well as a primary mood driving many midcentury noir films.

When Jack London died in 1916 at age forty, he was one of the most famous writers of his time. Eighty years later he remains one of the most widely read American authors in the world. The first major critical study of London to appear in a decade, Male Call analyzes the nature of his appeal by closely examining how the struggling young writer sought to promote himself in his early work as a sympathetic, romantic man of letters whose charismatic masculinity could carry more significance than his words themselves. Jonathan Auerbach shows that London's personal identity was not a basis of his literary success, but rather a consequence of it. Unlike previous studies of London that are driven by the author's biography, Male Call examines how London carefully invented a trademark "self" in order to gain access to a rapidly expanding popular magazine and book market that craved authenticity, celebrity, power, and personality. Auerbach demonstrates that only one fact of London's life truly shaped his art: his passionate desire to become a successful author. Whether imagining himself in stories and novels as a white man on trail in the Yukon, a sled dog, a tramp, or a professor; or engaging questions of manhood and mastery in terms of work, race, politics, class, or sexuality, London created a public persona for the purpose of exploiting the conventions of the publishing world and marketplace. Revising critical commonplaces about both Jack London's work and the meaning of "nature" within literary naturalism and turn-of-the-century ideologies of masculinity, Auerbach's analysis intriguingly complicates our view of London and sheds light on our own postmodern preoccupation with celebrity. Male Call will attract readers with an interest in American studies, American literature, gender studies, and cultural studies.