Our Present Complaint

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Charles E. Rosenberg

Historian of medicine Rosenberg presents an analysis of the current tensions in American medicine. Situating these tensions within their historical and social contexts, Rosenberg investigates the fundamental characteristics of medicine: how we think about disease, how the medical profession thinks about itself and its moral and intellectual responsibilities, and what prospective patients--all of us--expect from medicine and the medical profession. He explores the nature and definition of disease and how ideas of disease causation reflect social values and cultural negotiations. His analyses of alternative medicine and bioethics consider the historically specific ways in which we define and seek to control what is appropriately medical. At a time when clinical care and biomedical research generate as much angst as they offer cures, this volume provides valuable insight into how the practice of medicine has evolved, where it is going, and how lessons from history can improve its prognosis.--From publisher description.

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John Fea

Explores the question of whether America was founded as a Christian nation, discussing what it means to think historically, examining the history of the idea that the United States is a Christian nation, exploring the relationship between Christianity and the coming of the American Revolution, and investigating the specific religious beliefs of the founders.

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Tracey E. Fern

In fifteenth-century Florence, Italy, a contest is held to design a magnificent dome for the town's cathedral, but when Pippo the Fool claims he will win the contest, everyone laughs at him. Based on a true story.

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Günter Grass

*Die Blechtrommel* ist ein Roman von Günter Grass. Er erschien 1959 als Auftakt der Danziger Trilogie und gehört zu den meistgelesenen Romanen der deutschen Nachkriegsliteratur. Der Roman lässt sich als historischer Roman, Zeitroman, Schelmenroman und Entwicklungsroman charakterisieren. Set against the backcloth of National Socialism, [this novel] is told in the first person by the central figure, Oskar Matzerath, tracing Oskar's history, beginning with his grandparents, and finishing at his thirtieth birthday (1954). Oskar is a dwarf, whose passion is his tin drum, which exercises some of the power of the Pied Piper's pipe, and he possesses a voice which is capable of breaking glass of all kinds at considerable range. The magic of Oskar's voice is matched by his ability to arrest his growth, but here, as elsewhere, the book moves on two planes, for the adult burgher world believes that his failure to develop is due to a fall. The grotesque figure of Oskar is accompanied by a grotesque series of happenings throughout his life, especially the eccentric deaths of those around him ... Oskar is finally condemned for a murder he has not committed and placed in a mental hospital. Oskar's detachment from the normal world enables him to comment upon it, and the book presents a dry and ironic review of the history of Oskar's times from the standpoint of Danzig, which was his home [as well as the author's].-The Oxford Companion to German Literature.