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In Groupthink, his final book, the late, eminent journalist and bestselling author Christopher Booker seeks to identify the hidden key to understanding much that is disturbing about the world today. With reference to the ideas of a Yale professor who first identified the theory, and to the writings of George Orwell from whose 'newspeak' the word was adapted, Booker sheds new light on the remarkable – and worrying – effects of 'groupthink', and its influence on our society. Booker defines the three rules of groupthink: the adoption of a common view or belief not based on objective reality; the establishment of a consensus of right-minded people, an 'in group'; and the need to treat the views of anyone who questions the belief as wholly unacceptable. He shows how various interest groups, journalists and even governments in the twenty-first century have subscribed to this way of thinking, with deeply disturbing results. As Booker shows, such behaviour has led to a culture of fear, heralded by countless examples throughout history, from Revolutionary Russia to Napoleonic France and Hitler's Germany. In the present moment it has caused countless errors in judgement and the division of society into highly polarised, oppositional factions. From the behaviour of the controversial Rhodes Must Fall movement to the sacking of James Damore of Google, society's attitudes towards gender equality, the Iraq war and the 'European Dream', careers and lives have been lost as those in the 'in-group' police society with their new form of puritanism. As Booker argues, only by examining its underlying causes can we understand the sinister power of groupthink which permeates all aspects of our lives.

The Great American Songbooks shows how popular music shapes and permeates a host of modernism's hallmark texts. Austin Graham begins his study of 20th-century texts with a discussion of American popular music and literature in the 19th century. He posits Walt Whitman as a proto-modernist who drew on his love of opera to create the epic free-verse poetry that would heavily influence his bardic successors. One can witness this in T. S. Eliot, whose poem The Waste Land relies on Whitman's verse style to emphasize how 19th-century structures of feeling regarding music persist into the 20th century. From opera and standards of the Victorian musical hall, Graham moves to the blues to reveal the multifaceted ways it shaped works in the Harlem Renaissance, most notably in the verse of Langston Hughes and Jean Toomer's stream-of-consciousness masterpiece, Cane. The second half of Songbooks advances an argument for a musical eclecticism that arose alongside rapid industrialization. Writers like Scott Fitzgerald and John Dos Passos, Graham argues, developed a notion of musical eclecticism to help them process—or cope—with the unprecedented invasiveness of popular music, particularly in major cities. This eclecticism runs counter to critics like Adorno who equate popular music with mass produced mechanisms such as the phonograph and radio, and thus with degraded, cultural forms. In conclusion, Graham suggests how modernist writers experienced, and sometimes theorized, a more nuanced, sophisticated, and fluid mode of interaction with popular music.

This expansive Companion offers a set of fresh perspectives on the wealth of texts produced in and around what is now the United States. Highlights the diverse voices that constitute American literature, embracing oral traditions, slave narratives, regional writing, literature of the environment, and more Demonstrates that American literature was multicultural before Europeans arrived on the continent, and even more so thereafter Offers three distinct paradigms for thinking about American literature, focusing on: genealogies of American literary study; writers and issues; and contemporary theories and practices Enables students and researchers to generate richer, more varied and more comprehensive readings of American literature

Includes entries for maps and atlases.

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