Paul R. Mullins – författare

Everybody loves a good doughnut. The magic combination of soft dough, hot oil, and sugar coating--with or without sprinkles--inspires a wide range of surprisingly powerful memories and cravings. Yet we are embarrassed by our desire; the favorite food of Homer Simpson, caricatured as the dietary cornerstone of cops, a symbol of our collective descent into obesity, doughnuts are, in the words of one California consumer, a "food of shame."

Paul Mullins turns his attention to the simple doughnut in order to learn more about North American culture and society. Both a breakfast staple and a snack to eat any time of day or night, doughnuts cross lines of gender, class, and race like no other food item. Favorite doughnut shops that were once neighborhood institutions remain unchanged--even as their surrounding neighborhoods have morphed into strip clubs, empty lots, and abandoned housing.

Blending solid scholarship with humorous insights, Mullins offers a look into doughnut production, marketing, and consumption. He confronts head-on the question of why we often paint doughnuts in moral terms, and shows how the seemingly simple food reveals deep and complex social conflicts over body image and class structure.

In Mullins''s skillful hands, this simple pastry provides surprisingly compelling insights into our eating habits, our identity, and modern consumer culture.

In this book, Paul Mullins examines a wide variety of material objects and landscapes that induce anxiety, provoke unpleasantness, or simply revolt us. Bringing archaeological insight to subjects that are not usually associated with the discipline, he looks at the way the material world shapes how we imagine, express, and negotiate difficult historical experiences.

Revolting Things delves into well-known examples of “dark heritage” ranging from Confederate monuments to the sites of racist violence. Mullins discusses the burials and gravesites of figures who committed abhorrent acts, locations that in many cases have been either effaced or dynamically politicized. The book also considers racial displacement in the wake of post–World War II urban renewal, as well as the uneasiness many contemporary Americans feel about the social and material sameness of suburbia.

Mullins shows that these places and things are often repressed in public memory and discourse because they reflect entrenched structural inequalities and injustices we are reluctant to acknowledge. Yet he argues that the richest conversations about the uncomfortable aspects of the past happen because these histories have tangible remains, exerting a persistent hold on our imagination. Mullins not only demonstrates the emotional power of material things but also exposes how these negative feelings reflect deep-seated anxieties about twenty-first-century society.

In this book, Paul Mullins examines a wide variety of material objects and landscapes that induce anxiety, provoke unpleasantness, or simply revolt us. Bringing archaeological insight to subjects that are not usually associated with the discipline, he looks at the way the material world shapes how we imagine, express, and negotiate difficult historical experiences.

Revolting Things delves into well-known examples of “dark heritage” ranging from Confederate monuments to the sites of racist violence. Mullins discusses the burials and gravesites of figures who committed abhorrent acts, locations that in many cases have been either effaced or dynamically politicized. The book also considers racial displacement in the wake of post–World War II urban renewal, as well as the uneasiness many contemporary Americans feel about the social and material sameness of suburbia.

Mullins shows that these places and things are often repressed in public memory and discourse because they reflect entrenched structural inequalities and injustices we are reluctant to acknowledge. Yet he argues that the richest conversations about the uncomfortable aspects of the past happen because these histories have tangible remains, exerting a persistent hold on our imagination. Mullins not only demonstrates the emotional power of material things but also exposes how these negative feelings reflect deep-seated anxieties about twenty-first-century society.