Personal letters and diaries provide an intimate view into the hearts and minds of a brother and sister who became martyrs in the anti-Nazi resistance during World War II. Idealistic, serious, and sensible, Hans and Sophie Scholl joined the Hitler Youth with youthful and romantic enthusiasm. But as Hitler's grip throttled Germany and Nazi atrocities mounted, Hans and Sophie emerged from their adolescence with the conviction that at all costs they must raise their voices against the murderous Nazi regime. In May of 1942, with Germany still winning the war, an improbable little band of students at Munich University began distributing the leaflets of the White Rose. In the very city where the Nazis got their start, they demanded resistance to Germany's war efforts and confronted their readers with what they had learned of Hitler's "final solution": "Here we see the most terrible crime committed against the dignity of humankind, a crime that has no counterpart in human history." These broadsides were secretly drafted and printed in a Munich basement by Hans Scholl, by now a young medical student and military conscript, and a handful of young co-conspirators that included his twenty-one-year-old sister Sophie. The leaflets placed the Scholls and their friends in mortal danger, and it wasn't long before they were captured and executed. As their letters and diaries reveal, the Scholls were not primarily motivated by political beliefs, but rather came to their convictions through personal spiritual search that eventually led them to sacrifice their lives for what they believed was right. Interwoven with commentary on the progress of Hitler's campaign, the letters and diary entries range from veiled messages about the course of a war they wanted their country to lose, to descriptions of hikes and skiing trips and meditations on Goethe, Dostoyevsky, Rilke, and Verlaine; from entreaties to their parents for books and sweets hard to get in wartime, to deeply humbled and troubled entreaties to God for an understanding of the presence of such great evil in the world. There are alarms when Hans is taken into military custody, when their father is jailed, and when their friends are wounded on the eastern front. But throughout-even to the end, when the Scholls' sense of peril is most oppressive-there appear in their writings spontaneous outbursts of joy and gratitude for the gifts of nature, music, poetry, and art. In the midst of evil and degradation, theirs is a celebration of the spiritual and the humane. Illustrated with photographs of Hans and Sophie Scholl and their friends and co-conspirators.

Few institutions seem more opposed than African American literature and J. Edgar Hoover's white-bread Federal Bureau of Investigation. But behind the scenes the FBI's hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, "F.B. Eyes" exposes the Bureau's intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlem's renaissance and Hoover's career at the Bureau, secretive FBI "ghostreaders" monitored the latest developments in African American letters. By the time of Hoover's death in 1972, these ghostreaders knew enough to simulate a sinister black literature of their own. The official aim behind the Bureau's close reading was to anticipate political unrest. Yet, as William J. Maxwell reveals, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the twentieth century.

Taking his title from Richard Wright's poem "The FB Eye Blues," Maxwell details how the FBI threatened the international travels of African American writers and prepared to jail dozens of them in times of national emergency. All the same, he shows that the Bureau's paranoid style could prompt insightful criticism from Hoover's ghostreaders and creative replies from their literary targets. For authors such as Claude McKay, James Baldwin, and Sonia Sanchez, the suspicion that government spy-critics tracked their every word inspired rewarding stylistic experiments as well as disabling self-censorship.

Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, "F.B. Eyes" is a groundbreaking account of a long-hidden dimension of African American literature.

Auguste Rodin, the most famous and influential sculptor of the late nineteenth and early twentieth centuries, is also widely considered to be the successor to Michelangelo, whose genius was a lifelong inspiration to him. Though the astonishingly lifelike quality of his sculpture was in defiance of current academic conventions, Rodin was spared the prolonged and bitter hostility meted out to the Impressionists who were his contemporaries, and in later life he became a famous and widely respected figure.

Bernard Champigneulle discusses Rodin's great significance as an innovator in sculpture. For Rodin created an entirely new form -- the detail considered as finished work -- and in doing so exercised a lasting influence on future sculptors, who were profoundly affected by his emotional expressiveness, his power of characterization, and his subtle modeling. This authoritative monograph combines a searching reappraisal of Rodin's achievement with revealing account of his personality and his troubled private life.

Claude McKay's abandoned novel Romance in Marseille (circa 1929-1933), first published by Penguin Classics in February 2020, has been praised as a new-old text that transcends historical boundaries, resonating with both the present moment and the hundred-year-old era of the New Negro. This special issue offers the first-ever collection of academic essays on this novel, which arrived as an instant classic: both a benchmark of the Harlem Renaissance and a fresh statement that could have been written for twenty-first-century readers. Using McKay's Romance as a critical compass point, the authors map new directions and historical territories in Black modernism, queer theory, disability studies, Marxist/materialist thought, and other established and emerging areas. Contributors Stephanie J. Brown, Nissa Ren Cannon, Zainab Cheema, Rich Cole, Michael J. Collins, David B. Hobbs, Gary Edward Holcomb, William J. Maxwell, Eric H. Newman, Laura Ryan, Jesse W. Schwartz, Agnieszka Tuszynska, Laura Winkiel

A survey of the role of plastics materials in the motor industry. It discusses progress in the different sectors of automotive engineering, and the possible effect of economic and environmental pressures on the growth of the plastics contribution. Emphasis is given to materials selection and the author explains how a material can be 'right' or 'wrong' for a particular job – and what extraneous factors could change things.

Few institutions seem more opposed than African American literature and J. Edgar Hoover's white-bread Federal Bureau of Investigation. But behind the scenes the FBI's hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureau's intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlem's renaissance and Hoover's career at the Bureau, secretive FBI "ghostreaders" monitored the latest developments in African American letters. By the time of Hoover's death in 1972, these ghostreaders knew enough to simulate a sinister black literature of their own. The official aim behind the Bureau's close reading was to anticipate political unrest. Yet, as William J. Maxwell reveals, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the twentieth century. Taking his title from Richard Wright's poem "The FB Eye Blues," Maxwell details how the FBI threatened the international travels of African American writers and prepared to jail dozens of them in times of national emergency. All the same, he shows that the Bureau's paranoid style could prompt insightful criticism from Hoover's ghostreaders and creative replies from their literary targets. For authors such as Claude McKay, James Baldwin, and Sonia Sanchez, the suspicion that government spy-critics tracked their every word inspired rewarding stylistic experiments as well as disabling self-censorship. Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, F.B. Eyes is a groundbreaking account of a long-hidden dimension of African American literature.

What happens when math nerds, band and theater geeks, goths, sci-fi fanatics, Young Republican debate poindexters, techies, Trekkies, D&D players, wallflowers, bookworms, and RPG players grow up? And what can they tell us about the life of the mind in the contemporary United States? With #GamerGate in the national news, shows like The Big Bang Theory on ever-increasing numbers of screens, and Peter Orzsag and Paul Ryan on magazine covers, it is clear that nerds, policy wonks, and neoconservatives play a major role in today's popular culture in America. The Year's Work in Nerds, Wonks, and Neocons delves into subcultures of intellectual history to explore their influence on contemporary American intellectual life. Not limiting themselves to describing how individuals are depicted, the authors consider the intellectual endeavors these depictions have come to represent, exploring many models and practices of learnedness, reflection, knowledge production, and opinion in the contemporary world. As teachers, researchers, and university scholars continue to struggle for mainstream visibility, this book illuminates the other forms of intellectual excitement that have emerged alongside them and found ways to survive and even thrive in the face of dismissal or contempt.

This is a new release of the original 1961 edition.