In 2009, the Sri Lankan army finally defeated the separatist Tamil Tigers guerrillas in a fierce battle that swept up about 300,000 civilians and killed more than 40,000. More than a million had been displaced by the conflict, and the resilient among them still dared to hope. But the next five years changed everything.Rohini Mohan’s searing account of three lives caught up in the devastation looks beyond the heroism of wartime survival to reveal the creeping violence of the everyday. When city-bred Sarva is dragged off the streets by state forces, his middle-aged mother, Indra, searches for him through the labyrinthine Sri Lankan bureaucracy. Meanwhile, Mugil, a former child soldier, deserts the Tigers in the thick of war to protect her family.Having survived, they struggle to live as the Sri Lankan state continues to attack minority Tamils and Muslims, frittering away the era of peace. Sarva flees the country, losing his way – and almost his life – in a bid for asylum. Mugil stays, breaking out of the refugee camp to rebuild her family and an ordinary life in the village she left as a girl. But in her tumultuous world, desires, plans, and people can be snatched away in a moment.The Seasons of Trouble is a startling, brutal, yet beau­tifully written debut from a prize-winning journal­ist. It is a classic piece of reportage, five years in the making, and a trenchant, compassionate examina­tion of the corrosive effect of conflict on a people.

    The result is a spicy blend of combat manual and cultural manifesto. Rules for Reformers is a little bit proclamation of grace, a little bit Art of War, and a little bit analysis of past embarrassments and current cowardice, all mixed together with a bunch of advanced knife-fighting techniques. As motivating as it is provocative, Rules for Reformers is just plain good to read.

    Alexander G. Weheliye develops a theory of "racializing assemblages," taking race as a set of sociopolitical processes that discipline humanity into full humans, not-quite-humans, and nonhumans. This disciplining, while not biological per se, frequently depends on anchoring political hierarchies in human flesh. The work of the black feminist scholars Hortense Spillers and Sylvia Wynter is vital to Weheliye's argument. Particularly significant are their contributions to the intellectual project of black studies vis-à-vis racialization and the category of the human in western modernity. Wynter and Spillers configure black studies as an endeavor to disrupt the governing conception of humanity as synonymous with white, western Man. Weheliye posits black feminist theories of modern humanity as useful correctives to the "bare life and biopolitics discourse" exemplified by the works of Giorgio Agamben and Michel Foucault, which, Weheliye contends, vastly underestimate the conceptual and political significance of race in constructions of the human. Habeas Viscus reveals the pressing need to make the insights of black studies and black feminism foundational to the study of modern humanity.

    “How much can a body endure? Almost everything.” Chelsea Hodson is a 2012 PEN Center USA Emerging Voices Fellow. She is also the author of the chapbook Beach Camp, published by Swill Children in 2010. Her essays have been published in Black Warrior Review, Vol. 1 Brooklyn, Sex Magazine, and elsewhere. She lives in Brooklyn, New York. Watch the trailer here: http://vimeo.com/88997155

    Innocence, however, is just code for nonthreatening to white civil society. Troy Davis is differentiated from other Black men-the bad ones-and the legal system is diagnosed as being infected with racism, masking the fact that the legal system is constituent mechanism through which racial violence is carried out."

    Here, Anthony Esolen—professor at Providence College and a prolific writer uses moral, theological, and cultural arguments to defend this holy and ancient institution, bedrock of society—and to illuminate the threats it faces from modern revolutions in law, public policy, and sexual morality. Inside, discover: - Traditional marriage’s roots in age-old religious, cultural, and natural laws - Why gay marriage is a metaphysical impossibility - How acceptance and legal sanction of gay marriage threatens the family - How the state becomes a religion when it attempts to elevate gay marriage, and enshrine as a civil right all consensual sex - How divorce and sexual license have brought marriage to the brink - How today’s culture has impoverished and emptied love of its true meaning In Defending Marriage Esolen expertly and succinctly identifies the cultural dangers of gay marriage and the Sexual Revolution which paved its way. He offers a stirring defense of true marriage, the family, culture, and love—and provides the compelling arguments that will return us to sanity, and out of our current morass.

    A four-letter word. The greatest social divide in American life, a half-century ago and today. During that time, the U.S. has seen the most dramatic demographic and cultural shifts in its history, what can be called the colorization of America.But the same nation that elected its first Black president on a wave of hope—another four-letter word—is still plunged into endless culture wars. How do Americans see race now? How has that changed—and not changed—over the half-century? After eras framed by words like "multicultural" and "post-racial," do we see each other any more clearly?Who We Be remixes comic strips and contemporary art, campus protests and corporate marketing campaigns, Martin Luther King, Jr. and Trayvon Martin into a powerful, unusual, and timely cultural history of the idea of racial progress. In this follow-up to the award-winning classic Can’t Stop Won’t Stop: A History of the Hip-Hop Generation, Jeff Chang brings fresh energy, style, and sweep to the essential American story.

    Levin, #1 New York Times bestselling author of George Washington: The Crossing, presents a beautifully designed chronicle—complete with maps, portraits, and other Civil War illustrations—detailing President Abraham Lincoln’s historic Second Inaugural Address.As humble and faithful as the president who delivered it, Lincoln’s landmark Second Inaugural Address still resonates today. The speech was an attempt to unite a fractured people in a time when our nation was at its most divided, nearing the end of the Civil War. As you navigate this beautiful book, you’ll start to understand the significance and poetic power of this speech while you come closer to the man behind it.As an added bonus, Jack Levin’s son, #1 New York Times bestselling author Mark Levin, has written an illuminating preface about the importance of Lincoln’s speech and its lasting impact on history. Filled with historic paintings and illustrations from the period, this book is a dramatic rendering of a momentous American occasion.

    Designed and edited by Greg Girard and Ian Lambot, the team behind City of Darkness: Life in Kowloon Walled City, this new publication questions those myths and explores the reality behind the Walled City’s extraordinary architecture and development. Through photographs, drawings and documents, many previously unpublished, plus an extended article by Hong Kong-based writer and journalist Fionnuala McHugh, the full story is revealed.

    Sylvia Wynter: On Being Human as Praxis is a critical genealogy of Wynter’s work, highlighting her insights on how race, location, and time together inform what it means to be human. The contributors explore Wynter’s stunning reconceptualization of the human in relation to concepts of blackness, modernity, urban space, the Caribbean, science studies, migratory politics, and the interconnectedness of creative and theoretical resistances. The collection includes an extensive conversation between Sylvia Wynter and Katherine McKittrick that delineates Wynter’s engagement with writers such as Frantz Fanon, W. E. B. DuBois, and Aimé Césaire, among others; the interview also reveals the ever-extending range and power of Wynter’s intellectual project,  and elucidates her attempts to rehistoricize humanness as praxis.

    “Goth” did not gain lexical currency until the late 1980s. But no matter what term was used, “postpunk” encompasses all the incarnations of the 1980s alternative movement. Some Wear Leather, Some Wear Lace is a visual and oral history of the first decade of the scene. Featuring interviews with both the performers and the audience to capture the community on and off stage, the book places personal snapshots alongside professional photography to reveal a unique range of fashions, bands, and scenes. A book about the music, the individual, and the creativity of a worldwide community rather than theoretical definitions of a subculture, Some Wear Leather, Some Wear Lace considers a subject not often covered by academic books. Whether you were part of the scene or are just fascinated by different modes of expression, this book will transport you to another time and place.

    One history of will is a history of attempts to eliminate willfulness from the will. Delving into philosophical and literary texts, Ahmed examines the relation between will and willfulness, ill will and good will, and the particular will and general will. Her reflections shed light on how will is embedded in a political and cultural landscape, how it is embodied, and how will and willfulness are socially mediated. Attentive to the wayward, the wandering, and the deviant, Ahmed considers how willfulness is taken up by those who have received its charge. Grounded in feminist, queer, and antiracist politics, her sui generis analysis of the willful subject, the figure who wills wrongly or wills too much, suggests that willfulness might be required to recover from the attempt at its elimination.

    And now, finally, the story is being brought to you by the people who lived it.During the ‘80s and into the mid-‘90s, City Gardens was a haven for the underground. Music, art, and a general sense of creative collectivism drove the imaginations of its patrons and performers alike, and the resulting memories have been captured and molded into a narrative that, while reminiscent of a larger history, is still uniquely Jersey.The doors of 1701 Calhoun St. closed some 20 years back, but in the minds of many, the “House That Randy Built” still casts its long shadow of influence. Whether you grew up there or you were just visiting, chances are City Gardens had some impact on you, and that impact probably informs and instructs the person you are today. Some of those stories are here; some of those stories still reek of pit-sweat and still glow with the exuberance of youth colored by nostalgia. In the pages of this book are war stories and friendship stories and the inspirational stories of lives realized and identities met. It is a story of life; the imperfect, often messy and sometimes brilliant moments of life. Its cast is as diverse as its moments, yet still uniform in one similar goal: the search for something different. Almost each and every person who participated in the world of City Gardens will echo, in some combination of description and passion, the desire to reject what was handed to them and, instead, find their own path. The universal sentiment is one of belonging; of a visceral impulse to connect to something larger and to find a safety in similarity. To find home.Know that when you read these stories that have been curated with great care; with almost a kind of religious reverence. They have been handled with loving, gloved hands; as one would handle a brittle old photo of a long-lost loved one. They have been chosen to represent the lives of so many people. Regardless of where you were from or how you came to City Gardens, your story is as valuable as any we’ve recorded. The sheer volume of lives intersecting with lives and history piled on top of history may have hindered the inclusion of all stories, but, hopefully, if you lived the life and you felt the joy and the strength of the music we all celebrate, you’ll recognize yourself in some of these words. You can order the book here:http://www.citygardensnj.com/?page_id=9

    Hey, why not? It seemed much more attainable and fulfilling than the alternative coming out of the closet and making peace with the fact that he d never have a family at all. Twenty years later, Jerry is living with his long-term boyfriend, Drew, and they re ready to take the plunge into parenthood. But how? Adoption? Foster parenting? Kidnapping? What they want most of all is a great story to tell their future kid about where he or she came from. Their search leads them to gestational surrogacy, a road less traveled where they ll be borrowing a stranger’s ladyparts for nine months. Thus begins Jerry and Drew s hilarious and unexpected journey to daddyhood. From then on, they re in uncharted waters. They’re forced to face down homophobic baby store clerks, a hospital that doesn t know what to do with them, even members of their own family who think what they’re doing is a little nutty. One thing’s for sure. If this all works out, they re going to have an incredible birth story to tell their kid. With honesty, emotion, and laugh-out-loud humor, Jerry Mahoney ponders what it means to become a Mommy Man . . . and discovers that the answer is as varied and beautiful as the concept of family itself."

    Geographically and culturally boundless, with contributions from Great Britain, Ireland, America, Canada, Australia, India, the Caribbean, and Southern Africa; influenced by great novelists working in other languages; and encompassing a range of genres, the story of the novel in English unfolds like a richly varied landscape that invites exploration rather than a linear journey. In The Novel: A Biography, "Michael Schmidt does full justice to its complexity.Like his hero Ford Madox Ford in The March of Literature," Schmidt chooses as his traveling companions not critics or theorists but "artist practitioners," men and women who feel "hot love" for the books they admire, and fulminate against those they dislike. It is their insights Schmidt cares about. Quoting from the letters, diaries, reviews, and essays of novelists and drawing on their biographies, Schmidt invites us into the creative dialogues between authors and between books, and suggests how these dialogues have shaped the development of the novel in English.Schmidt believes there is something fundamentally subversive about art: he portrays the novel as a liberalizing force and a revolutionary stimulus. But whatever purpose the novel serves in a given era, a work endures not because of its subject, themes, political stance, or social aims but because of its language, its sheer invention, and its resistance to cliche--some irreducible quality that keeps readers coming back to its pages."

    Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carré, Christopher Nolan, Joy Division, Burial and many others.

    After filing his last column in 2011, he set off on a journey across the country to report on Americans who were being left behind in an economy that has never fully recovered from the Great Recession. The portraits of those he encountered fuel his new book, Losing Our Way. Herbert’s combination of heartrending reporting and keen political analysis is the purest expression since the Occupy movement of the plight of the 99 percent.     The individuals and families who are paying the price of America’s bad choices in recent decades form the book’s emotional center: an exhausted high school student in Brooklyn who works the overnight shift in a factory at minimum wage to help pay her family’s rent; a twenty-four-year-old soldier from Peachtree City, Georgia, who loses both legs in a misguided, mismanaged, seemingly endless war; a young woman, only recently engaged, who suffers devastating injuries in a tragic bridge collapse in Minneapolis; and a group of parents in Pittsburgh who courageously fight back against the politicians who decimated funding for their children’s schools.     Herbert reminds us of a time in America when unemployment was low, wages and profits were high, and the nation’s wealth, by current standards, was distributed much more equitably. Today, the gap between the wealthy and everyone else has widened dramatically, the nation’s physical plant is crumbling, and the inability to find decent work is a plague on a generation. Herbert traces where we went wrong and spotlights the drastic and dangerous shift of political power from ordinary Americans to the corporate and financial elite. Hope for America, he argues, lies in a concerted push to redress that political imbalance. Searing and unforgettable, Losing Our Way ultimately inspires with its faith in ordinary citizens to take back their true political power and reclaim the American dream.From the Hardcover edition.

    Bloom now exposes the injustice, conducting new in-depth interviews with key trial participants and digging deeper into the evidence. Suspicion Nation outlines the six biggest mistakes made by the state of Florida that guaranteed it would lose this “winnable case,” and the laws and biases that created the conditions for this tragedy.The only nonwhite juror tells her story of painful isolation in the jury room. Rachel Jeantel, the state's star witness, reveals how poorly the state prepared her to testify and what went through her mind on the stand. The medical examiner reveals scientific evidence he wasn’t allowed to present. And a new examination of Trayvon's school suspensions raises questions about racial profiling, all in a country divided over issues of race, gun laws, and violence.Suspicion Nation is a riveting courtroom drama that shines a bright light on a case we only thought we knew.

    For eight years, the Canadian magazine has investigated the intersections of fashion, pop culture, and art. With prescient, intelligent articles, WORN Fashion Journal strives to address diverse issues such as gender, identity, and culture with openness and honesty. WORN asserts that fashion is art, history, ideas, and most of all fun—that style is a personal experience that need not align with the fashion industry.The four-hundred-page book features the best content from the journal’s first fourteen issues, assembled by WORN’S founder and editor in chief, Serah-Marie McMahon. Articles penned by a host of unique contributors (academics, writers, curators, and artists) touch on topics as wide-ranging as the relationship between feminism and fashion, discourse on hijabs, how to tie a tie, the history of flight attendants, and textile conservation. With eclectic photo shoots featuring “real” models, striking illustrations, and whimsical layouts, every page is a joyful, creative approach to clothing.The WORN Archive is the ultimate cultural style map for those who don’t want to be told how to dress but are seeking a transformative understanding of why we wear what we do.

    The Crisis of Modernity makes available for the first time in English a selection of Del Noce's essays and lectures on the cultural history of the twentieth century. Del Noce maintained that twentieth-century history must be understood specifically as a philosophical history, because Western culture was profoundly affected by the major philosophies of the previous century such as idealism, Marxism, and positivism. Such philosophies became the secular, neo-gnostic surrogate of Christianity for the European educated classes after the French Revolution, and the next century put them to the practical test, bringing to light their ultimate and necessary consequences. One of the first thinkers to recognize the failure of Marxism, Del Noce posited that this failure set the stage for a new secular, technocratic society that had taken up Marx’s historical materialism and atheism while rejecting his revolutionary doctrine. Displaying Del Noce's rare ability to reconstruct intellectual genealogies and to expose the deep metaphysical premises of social and political movements, The Crisis of Modernity presents an original reading of secularization, scientism, the sexual revolution, and the history of modern Western culture.

    Inspired by one of the oldest traditional games of chance, this book will introduce little ones to their first English and Spanish words.

    Too often the church has proven to be a source of pain rather than a place of hope. Forgive Us acknowledges the legitimacy of much of the anger toward the church. In truth, Christianity in America has significant brokenness in its history that demands recognition and repentance. Only by this path can the church move forward with its message of forgiveness, reconciliation, and peace.Forgive Us is thus a call to confession. From Psalm 51 to the teachings of Jesus to the prayers of Nehemiah, confession is the proper biblical response when God’s people have injured others and turned their backs on God’s ways. In the book of Nehemiah, the author confesses not only his own sins, but also the sins of his ancestors. The history of the American church demands a Nehemiah-style confession both for our deeds and the deeds of those who came before us.In each chapter of Forgive Us two pastors who are also academically trained historians provide accurate and compelling histories of some of the American church’s greatest shortcomings. Theologian Soong-Chan Rah and justice leader Lisa Sharon Harper then share theological reflections along with appropriate words of confession and repentance.Passionate and purposeful, Forgive Us will challenge evangelical readers and issue a heart-felt request to the surrounding culture for forgiveness and a new beginning.

    24 Lectures 1 Writing the World: The Mapmakers Craft 2 The Problem with Geographical Determinism 3 Anthropocene: The Age of Human Impact 4 Climate Change and Civilization 5 Global Land Change 6 The End of Global Population Growth 7 The Agricultural Puzzle 8 Disease Geography 9 Political Ecology 10 Economic Geography: Globalization Origins 11 The Columbian Exchange 12 Uneven Development and Global Poverty 13 The New Global Economy 14 Restless Humanity: The Migration Conundrum 15 Urbanization: The Rise of New World Cities 16 Geography of Language 17 Understanding Cultural Geography 18 The Importance of Place 19 Cultural Commodification 20 Culture, Power, and the Politics of Meaning 21 The Geopolitical Imagination 22 Regionalism and the Rise of New States 23 Supranationalism: Taking on Big Problems 24 Future Geographies

    While vinyl records have enjoyed a renaissance in recent years, good 78s are exponentially harder to come by and play. A recent eBay auction for the only known copy of a particular record topped out at $37,100. Do Not Sell at Any Price explores the rarified world of the 78rpm record—from the format’s heyday to its near extinction—and how collectors and archivists are working frantically to preserve the music before it’s lost forever.Through fascinating historical research and beguiling visits with the most prominent 78 preservers, Amanda Petrusich offers both a singular glimpse of the world of 78 collecting and the lost backwoods blues artists whose 78s from the 1920s and 1930s have yet to be found or heard by modern ears. We follow the author’s descent into the oddball fraternity of collectors—including adventures with Joe Bussard, Chris King, John Tefteller, Pete Whelan, and more—who create and follow their own rules, vocabulary, and economics and explore the elemental genres of blues, folk, jazz, and gospel that gave seed to the rock, pop, country, and hip-hop we hear today. From Thomas Edison to Jack White, Do Not Sell at Any Price is an untold, intriguing story of preservation, loss, obsession, art, and the evolution of the recording formats that have changed the ways we listen to (and create) music.

      With glorious illustrations by Caldecott Medal–winning illustrator Roger Duvoisin, this edition of Clement C. Moore’s “The Night Before Christmas” is a perfect holiday read-aloud for families. And with a tall, narrow size, it’s also just right for tucking into a Christmas stocking, making it a wonderful holiday gift.

    It is based on Mireille Miller-Young's extensive archival research and her interviews with dozens of women who have worked in the adult entertainment industry since the 1980s. The women share their thoughts about desire and eroticism, black women's sexuality and representation, and ambition and the need to make ends meet. Miller-Young documents their interventions into the complicated history of black women's sexuality, looking at individual choices, however small—a costume, a gesture, an improvised line—as small acts of resistance, of what she calls "illicit eroticism." Building on the work of other black feminist theorists, and contributing to the field of sex work studies, she seeks to expand discussion of black women's sexuality to include their eroticism and desires, as well as their participation and representation in the adult entertainment industry. Miller-Young wants the voices of black women sex workers heard, and the decisions they make, albeit often within material and industrial constraints, recognized as their own.

    Under some circumstances). With a large dose of humour and irreverence, he untangles some of the truths and myths about First Nations: Why do people think Natives get free trucks, and why didn’t he ever get one? Why does the length of your hair determine whether you’re good or bad? By what ratio does the amount of rain in a year depend on the amount of cactus liquor you consume?In addition to answering these burning questions, Dennis tackles some tougher subjects. He looks at European-Native interactions in North America from the moment of first contact, discussing the fur trade, treaty-signing and the implementation of residential schools. Addressing misconceptions still widely believed today, Dennis explains why Native people aren’t genetically any more predisposed to become alcoholics than Caucasians; that Native religion doesn’t consist of worshipping rocks, disappearing into thin air, or conversing with animals; and that tax exemptions are so limited and confusing that many people don’t even bother.Employing pop culture examples, personal anecdote and a cutting wit, Darrell Dennis deftly weaves history with current events to entertain, inform and provide a convincing, readable overview of First Nations issues and why they matter today.

    In fact, the “reformers” today find themselves facing the largest revolt in US history against high-stakes, standardized testing.More Than a Score is a collection of essays, poems, speeches, and interviews—accounts of personal courage and trenchant insights—from frontline fighters who are defying the corporate education reformers, often at great personal and professional risk, and fueling a national movement to reclaim and transform public education.Along with the voices of students, parents, teachers, administrators, and grassroots education activists, the book features renowned education researchers and advocates, including Diane Ravitch, Alfie Kohn, Nancy Carlsson-Paige, Karen Lewis, Carol Burris, and Mark Naison.

    Look out for the likes of Madonna, John and Yoko – and, er, Vladimir Putin – as Warhol travels back through time and popular culture" Smallish"As well as spotting Warhol in the throng on each of the 12 double–page spreads, it's thought–provoking and unexpectedly educational to discover figures such as artist Rachel Whiteread, potter Josiah Wedgwood, novelist Gustave Flaubert and architect/designer Walter Gropius appearing alongside the likes of rappers The Beastie Boys, actor John Travolta and singer Madonna. Well known artworks are also dotted around (think Damien Hirst's petrified shark, Jean–Michel Basquiat's signature street graffiti and Warhol's eponymous soup tins). Catherine Ingram's concise text gives a succinct insight into each scenario which lends gravitas to Andrew Rae's humorous and entertaining illustrations. We can think of no better way to look and learn at the same time" Design BuzzWhere's Warhol? is an original take on a classic format, suitable for all ages with full color illustrations throughout. Search for Warhol's distinctive figure while also learning about different art historical periods and movements such as the Renaissance, the French Revolution, contemporary and street art and so much more!Andrew Rae's detailed illustrations provide a wealth of fun items and famous characters to spot, from Warhol's celebrity friends at Studio 54 to the masters of Modernism at the Bauhaus School and the street artists of today. This is the perfect gift for fans of Andy Warhol with a fun twist!

    In the world of these poems, no one is innocent; everyone is confined to the complexity, absurdity, and, above all, fallibility of their human condition…. Anchoring the work is a conversational, lyrical speaker willing to implicate herself as part of the political and social constructs she criticizes, as when she depicts a Southern American culture still reeling from its history of social injustice, and even the Civil War: “Don’t tell us/ history. Nobody hearts a cemetery/ like we do.” It’s a fantastic collection; Belieu desires not to dress issues up but confront them.”—Publishers Weekly, starred review“A smart and nettling book of poems — about love, sex, social class and our free-floating anxieties — from a writer who is a comedian of the human spirit. Her crisp free verse has as many subcurrents as a magnetic field.”—Dwight Garner, The New York Times"Politics, pop culture, and parenthood appear here along with reflections on our collective moments of hypocrisy and hope. '12-Step,' one of the most resonant entries, begins innocuously with a meditation about lighthouses, then the speaker gathers speed and confidence and reaches a risky but profound one-word stanza—'myself'—before ending with a haunting inversion of the Serenity Prayer used by Alcoholics Anonymous. Amid the quips and the elegant observations about immortality, Belieu's speakers never forget their responsibilities, or their possibilities." —Booklist"From poem to poem in the smart, savvy Slant Six, Belieu channels an updated American idiom, one of stubborn in-betweenhood. Like the plain-spoken poetry that plumbed the depths of American consciousness in the 20th century, Belieu trawls the shallows of today’s America and finds just as much caught in its oily reflections as in its murkier subcurrents. It’s '[b]etter,' she suggests, 'to forget perfection.'" —The Boston Globe“I’ve never read a poem by Erin Belieu that I didn’t want to immediately rip from its bindings so I could fold it up and carry around in my pockets and read so many times that the paper turned back into pulp. She’s just that good. That honest and brave and beautiful and wise and funny. She writes poems we need. Poems that say who I am and who you are and how and why we got to be this way. Poems that wonder if we can ever change. Poems that know us and show us and grace us. Poems that remember us and forget us and leave us dazzled in their dust. In Slant Six, she’s outdone herself. It’s a spellbinding, heart-opening beauty of a book.” —Cheryl Strayed"Erin Belieu . . . is always ready to surprise, to astonish, and, ultimately, to defy comparison."—Boston Book Review"[One] of America's finest poets."—Robert Olen ButlerErin Belieu's fourth collection, Slant Six, is an inundation of the humor and horror in contemporary American life—from the last saltine cracked in the sleeve, to the kitty-cat calendar in an office cubicle. With its prophecies of impending destruction, and a simultaneous flood of respect for Americans, Erin Belieu's poems close like Ziploc bags around a human heart.From "12-Step":I am consideringlighthousesin a completely new light—their butch neutrality, their grandbut modest surfaces.A lighthouse could appearhere at any moment.I have been making this effort,placing myself in uncomfortable positions,only for the documented health benefits . . .

    ABOUT LIL' LIBROS: The Lil' Libros series will introduce bilingual literature to the youngest readers; newborns to three-year-olds. For more information, visit us at www.LilLibros.com.

    Featuring CTU President Karen Lewis, economist Dean Baker, Jacobin editors Megan Erickson and Bhaskar Sunkara, Joanne Barken, and many others.

    But Russia squirms under the pressure of any attempt to pin it down. In the midst of social and financial upheaval, the more Parker sought answers the more the questions kept coming: What was Russia? How did it work? How did people live? How could they eat kholodetz (meat jelly)? Did love mean something different to them than it meant to us? Why did so many women leave the country to marry strangers? What good did knowing Pushkin by heart do them? Why did the police keep robbing him?The four years at the heart of this book focus largely on the period between 2008 and 2012 and the revealing friendship Parker made with a young barkeep and draft dodger named Igor. The book became the story of Igor, as a metaphor for Russia, in crisis. While Igor is not the model Perestroika generation man nor some kind of Putin-era everyman, he is, like The Big Lebowski, a man for his time and place. What Parker has created is the story of Igor as refracting mirror for the story of Russia, told with intelligence, humour and no small amount of misadventure.

    The book is going to search for the deeper roots of American cultural and musical evolution for the past 150 years by studying what the Western European culture learned from African American culture in a historical progression that reaches from the minstrel era to Bob Dylan. The book begins with America’s first great social critic, Henry David Thoreau, and his fundamental source of social philosophy:---his profound commitment to freedom, to abolitionism and to African-American culture. Continuing with Mark Twain, through whom we can observe the rise of minstrelsy, which he embraced, and his subversive satirical masterpiece Huckleberry Finn. While familiar, the book places them into a newly articulated historical reference that shines new light and reveals a progression that is much greater than the sum of its individual parts. As the first post-Civil War generation of black Americans came of age, they introduced into the national culture a trio of musical forms—ragtime, blues, and jazz— that would, with their derivations, dominate popular music to this day. Ragtime introduced syncopation and become the cutting edge of the modern 20th century with popular dances. The blues would combine with syncopation and improvisation and create jazz. Maturing at the hands of Louis Armstrong, it would soon attract a cluster of young white musicians who came to be known as the Austin High Gang, who fell in love with black music and were inspired to play it themselves. In the process, they developed a liberating respect for the diversity of their city and country, which they did not see as exotic, but rather as art. It was not long before these young white rebels were the masters of American pop music – big band Swing.As Bop succeeded Swing, and Rhythm and Blues followed, each had white followers like the Beat writers and the first young rock and rollers. Even popular white genres like the country music of Jimmy Rodgers and the Carter Family reflected significant black influence. In fact, the theoretical separation of American music by race is not accurate. This biracial fusion achieved an apotheosis in the early work of Bob Dylan, born and raised at the northern end of the same Mississippi River and Highway 61 that had been the birthplace of much of the black music he would study. As the book reveals, the connection that began with Thoreau and continued for over 100 years was a cultural evolution where, at first individuals, and then larger portions of society, absorbed the culture of those at the absolute bottom of the power structure, the slaves and their descendants, and realized that they themselves were not free.

    In a dashing sequence of prose pieces, Sawako Nakayasu takes the human to the level of the ant, and the ant to the level of the human. Prima facie, The Ants is a catalogue of insect observations and observations of insects. But the exposé of insect life humbles and disrupts the myopia that is human life, where experience is seen in its most raw and animal form and human “nouveau-ambitious” and “free-thinking” lifestyles become estranged, uncovered, and humbled. Found in the soups of dumplings and remembered in childhood vignettes, these ants trail through what Nakayasu writes as the “industry of survival,” exploring interfaces of love, ambition, and strategy. The danger is not in sentiment, but rather, in a gash, a wall, an argument, an intention. Is it more lonely to be crushed into the core of a non-mechanical pencil, to be isolated in the safety of home, or to “find” “it” “all” at the very very last moment? The Ants is the distance, the break, the tenuous wilderness between exoskeleton and endoskeleton, and Nakayasu puts her finger on it, and it, and it.

    Considering the ways in which bodily movement is assigned cultural meaning, Juana María Rodríguez takes the stereotypes of the hyperbolically gestural queer Latina femme body as a starting point from which to discuss how gestures and forms of embodiment inform sexual pleasures and practices in the social realm.Centered on the sexuality of racialized queer female subjects, the book’s varied archive—which includes burlesque border crossings, daddy play, pornography, sodomy laws, and sovereignty claims—seeks to bring to the fore alternative sexual practices and machinations that exist outside the sightlines of mainstream cosmopolitan gay male culture. Situating articulations of sexual subjectivity between the interpretive poles of law and performance, Rodríguez argues that forms of agency continually mediate among these various structures of legibility—the rigid confines of the law and the imaginative possibilities of the performative. She reads the strategies of Puerto Rican activists working toward self-determination alongside sexual performances on stage, in commercial pornography, in multi-media installations, on the dance floor, and in the bedroom. Rodríguez examines not only how projections of racialized sex erupt onto various discursive mediums but also how the confluence of racial and gendered anxieties seeps into the gestures and utterances of sexual acts, kinship structures, and activist practices.Ultimately, Sexual Futures, Queer Gestures, and Other Latina Longings reveals—in lyrical style and explicit detail—­how sex has been deployed in contemporary queer communities in order to radically reconceptualize sexual politics.

    Examining the moral and social implications of Kanye West's art in the context of Western civilization's preconceived ideas, the contributors consider how West both challenges religious and moral norms and propagates them.

    history and contextualization for the modern world. This is the first book designed for university and high school teachers who want to integrate queer history into the standard curriculum. With its inspiring stories, classroom-tested advice, and rich information, it is a valuable resource for anyone who thinks history should be an all-inclusive story.Understanding and Teaching U.S. Lesbian, Gay, Bisexual, and Transgender History offers a wealth of insight for teachers. Introductory essays by Leila J. Rupp and Susan K. Freeman make clear why queer history is important and provide global historical context, showing that same-sex sexual desire and gender change are not new, modern phenomena. Teachers in diverse educational settings provide narratives of their experiences teaching queer history. A topical section offers 17 essays on such themes as sexual diversity in early America, industrial capitalism and emergent sexual cultures, and gay men and lesbians in World War II. Contributors include detailed suggestions for integrating these topics into a standard U.S. history curriculum, including creative and effective assignments. A final section addresses sources and interpretive strategies well-suited to the history classroom.Taken as a whole, Understanding and Teaching U.S. Lesbian, Gay, Bisexual, and Transgender History will help teachers at all levels navigate through cultural touchstones and political debates and provide a fuller knowledge of significant events in history.

    counterterrorism apparatus in the Cold War's "balance of terror." He shows how, after the attacks of 9/11, the U.S. global War on Terror mobilized a wide range of affective, conceptual, and institutional resources established during the Cold War to enable a new planetary theater of operations. Tracing how specific aspects of emotional management, existential danger, state secrecy, and threat awareness have evolved as core aspects of the American social contract, Masco draws on archival, media, and ethnographic resources to offer a new portrait of American national security culture. Undemocratic and unrelenting, this counterterror state prioritizes speculative practices over facts, and ignores everyday forms of violence across climate, capital, and health in an unprecedented effort to anticipate and eliminate terror threats--real, imagined, and emergent.

    This unfinished state of affairs, this lingering historical experience of being caught among unequal languages, is the subject of Rey Chow's book. A diverse group of personae, never before assembled in a similar manner, make their appearances in the various chapters: the young mulatto happening upon a photograph about skin color in a popular magazine; the man from Martinique hearing himself named "Negro" in public in France; call center agents in India trained to Americanize their accents while speaking with customers; the Algerian Jewish philosopher reflecting on his relation to the French language; African intellectuals debating the pros and cons of using English for purposes of creative writing; the translator acting by turns as a traitor and as a mourner in the course of cross-cultural exchange; Cantonese-speaking writers of Chinese contemplating the politics of food consumption; radio drama workers straddling the forms of traditional storytelling and mediatized sound broadcast.In these riveting scenes of speaking and writing imbricated with race, pigmentation, and class demarcations, Chow suggests, postcolonial languaging becomes, de facto, an order of biopolitics. The native speaker, the fulcrum figure often accorded a transcendent status, is realigned here as the repository of illusory linguistic origins and unities. By inserting British and post-British Hong Kong (the city where she grew up) into the languaging controversies that tend to be pursued in Francophone (and occasionally Anglophone) deliberations, and by sketching the fraught situations faced by those coping with the specifics of using Chinese while negotiating with English, Chow not only redefines the geopolitical boundaries of postcolonial inquiry but also demonstrates how such inquiry must articulate historical experience to the habits, practices, affects, and imaginaries based in sounds and scripts.

    And this story stands to shatter our preconceptions of Orientalism.To illuminate why and how the Islamicate world became the locus for such fantasies and desires, Boone deploys a supple mode of analysis that reveals how the cultural exchanges between Middle East and West have always been reciprocal and often mutual, amatory as well as bellicose. Whether examining European accounts of Istanbul and Egypt as hotbeds of forbidden desire, juxtaposing Ottoman homoerotic genres and their European imitators, or unlocking the homoerotic encoding in Persian miniatures and Orientalist paintings, this remarkable study models an ethics of crosscultural reading that exposes, with nuance and economy, the crucial role played by the homoerotics of Orientalism in shaping the world as we know it today.A contribution to studies in visual culture as well as literary and social history, The Homoerotics of Orientalism draws on primary sources ranging from untranslated Middle Eastern manuscripts and European belles-lettres to miniature paintings and photographic erotica that are presented here for the first time.

    The immediate result was a glut of dense, abstract books on the "nature of man." But the dawning "age of the crisis of man," as Mark Greif calls it, was far more than a historical curiosity. In this ambitious intellectual and literary history, Greif recovers this lost line of thought to show how it influenced society, politics, and culture before, during, and long after World War II.During the 1930s and 1940s, fears of the barbarization of humanity energized New York intellectuals, Chicago protoconservatives, European Jewish emigres, and native-born bohemians to seek "re-enlightenment," a new philosophical account of human nature and history. After the war this effort diffused, leading to a rebirth of modern human rights and a new power for the literary arts.Critics' predictions of a "death of the novel" challenged writers to invest bloodless questions of human nature with flesh and detail. Hemingway, Faulkner, and Richard Wright wrote flawed novels of abstract man. Succeeding them, Ralph Ellison, Saul Bellow, Flannery O'Connor, and Thomas Pynchon constituted a new guard who tested philosophical questions against social realities--race, religious faith, and the rise of technology--that kept difference and diversity alive.By the 1960s, the idea of "universal man" gave way to moral antihumanism, as new sensibilities and social movements transformed what had come before. Greif's reframing of a foundational debate takes us beyond old antagonisms into a new future, and gives a prehistory to the fractures of our own era.

    Christians wonder: Are the best days of the Christian faith behind us? Has modernity made Christian thought irrelevant and impotent? Is society beyond all hope of redemption and renewal?In Renaissance, Os Guinness declares no. Throughout history, the Christian faith has transformed entire cultures and civilizations, building cathedrals and universities, proclaiming God's goodness, beauty and truth through art and literature, science and medicine. The Christian faith may similarly change the world again today. The church can be revived to become a renewing power in our society--if we answer the call to a new Christian renaissance that challenges darkness with the hope of Christian faith.In this hopeful appeal for cultural transformation, Guinness shares opportunities for Christians, on both local and global levels, to win back the West and to contribute constructively to the human future. Hearkening back to similar pivotal points in history, Guinness encourages Christians in the quest for societal change. Each chapter closes with thought-provoking discussion questions and a brief, heart-felt prayer that challenges and motivates us to take action in our lives today.

    Yet at its core, masochism is a site where power, bodies, and society come together. Sensational Flesh uses masochism as a lens to examine how power structures race, gender, and embodiment in different contexts.Drawing on rich and varied sources—from 19th century sexology, psychoanalysis, and critical theory to literary texts and performance art—Amber Jamilla Musser employs masochism as a powerful diagnostic tool for probing relationships between power and subjectivity. Engaging with a range of debates about lesbian S&M, racialization, femininity, and disability, as well as key texts such as Sacher-Masoch’s Venus in Furs, Pauline Réage’s The Story of O, and Michel Foucault's History of Sexuality, Musser renders legible the complex ways that masochism has been taken up by queer, feminist, and critical race theories. Furthering queer theory’s investment in affect and materiality, she proposes “sensation” as an analytical tool for illustrating what it feels like to be embedded in structures of domination such as patriarchy, colonialism, and racism and what it means to embody femininity, blackness, and pain. Sensational Flesh is ultimately about the ways in which difference is made material through race, gender, and sexuality and how that materiality is experienced.

    In this timely book, the Americanist and New Orleans native Lynnell L. Thomas delves into the relationship between tourism, cultural production, and racial politics. She carefully interprets the racial narratives embedded in tourism websites, travel guides, business periodicals, and newspapers; the thoughts of tour guides and owners; and the stories told on bus and walking tours as they were conducted both before and after Katrina. She describes how, with varying degrees of success, African American tour guides, tour owners, and tourism industry officials have used their own black heritage tours and tourism-focused businesses to challenge exclusionary tourist representations. Taking readers from the Lower Ninth Ward to the White House, Thomas highlights the ways that popular culture and public policy converge to create a mythology of racial harmony that masks a long history of racial inequality and structural inequity.

                   Sarah Alisabeth Fox interviews residents of the Great Basin region affected by environmental contamination from the uranium industry and nuclear testing fallout. Those residents tell tales of communities ravaged by cancer epidemics, farmers and ranchers economically ruined by massive crop and animal deaths, and Native miners working in dangerous conditions without proper safety equipment so that the government could surreptitiously study the effects of radiation on humans. In chilling detail, Downwind brings to light the stories and concerns of these groups whose voices have been silenced and marginalized for decades in the name of “patriotism” and “national security.” With the renewed boom in mining in the American West, Fox’s look at this hidden history, unearthed from years of field interviews, archival research, and epidemiological studies, is a must-read for every American concerned about the fate of our western lands and communities.

    Using gorgeous graphics and clear, simple, language, Ascher explains the infrastructure and engineering marvels around us." --Slate.comIn our digital age, it’s easy to forget that almost everything we enjoy about modern life depends on motion. We ride in cars and on buses and trains to work; enjoy food shipped over oceans; fly high in the sky to any point on the planet. Over the last century, the world has come to rely on its ability to move just about anywhere effortlessly. But what prompted this transformation? What inventions allowed it to happen? And how do the vehicles and systems that keep us in motion today—airports, trains, cars, and satellites—really work? Exploring our incredible interconnected world is the task of Kate Ascher’s The Way to Go: Moving by Sea, Land, and Air. Lusciously illustrated and meticulously researched, The Way to Go reveals the highly complex and largely invisible network of global transportation. How is cargo moved from inland factory to seaside port, and how is it transferred from shore to ship? How do ships and planes navigate their routes without landmarks? What happens under the hood of a car or in the undercarriage of a people mover? How did planes become cheaper than ships or trains? Why are some spaceships reusable and others not? What tools are needed to build today’s immense bridges and tunnels, and what ensures they don’t collapse? How does a helicopter really stay aloft? What happens when lightning strikes an airplane or when one satellite crashes with another? What will the car of tomorrow look like?Focusing on the machines that underpin our lives, Ascher’s The Way to Go also introduces the systems that keep those machines in business—the emergency communication networks that connect ships at sea, the automated tolling mechanisms that maintain the flow of highway traffic, the air control network that keeps planes from colliding in the sky. Equally fascinating are the technologies behind these complex systems: baggage tag readers that make sure people’s bags go where they need to; automated streetlights that adjust their timing based on traffic flow; GPS devices that pinpoint where we are on earth at any second. Together these technologies move more people farther, faster, and more cheaply than at any other time in history.As our lives and our businesses become more entwined with others across the globe, there has never been a better time to understand how transportation works. Indispensable and unforgettable, Kate Ascher’s The Way to Go is a gorgeous graphic guide to a world moving as never before.

    From the perspective of himself at age ten, he describes his upbringing as a nomad on Tibet's eastern plateau. He depicts pilgrimages to monasteries, including a 1500-mile horseback expedition his family made to and from Lhasa. A year or so later, they attempted that same journey as they fled from advancing Chinese troops. Naktsang's father joined and was killed in the little-known 1958 Amdo rebellion against the Chinese People’s Liberation Army, the armed branch of the Chinese Communist Party. During the next year, the author and his brother were imprisoned in a camp where, after the onset of famine, very few children survived.The real significance of this episodic narrative is the way it shows, through the eyes of a child, the suppressed histories of China's invasion of Tibet. The author's matter-of-fact accounts cast the atrocities that he relays in stark relief. Remarkably, Naktsang lived to tell his tale. His book was published in 2007 in China, where it was a bestseller before the Chinese government banned it in 2010. It is the most reprinted modern Tibetan literary work. This translation makes a fascinating if painful period of modern Tibetan history accessible in English.

    At a time when Thatcherite ideas were challenging vested interests in government, industry and society, the depiction of the hapless and self-deluding minister, Jim Hacker, and the wily civil servant, Sir Humphrey, seemed, to many, to sum up an Establishment out for little more than its own gain. Now, acclaimed entertainment historian Graham McCann goes behind the scenes to reveal the curious origins of Margaret Thatcher’s favourite television show.

    Since Ward Connerly kickstarted a state-by-state political mobilization against affirmative action in the mid-1990s, the percentage of four-year public colleges that consider racial or ethnic status in admissions has fallen from 60 percent to 35 percent. Only 45 percent of private colleges still explicitly consider race, with elite schools more likely to do so, although they too have retreated. For law professor and civil rights activist Sheryll Cashin, this isn’t entirely bad news, because as she argues, affirmative action as currently practiced does little to help disadvantaged people. The truly disadvantaged—black and brown children trapped in high-poverty environs—are not getting the quality schooling they need in part because backlash and wedge politics undermine any possibility for common-sense public policies. Using place instead of race in diversity programming, she writes, will better amend the structural disadvantages endured by many children of color, while enhancing the possibility that we might one day move past the racial resentment that affirmative action engenders. In Place, Not Race, Cashin reimagines affirmative action and champions place-based policies, arguing that college applicants who have thrived despite exposure to neighborhood or school poverty are deserving of special consideration. Those blessed to have come of age in poverty-free havens are not. Sixty years since the historic decision, we’re undoubtedly far from meeting the promise of Brown v. Board of Education, but Cashin offers a new framework for true inclusion for the millions of children who live separate and unequal lives. Her proposals include making standardized tests optional, replacing merit-based financial aid with need-based financial aid, and recruiting high-achieving students from overlooked places, among other steps that encourage cross-racial alliances and social mobility.   A call for action toward the long overdue promise of equality, Place, Not Race persuasively shows how the social costs of racial preferences actually outweigh any of the marginal benefits when effective race-neutral alternatives are available.

    In the process, Chidester provides a counterhistory of the academic study of religion, an alternative to standard accounts that have failed to link the field of comparative religion with either the power relations or the historical contingencies of the imperial project.   In developing a material history of the study of religion, Chidester documents the importance of African religion, the persistence of the divide between savagery and civilization, and the salience of mediations—imperial, colonial, and indigenous—in which knowledge about religions was produced. He then identifies the recurrence of these mediations in a number of case studies, including Friedrich Max Müller’s dependence on colonial experts, H. Rider Haggard and John Buchan’s fictional accounts of African religion, and W. E. B. Du Bois’s studies of African religion. By reclaiming these theorists for this history, Chidester shows that race, rather than theology, was formative in the emerging study of religion in Europe and North America. Sure to be controversial, Empire of Religion is a major contribution to the field of comparative religious studies.

    Husain immerses the reader in the immediacy and excitement of the discoveries—and she guides us as we begin to understand the underlying science and to grasp the revolutionary step forward each of these milestones represents.Tasneem Zehra Husain is a writer, educator, and Pakistan’s first female string theorist. She holds a PhD from Stockholm University and did post-doctoral research at Harvard University.Husain is fascinated by scientific theories, how we engage with them, and how they change us. She explores these themes in her fiction and nonfiction writing, her popular talks, and the educational workshops she conducts for science teachers. Husain is actively involved in science outreach, and frequently delivers talks about theoretical physics to students and lay audiences. She lives in Cambridge, Massachusetts.Advance praise for Only the Longest Threads:“Science is done by real human beings, with human concerns. Only the Longest Threads tells a story that conveys the human side of science in a way that is as moving as it is accurate.”—Sean Carroll, theoretical physicist at Caltech and author of The Particle at the End of the Universe“Tasneem Zehra Husain writes lyrically, poetically about life, love, and physics. I highly recommend this wonderful book for anyone interested in what physics, and indeed all of science, is about. She masterfully describes the most momentous moments in physics history with verve and talent.”—Amir D. Aczel, bestselling author of Fermat’s Last Theorem“A delightful meditation on the development of modern physics, culminating in the discovery of the Higgs. Husain follows the thread of its creation through a dialog between a journalist and young theory student, and as seen through the eyes of witnesses.”—John Huth, Donner Professor of Science, Harvard University“How do theoretical physicists think? Tasneem Zehra Husain knows. She knows their purpose, feels their passions, articulates their frustrations, shares their triumphs. Through the device of fiction Only the Longest Threads communicates the history of physical thought—its roots in inquisitiveness and essential disinterest in outcome—with greater clarity than any popular science text.” —Michael Duff FRS, Abdus Salam Professor of Theoretical Physics, Imperial College London“Well-written and cleverly constructed, this book takes us on a journey through the history of physics as a series of fictional adventures, loosely linked by another fiction, the storytellers’ emails to each other. Some books are praised because ‘I couldn’t put it down,’ but this one merits a deeper reading, one that stops, muses on, and savors each story before going on to the next. Each one captures not only the emergence of a significant idea in physics, but also something of the characters, culture, and times surrounding that development. So take your time, pause to ponder, but persevere, you will be well rewarded!”—Helen R. Quinn, Physicist, Science Educator, and Co-author of The Mystery of the Missing Antimatter, Professor Emeritus SLAC National Accelerator Laboratory“Tasneem Zehra Husain’s writing is both enlightening and entertaining as it captivates the challenge and excitement of working at the forefront of paradigm-shifting discoveries. Book-ended by the history-making discovery of the Higgs field, this tale offers a sparkling account of our understanding of fundamental physics. Through many voices rich with evocative metaphors, the threads woven through time and place that make up our current understanding of reality are revealed.”—Elizabeth F. McCormack, Professor of Physics, Bryn Mawr College“Only the Longest Threads describes the process of scientific discovery by focusing on the human elements: the bold conjectures, the wrong turns in the road, the competitiveness among scientists, the strength of their community, all seen from the point of view of the writers of letters and journals who make up the narrative. The clear, flawless prose is laced with a gentle wit when human behavior is described in the terms of physics—a welcome, light-handed nerdiness. Everyone who has studied physics but is unable to see the forest for the trees—and that means most of us—will relish this lovely little volume as it brings into perspective, through its accessible yet substantive treatment of the grand unifications, a magnificent edifice created by the human mind.”—Asad Abidi, Distinguished Chancellor’s Professor, UCLA Engineering“Tasneem Zehra Husain skillfully weaves a poetic tapestry from tight threads of science and richly imagined strands of time. A weft of physics and warp of love makes a delightfully gripping read. Her flowing prose conducts us by some unfamiliar force from falling apples to colliding protons where the Higgs boson looms.”—Joseph Mazur, author of Enlightening Symbols“This highly original book puts a fresh perspective on humanity's inevitable obsession with understanding the laws of Nature. On an artfully constructed journey through space and time, Tasneem Zehra Husain gives us a tantalizing taste of how physicists struggle to find ‘true nuggets of gold, and the only immortal elixir.’”—Freddy Cachazo, Perimeter Institute for Theoretical Physics“Tasneem Zehra Husain’s observant narrators are witnesses to the intellectual revolutions of Newton, Maxwell, Einstein, Bohr, and others, the drama building to the mysteries of the present day. She uses her deep knowledge of physics to create a new genre—true science fiction, imagined vignettes of physics in all its humanity, woven together as a story within a story.”—Mark A. Peterson, author of Galileo’s Muse

    He would follow it five years later, returning to his native land after twelve years in India and Sri Lanka. But he did not receive the welcome he imagined: he was arrested by the government of the regent of the young Dalai Lama on trumped-up charges of treason. He emerged from prison three years later a broken man and died soon after. Gendun Chopel was a prolific writer during his short life. Yet he considered that manuscript, which he titled Grains of Gold, to be his life’s work, one to delight his compatriots with tales of an ancient Indian and Tibetan past, while alerting them to the wonders and dangers of the strikingly modern land abutting Tibet’s southern border, the British colony of India. Now available for the first time in English, Grains of Gold is a unique compendium of South Asian and Tibetan culture that combines travelogue, drawings, history, and ethnography. Gendun Chopel describes the world he discovered in South Asia, from the ruins of the sacred sites of Buddhism to the Sanskrit classics he learned to read in the original. He is also sharply, often humorously critical of the Tibetan love of the fantastic, bursting one myth after another and finding fault with the accounts of earlier Tibetan pilgrims. Exploring a wide range of cultures and religions central to the history of the region, Gendun Chopel is eager to describe all the new knowledge he gathered in his travels to his Buddhist audience in Tibet. At once the account of the experiences of a tragic figure in Tibetan history and the work of an extraordinary scholar, Grains of Gold is an accessible, compelling work animated by a sense of discovery of both a distant past and a strange present.

    In this sophisticated examination of the HBO serial drama that aired from 2002 until 2008, Linda Williams, a leading film scholar and authority on the interplay between film, melodrama, and issues of race, suggests what exactly it is that makes The Wire so good. She argues that while the series is a powerful exploration of urban dysfunction and institutional failure, its narrative power derives from its genre. The Wire is popular melodrama, not Greek tragedy, as critics and the series creator David Simon have claimed. Entertaining, addictive, funny, and despairing all at once, it is a serial melodrama grounded in observation of Baltimore's people and institutions: of cops and criminals, schools and blue-collar labor, local government and local journalism. The Wire transforms close observation into an unparalleled melodrama by juxtaposing the good and evil of individuals with the good and evil of institutions.

    But the prolific author shocked the world in 1970 when he attempted a coup d’état that ended in his suicide by ritual disembowelment. In this radically new analysis of Mishima’s extraordinary life, Damian Flanagan deviates from the stereotypical depiction of a right-wing nationalist and aesthete, presenting the author instead as a man in thrall to the modern world while also plagued by hidden neuroses and childhood trauma that pushed him toward his explosive final act.             Flanagan argues that Mishima was a man obsessed with the concepts of time and “emperor,” and reveals how these were at the heart of his literature and life. Untangling the distortions in the writer’s memoirs, Flanagan traces the evolution of Mishima’s attempts to master and transform his sexuality and artistic persona. While often perceived as a solitary protest figure, Mishima, Flanagan shows, was very much in tune with postwar culture—he took up bodybuilding and became a model and actor in the 1950s, adopted the themes of contemporary political scandals in his work, courted English translators, and became influenced by the student protests and hippie subculture of the late 1960s. A groundbreaking reevaluation of the author, this succinct biography paints a revealing portrait of Mishima’s life and work.

    In this highly anticipated sequel to her award-winning Literacy in American Lives, Deborah Brandt moves beyond laments about the decline of reading to focus on the rise of writing. What happens when writing overtakes reading as the basis of people's daily literate experience? How does a societal shift toward writing affect the ways that people develop their literacy and understand its value? Drawing on recent interviews with people who write every day, Brandt explores this major turn in the development of mass literacy and examines the serious challenges it poses for America's educational mission and civic health.

    Each book contains 64 perforated pages to make it easy to share, frame and hang your artwork.

    These unique compositions—collages of text and gestural painting across a variety of media—quickly made Basquiat one of the most important and widely known artists of the 1980s. Reading Basquiat provides a new approach to understanding the range and impact of this artist’s practice, as well as its complex relationship to several key artistic and ideological debates of the late twentieth century, including the instability of identity, the role of appropriation, and the boundaries of expressionism. Jordana Moore Saggese argues that Basquiat, once known as “the black Picasso,” probes not only the boundaries of blackness but also the boundaries of American art. Weaving together the artist’s interests in painting, writing, and music, this groundbreaking book expands the parameters of aesthetic discourse to consider the parallels Basquiat found among these disciplines in his exploration of the production of meaning. Most important, Reading Basquiat traces the ways in which Basquiat constructed large parts of his identity—as a black man, as a musician, as a painter, and as a writer—via the manipulation of texts in his own library.

    Nash rewrites black feminism's theory of representation. Her analysis moves beyond black feminism's preoccupation with injury and recovery to consider how racial fictions can create a space of agency and even pleasure for black female subjects. Nash's innovative readings of hardcore pornographic films from the 1970s and 1980s develop a new method of analyzing racialized pornography that focuses on black women's pleasures in blackness: delights in toying with and subverting blackness, moments of racialized excitement, deliberate enactments of hyperbolic blackness, and humorous performances of blackness that poke fun at the fantastical project of race. Drawing on feminist and queer theory, critical race theory, and media studies, Nash creates a new black feminist interpretative practice, one attentive to the messy contradictions—between delight and discomfort, between desire and degradation—at the heart of black pleasures.

    Within Learning in Landscapes of Practice, this metaphor is further developed in order to start an important conversation about the nature of practice knowledge, identity and the experience of practitioners and their learning. In doing so, this book is a pioneering and timely exploration of the future of professional development and higher education.The book combines a strong theoretical perspective grounded in social learning theories with stories from a broad range of contributors who occupy different locations in their own landscapes of practice. These narratives locate the book within different contemporary concerns such as social media, multi-agency, multi-disciplinary and multi-national partnerships, and the integration of academic study and workplace practice.Both scholarly, in the sense that it builds on prior research to extend and locate the concept of landscapes of practice, and practical because of the way in which it draws on multiple voices from different landscapes. Learning in Landscapes of Practice will be of particular relevance to people concerned with the design of professional or vocational learning. It will also be a valuable resource for students engaged in higher education courses with work-based elements.

      This spring, South Africa will celebrate the twentieth anniversary of the fall of apartheid and the first free elections. Although the country has come far, frustration is growing as inequalities that once divided the races now grow within them. In After Freedom, award-winning sociologist Katherine S. Newman and South African expert Ariane De Lannoy profile seven people—Black, White, “Coloured,” and immigrant—to reveal what life is like in South Africa today. These on-the-ground portraits offer an intimate look at the rising generation of young people and explore what the complex political landscape means to the average person. After Freedom is a timely look at how the generation that came of age post-apartheid is grappling with a tenuous democracy in a globalized economy.

    From Texas to India, Malawi to China, Iceland, Morocco, and Fiji, Galimberti recorded the spontaneous and natural joy that unites kids despite their diverse backgrounds. Whether the child owns a veritable fleet of miniature cars or a single stuffed monkey, the pride that Galimberti captures is moving, funny, and thought provoking.

    In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths.The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art.Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism.By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.

    Di Palma argues that a convergence of beliefs, technologies, institutions, and individuals in 18th-century England resulted in the formulation of cultural attitudes that continue to shape the ways we evaluate landscape today. Staking claims on the aesthetics of disgust, she addresses how emotional response has been central to the development of ideas about nature, beauty, and sublimity. With striking illustrations reaching back to the 1600s—husbandry manuals, radical pamphlets, gardening treatises, maps, and landscape paintings— Wasteland spans the fields of landscape studies, art and architectural history, geography, history, and the history of science and technology. In stirring prose, Di Palma tackles our conceptions of such hostile territories as swamps, mountains, and forests, arguing that they are united not by any essential physical characteristics but by the aversive reactions they inspire.

    Jones, My Black Angel is both an auditory pleasure and visual feast.  First, Addonizio’s poetry celebrates the blues tradition in poetry much the way Langston Hughes, James Weldon Johnson, and Paul Laurence Dunbar did; she understands, feels, knows blues rhythms and the result is an incomparable and important poetry.  Furthermore, Jones’ accompanying art encompasses the blues medium and personalities Addonizio so aptly employs in her poetry:  edgy and surprising, multifaceted with concurrent streams of meaning, his woodcuts feature such blues personalities as Blind Willie Johnson, Robert Johnson, Billie Holliday, Muddy Waters, Lightnin’ Hopkins, John Lee Hooker, Big Mama Thornton, and more.  The concert resultant from this collaboration is a dynamic performance bound to turn readers’ attentions to the music and tradition of the blues, to seek out the sources, to immerse in the blues.

    A man who lost his way only to find himself at the edge of his life too soon. As the end closes in around him, he is plucked from the darkness by the voice of God–and his life changes. He squares his accounts, meets a woman, realizes his calling as a writer, and begins a furious ascent to the pinnacle of the American dream. But when he gets there he stops, looks around, and decides that there has to be something else in life. Something bigger. Something more. Fueled his growing frustration with the American way of life, he begins to acknowledge a little voice inside of him that insists he break free. Because you can only deny that voice for so long before it starts to eat at you. And claw at you. And whisper in your ear at at 4:00 a.m. with the consequences of pretending that it doesn’t exist. Terrible thoughts that try to convince you that you don’t deserve anything good you’ve ever received and that the only way out might be with a bullet because standing in front of the mirror day in and day out watching your hair turn silver and deep lines appear on your face is a terrible way to live when there’s so much more out there just beyond the horizon. Past the gatekeepers. Into the abyss.Hope and fear. Truth and deceit. Good and evil. Dreams and reality. These are the core themes of Minor King, but the story is simpler than that. It’s about a man trying to find his way. At any cost.It’s a dangerous business, dreaming.

    White, European Americans living in the United States will soon share an unprecedented experience of slipping below 50% of the population. The impending demographic shifts are already felt in most urban centers and the effect is a national backlash of hyper-mobilized political, and sometimes violent, activism with a stated aim that is simultaneously vague and deadly clear: 'to take our country back.' Meanwhile the spectre of 'minority status' draws closer, and the material advantages of being born white are eroding. This is the political and cultural reality tackled by Linda MartIn Alcoff in The Future of Whiteness. She argues that whiteness is here to stay, at least for a while, but that half of whites have given up on ideas of white supremacy, and the shared public, material culture is more integrated than ever. More and more, whites are becoming aware of how they appear to non-whites, both at home and abroad, and this is having profound effects on white identity in North America. The young generation of whites today, as well as all those who follow, will have never known a country in which they could take white identity as the unchallenged default that dominates the political, economic and cultural leadership. Change is on the horizon, and the most important battleground is among white people themselves. The Future of Whiteness makes no predictions but astutely analyzes the present reaction and evaluates the current signs of turmoil. Beautifully written and cogently argued, the book looks set to spark debate in the field and to illuminate an important area of racial politics.

    Following the threads of experimental writing from the present into the past, she shows how writers have long tested and transgressed technological boundaries.Reading the means of production as well as the creative works they produce, Emerson demonstrates that technologies are more than mere tools and that the interface is not a neutral border between writer and machine but is in fact a collaborative creative space. Reading Writing Interfaces begins with digital literature’s defiance of the alleged invisibility of ubiquitous computing and multitouch in the early twenty-first century and then looks back at the ideology of the user-friendly graphical user interface that emerged along with the Apple Macintosh computer of the 1980s. She considers poetic experiments with and against the strictures of the typewriter in the 1960s and 1970s and takes a fresh look at Emily Dickinson’s self-printing projects as a challenge to the coherence of the book.Through archival research, Emerson offers examples of how literary engagements with screen-based and print-based technologies have transformed reading and writing. She reveals the ways in which writers—from Emily Dickinson to Jason Nelson and Judd Morrissey—work with and against media interfaces to undermine the assumed transparency of conventional literary practice.

    Home to nearly every great black star including: James Brown, Aretha Franklin, Richard Pryor, Gladys Knight, Michael Jackson, Ray Charles, Redd Foxx, Dizzy Gillespie, Count Basie, Sarah Vaughn and “Bojangles” Robinson, – the theater still hosts contemporary luminaries like The Roots, Mary J. Blige, Chris Rock, Wynton Marsalis and Whoopi Goldberg. Numerous performers relate their own poignant, exciting and sometimes hilarious stories. Some 150 photographs – many never before published – are interspersed throughout.For African-Americans, the Apollo was the greatest black theater, and a special place to come of age. For whites – including Elvis Presley and the Beatles – the Apollo was as close as they could come to the reality of the black experience.Still thriving, the Apollo has exerted an unprecedented influence upon popular culture. Since 1934, the Apollo has been at the forefront of African-American music, dance and comedy. It’s legendary Amateur Night spawned countless stars. Renowned for having the world’s toughest and most appreciative audience, it is the place where, as Dionne Warwick says in the book, “Everyone gave their best performance". "The essential book, mandatory for the most casual student as well as the most ardent fan." – David Hinckley, Daily News "Ted Fox made the Apollo come alive for me again." – Jerry Wexler, co-founder of Atlantic Records "Ted Fox mows through the 20th century's mind blowing cavalcade of segregation byproduct, inhumanity producing creative transcendence. The survivors of the era provide Fox with a front-line document." - Raoul Hernandez, Austin Chronicle "A wonderful book." – Tavis Smiley, National Public Radio "I could almost feel and taste the Apollo again." – Doc Pomus, classic songwriter "The definitive history of Harlem’s (and black America’s) essential theater." – New York Magazine "Showtime at the Apollo is not only a history of that wonderful theatre, but also a fascinating insider’s view of the Harlem music scene." – John Hammond, legendary producer and talent scout TED FOX is also the author of In The Groove a collection of interviews with men who have shaped the music industry. He produces and manages Grammy-winner Buckwheat Zydeco and lives in upstate New York.

    . . . mak[ing] accessible a lost, heady land of female adventure.” — ComicsAlliance Between the covers of Vixens, Vamps & Vipers, fans will rediscover the original bad girls of comics—as fierce and full of surprises as they were when the comic book industry was born. From murderous Madame Doom to He-She, dubbed by io9 as “the most unsung comic book villain ever,” Mike Madrid resurrects twenty-two glorious evildoers in fully reproduced comics and explores the ways they both transcend and become ensnared in a web of cultural stereotypes.Among the deadly femme fatales, ruthless jungle queens, devious secret agents, double-dealing criminal masterminds, and gender-bending con artists are some of the very first women of color in comics. These women may have been overlooked in the annals of history, but—like their superheroine counterparts in Divas, Dames & Daredevils—their influence, on popular culture and the archenemies that thrill us today, is unmistakable.Mike Madrid is the author of Divas, Dames & Daredevils, a ComicsAlliance and ComicsBlend Best Book of the Year, and The Supergirls, an NPR “Best Book To Share With Your Friends” and American Library Association Amelia Bloomer Project Notable Book. A San Francisco native and lifelong fan of comic books and popular culture, Madrid also appears in the documentary Wonder Women! The Untold Story of American Superheroines.

    When Vasco Da Gama arrived in India in 1498, he mistook Hindus for Christians, but Jesuit missionaries soon declared war on the alleged idolatry of the Hindus. Today, Hindus and Catholics assert their own religious identities, but Hindu village gods and Catholic patron saints attract worship from members of both religious communities. Through fresh readings of early Portuguese sources and long-term ethnographic fieldwork, this study traces the history of Hindu-Catholic syncretism in Goa and considers its implications for our understanding of power, religion, and postcoloniality.

    

    At its grandest, during the last fifty years or so before the collapse of the dynasty in 9 CE, Chang'an boasted imperial libraries with thousands of documents on bamboo and silk, in a city nearly three times the size of Rome and nearly four times larger than Alexandria. Although thousands of studies document imperial Rome's glory, until now no book-length work in a Western language has been devoted to Han Chang'an, the reign of Emperor Chengdi (whose accomplishments rival those of Augustus and Hadrian), or its impressive library project (26-6 BCE), which ultimately produced the first state-sponsored versions of many of the classics and masterworks that we hold in our hands today. Many reforms instituted in this capital in in late Western Han substantially shaped not only the institutions of the Eastern Han (25-220 CE) but all the rest of imperial China, until 1911."Chang'an 26 " "bce "addresses this deficiency, using as a focal point the reign of Emperor Chengdi (r. 33-7 bce), specifically the year in which the imperial library project began. This in-depth survey by some of the world's best scholars, Chinese and Western, explores the built environment, sociopolitical transformations, and leading figures of Chang'an, making a strong case for the revision of historical assumptions about the two Han dynasties. A multidisciplinary volume representing a wealth of scholarly perspectives, the book draws on the established historical record and recent archaeological discoveries of thousands of tombs, building foundations, and remnants of walls and gates from Chang'an and its surrounding area.

    For nearly three decades, Laffont traveled the breadth of the United States, a true embodiment of American freedom. Documenting the country in all of its facets - from national crises and unsightly social injustices to heartfelt protest and solidarity, the photographer took full advantage of the access granted to him bythe world's greatest democracy. He traveled all fifty of the United States to document a broad swath of the country's fabric, capturing America through some of its most turbulent eras. For example, he was one of the foremost recorders of gay pride in New York and San Francisco from the 1960s through the 1980s.From the electric chair at Sing Sing to Women's Jello Wrestling, the Watkins Glen rock festival to the Kent State shooting protest in Washington DC, Laffont was front and centre to history as it unfolded. Never working on assignment, Laffont chased stories of his own volition with a lens that was at once compassionate, humanistic, and unflinching. Taken together, these pages tell the story of the chaotic, often painful, birth of twenty-first-century America - a place where a black president, gay marriage, and women executives have become the new norm. Photographer's Paradise reminds us of the power of the freedom of speech, as Laffont speaks truth to power through his camera lens.Contents: Foreword by Sir Harold Evans; Introduction: America As I Lived It; The 1960s / Expanded History: 1960s: 42nd Street; The Savage Skulls; Transvestites; Electric Chair, Sing Sing; Arkansas Prison Cummins Farm; The Krishnas; Rock Festival at Watkins Glen, 1973; The Funeral of Robert Kennedy; An Accident at Chappaquiddick. The 1970s / Expanded History: 1970s: Guam; Bombs; Protest in Washington DC against the Kent State Shooting; Boxing: Ali vs Frasier; The KKK at Home; KKK Secret Army; Carter County, Georgia; Explo 72; The Sorcerers of Brooklyn; Energy Crisis of 1973; Printing Dollars. The 1980s / Expanded History: 1980s: Women's Jello Wrestling; Children and Guns; The Rajneesh American Farmers in the 1980s.

    Whew! This is not a beach book, but a critical reading of a novel of substance, depth, grace and challenge. It is not necessary to have read Flight Behavior to enjoy and profit from this book.

    Pacific Islanders had established civilisations and cultures of travel well before European explorers arrived, initiating centuries of upheaval and transformation. The twentieth century, with its various wars fought in and over the Pacific, is only the most recent era to witness military strife and economic competition. While Asia Pacific and Pacific Rim were late twentieth-century terms that dealt with the importance of the Pacific to the economic, political, and cultural arrangements that span Asia and the Americas, a new term has arisen--the transpacific. In the twenty-first century, U.S. efforts to dominate the ocean are symbolized not only in the Pacific pivot of American policy but also the development of a Transpacific Partnership. This partnership brings together a dozen countries--not including China--in a trade pact whose aim is to cement U.S. influence. That pact signals how the transpacific, up to now an academic term, has reached mass consciousness.Recognising the increasing importance of the transpacific as a word and concept, this anthology proposes a framework for transpacific studies that examines the flows of culture, capital, ideas, and labour across the Pacific. These flows involve Asia, the Americas, and the Pacific Islands. The introduction to the anthology by its editors, Janet Hoskins and Viet Thanh Nguyen, consider the advantages and limitations of models found in Asian studies, American studies, and Asian American studies for dealing with these flows. The editors argue that transpacific studies can draw from all three in order to provide a critical model for considering the geopolitical struggle over the Pacific, with its attendant possibilities for inequality and exploitation. Transpacific studies also sheds light on the cultural and political movements, artistic works, and ideas that have arisen to contest state, corporate, and military ambitions. In sum, the transpacific as a concept illuminates how flows across the Pacific can be harnessed for purposes of both domination and resistance. The anthology's contributors include geographers (Brenda S. A.Yeoh, Weiqiang Lin), sociologists (Yen Le Espiritu, Hung Cam Thai), literary critics (John Carlos Rowe, J. Francisco Benitez, Yunte Huang, Viet Thanh Nguyen), and anthropologists (Xiang Biao, Heonik Kwon, Nancy Lutkehaus, Janet Hoskins), as well as a historian (Laurie J. Sears), and a film scholar (Akira Lippit). Together these contributors demonstrate how a transpacific model can be deployed across multiple disciplines and from varied locations, with scholars working from the United States, Singapore, Japan and England. Topics include the Cold War, the Chinese state, U.S. imperialism, diasporic and refugee cultures and economies, national cinemas, transpacific art, and the view of the transpacific from Asia. These varied topics are a result of the anthology's purpose in bringing scholars into conversation and illuminating how location influences the perception of the transpacific. But regardless of the individual view, what the essays gathered here collectively demonstrate is the energy, excitement, and insight that can be generated from within a transpacific framework.

    We're taken the most successful institution known to man, tinkered with it, played with it, and toyed with it until it's barely functional any more. Marriage simply isn't such a great deal any more, which is why many people are turning away from it. Especially young men. And if you look at the stats on divorce and the way men are treated in the family courts, you can hardly blame them. This little book says that the problem lies with all the modern assumptions we've tagged on to marriage. Marriage is (or at least it was) the structure that took the complicated mess of who we are as men and women and created a legal and social framework that used our natural impulses and desires to create a stable society. Marriage is what keeps human cultures from devolving into chaos. As western society has gotten further and further from a reality-based perspective on the sexes, marriage has been on the rocks. Some say there's even a marriage strike. These 50 politically incorrect thoughts call young men to abandon the modern approach and look at love, marriage and sex from a different point of view. It's a call to be counter-cultural in a way the hippies couldn't have imagined. Please note: this is not a scholarly work. If you're looking for studies and footnotes, look elsewhere. This book isn't intended to prove anything. It simply offers a different perspective.

    From the impassioned slide guitar of the Mississippi Delta, to the electric sounds of Chicago's street corners, to the improvised jams of blues- rock, The Blues explores the many forms this quintessentially American music has taken. All the great pioneers are here, including Robert Johnson, Muddy Waters, Bessie Smith, and John Lee Hooker, along with the many musicians they influenced who put their own unique spin on the genre.  As well as tracing the evolution of the blues through its various styles, this musical journey features profiles of no fewer than fifty key artists—including fact files with biographical information, recording histories and more.

    

    and internationally—such as Kazuo Ishiguro’s science fiction novel Never Let Me Go or Ruth Ozeki’s My Year of Meats and exhibits like that of Body Worlds in which many of the bodies on display originated from Chinese prisons—Rachel C. Lee teases out the preoccupation with human fragments and posthuman ecologies in the context of Asian American cultural production and theory. She unpacks how the designation of “Asian American” itself is a mental construct that is paradoxically linked to the biological body.Through chapters that each use a body part as springboard forreading Asian American texts, Lee inaugurates a new avenue of research on biosociality and biopolitics within Asian American criticism, focused on the literary and cultural understandings of pastoral governmentality, the divergent scales of embodiment, and the queer (cross)species being of racial subjects. She establishes an intellectual alliance and methodological synergy between Asian American studies and Science and Technology Studies (STS), biocultures, medical humanities, and femiqueer approaches to family formation, carework, affect, and ethics. In pursuing an Asian Americanist critique concerned with speculative and real changes to human biologies, she both produces innovation within the field and demonstrates the urgency of that critique to other disciplines.

    Ma Rainey, Bessie Smith, and other classic blues singers also tapped, joked, and flaunted extravagant costumes on tent show and black vaudeville stages. The press even described these women as "actresses" long before they achieved worldwide fame for their musical recordings. In Staging the Blues, Paige A. McGinley shows that even though folklorists, record producers, and festival promoters set the theatricality of early blues aside in favor of notions of authenticity, it remained creatively vibrant throughout the twentieth century. Highlighting performances by Rainey, Smith, Lead Belly, Sister Rosetta Tharpe, Sonny Terry, and Brownie McGhee in small Mississippi towns, Harlem theaters, and the industrial British North, this pioneering study foregrounds virtuoso blues artists who used the conventions of the theater, including dance, comedy, and costume, to stage black mobility, to challenge narratives of racial authenticity, and to fight for racial and economic justice.

    When Helping Hurts provides foundational concepts, clearly articulated general principles and relevant applications. The result is an effective and holistic ministry to the poor, not a truncated gospel.

    In particular, Queer Nostalgia engages in a critical discussion of nostalgia-in-motion, the significance of 'femininostlagia' (gay men's effeminate nostalgia), the intricate relationship between queer nostalgia, martyrdom and emergent queer mythology, the contribution of nostalgia to 'autoqueerography' (queer autobiography inspired by women's dissident autobiography or 'autogynography'), and the interrelationship between ethnic and queer nostalgias.

    Debates abound over how to conceptualise affect, and how to understand the interrelationships between affective life and a range of contemporary political transformations. In Encountering Affect, Ben Anderson explores why understanding affect matters and offers one account of affective life that hones in on the different ways in which affects are ordered. Intervening in debates around non-representational theories, he argues that affective life is always-already 'mediated' - the never finished product of apparatuses, encounters and conditions. Through a wide range of examples including dread-debility-dependency in torture, ordinary hopes, and precariousness, Anderson shows the significance of affect for understanding life today.

    Davis uses oil paint to create an alternate world where anything is possible, combining arcane personal symbols with social commentary. His vivid, narrative work pulls viewers into dreamscapes where they are soon lost among burning birdhouses, cannon-toting eggs, anthropomorphous insects, and skeletons holding what may be the keys to it all. Will the forlorn subjects who populate his paintings spill their secrets? What happened among the rubble and where are the travelers going? Davis tableaus can reveal important parables to the attentive mind, but only if we study well and learn to read his visual poetry."

    We've set up lights and backdrops in wind-blown theater parking lots in the middle of the night, while bands played their shows, in co-ed strip clubs, and crammed behind the pool table in the back of noisy dive bars. Sometimes it's a real challenge, but this is how we shoot our personal work. We like to capture the moments in their real environments. For this compendium, we chose only images which were actually shot in California. Some of the deathrockers in this volume grew up here and some are transplants and some were just passing through. Forrest and I had a lot of debates, while hunched over a contact sheet with loupes in hand, over whether a particular photo was really more deathrock or more Gothic, as we needed a methodology for honing down what to share. When we started shooting, there were very few photographers who would ever shoot anyone gothic or punk or tattooed or pierced or fetish and the few who did approached the subject matter in a gritty unattractive purely anthropological manner, like they were going to the zoo. We wanted to create respectful and celebratory work. We wanted to capture the joy and tribal sense of community which we experienced in the various subterranean worlds we documented. We wanted the flamboyant beauty we saw to resonate with other people the way it did for us. We wanted the people we photographed to look the way they looked in our minds' eyes when we recalled the excitement of nightlife at midnight. For nearly a quarter of a century, Amelia G and Forrest Black have been documenting subculture in America. Their work has been published by everyone from Rolling Stone to Playboy and, of course, the seminal publication they are best known for, Blue Blood. Their remarkable portraits benefit from a combination of social anthropology and celebration of community, simultaneously presenting documentary and aspirational artistic ideal. The hallmarks of their distinctive photographic style are viscerally saturated colors and an extraordinary talent for finding intense star quality in their often unusual subjects. Amelia G did her undergraduate work at Wesleyan University and graduate at University of Michigan. Her thesis was a cross-cultural deconstruction of vampires in popular culture. Forrest Black is an award-winning designer whose work has been covered by venues from Print to MTV. He likes black cats and beer. Home base is Los Angeles. "The refreshingly fascinating photography of Amelia G and Forrest Black successfully captures the alluring mystique of the members of our society's underground sub-cultures, and presents these often-misunderstood individuals in a sexy, provocative, and yet approachable way." --Linda "FC" Fletch, Editor, Tattoo Savage magazine "I like their style of cross processing, and I like the fact that they go out into clubland and photograph the wildlife." --Matt Riser, publisher, New Grave magazine "If West Coast deathrock had official scene photographers, they would be Amelia G and Forrest Black." --Kate Deathrock, Deathrock.org

    A lengthy parade of characters lost in their cell phones, iPads and computers find themselves in worlds of neon-lit supermarkets, billboard infested metropolises, and naturalistic countryside panoramas. Most of his characters appear bored and distracted. His work exposes the result of corporate-dictated mass culture and our inability to be present and interact with the real world. Alex Gross' paintings remind us, that it is impossible to escape consumerism's domination.

    L. R. James in Imperial Britain chronicles the life and work of the Trinidadian intellectual and writer C. L. R. James during his first extended stay in Britain, from 1932 to 1938. It reveals the radicalizing effect of this critical period on James's intellectual and political trajectory. During this time, James turned from liberal humanism to revolutionary socialism. Rejecting the "imperial Britishness" he had absorbed growing up in a crown colony in the British West Indies, he became a leading anticolonial activist and Pan-Africanist thinker. Christian Høgsbjerg reconstructs the circumstances and milieus in which James wrote works including his magisterial study The Black Jacobins. First published in 1938, James's examination of the dynamics of anticolonial revolution in Haiti continues to influence scholarship on Atlantic slavery and abolition. Høgsbjerg contends that during the Depression C. L. R. James advanced public understanding of the African diaspora and emerged as one of the most significant and creative revolutionary Marxists in Britain.

    culture, and countless scholarly collections have been devoted to the science of evolution, few have addressed the specific details of Darwin’s theories as a cultural force affecting U.S. writers. America’s Darwin fills this gap and features a range of critical approaches that examine U.S. textual responses to Darwin’s works.The scholars in this collection represent a range of disciplines—literature, history of science, women’s studies, geology, biology, entomology, and anthropology. All pay close attention to the specific forms that Darwinian evolution took in the United States, engaging not only with Darwin’s most famous works, such as On the Origin of Species, but also with less familiar works, such as The Expression of the Emotions in Man and Animals.Each contributor considers distinctive social, cultural, and intellectual conditions that affected the reception and dissemination of evolutionary thought, from before the publication of On the Origin of Species to the early years of the twenty-first century. These essays engage with the specific details and language of a wide selection of Darwin’s texts, treating his writings as primary sources essential to comprehending the impact of Darwinian language on American writers and thinkers. This careful engagement with the texts of evolution enables us to see the broad points of its acceptance and adoption in the American scene; this approach also highlights the ways in which writers, reformers, and others reconfigured Darwinian language to suit their individual purposes.America’s Darwin demonstrates the many ways in which writers and others fit themselves to a narrative of evolution whose dominant motifs are contingency and uncertainty. Collectively, the authors make the compelling case that the interpretation of evolutionary theory in the U.S. has always shifted in relation to prevailing cultural anxieties.

     For we age simultaneously in different ways: biologically, psychologically, socially. And we age within the larger framework of a culture, in the midst of a history that predates us and will outlast us. Looked at through that lens, many aspects of late modernity would suggest that we are older than ever, but Robert Pogue Harrison argues that we are also getting startlingly younger—in looks, mentality, and behavior. We live, he says, in an age of juvenescence.   Like all of Robert Pogue Harrison's books, Juvenescence ranges brilliantly across cultures and history, tracing the ways that the spirits of youth and age have inflected each other from antiquity to the present. Drawing on the scientific concept of neotony, or the retention of juvenile characteristics through adulthood, and extending it into the cultural realm, Harrison argues that youth is essential for culture’s innovative drive and flashes of genius. At the same time, however, youth—which Harrison sees as more protracted than ever—is a luxury that requires the stability and wisdom of our elders and the institutions. “While genius liberates the novelties of the future,” Harrison writes, “wisdom inherits the legacies of the past, renewing them in the process of handing them down.”   A heady, deeply learned excursion, rich with ideas and insights, Juvenescence could only have been written by Robert Pogue Harrison. No reader who has wondered at our culture's obsession with youth should miss it.

    It was, as Allyson Hobbs writes, a chosen exile, a separation from one racial identity and the leap into another. This revelatory history of passing explores the possibilities and challenges that racial indeterminacy presented to men and women living in a country obsessed with racial distinctions. It also tells a tale of loss.As racial relations in America have evolved so has the significance of passing. To pass as white in the antebellum South was to escape the shackles of slavery. After emancipation, many African Americans came to regard passing as a form of betrayal, a selling of one’s birthright. When the initially hopeful period of Reconstruction proved short-lived, passing became an opportunity to defy Jim Crow and strike out on one’s own.Although black Americans who adopted white identities reaped benefits of expanded opportunity and mobility, Hobbs helps us to recognize and understand the grief, loneliness, and isolation that accompanied—and often outweighed—these rewards. By the dawning of the civil rights era, more and more racially mixed Americans felt the loss of kin and community was too much to bear, that it was time to “pass out” and embrace a black identity. Although recent decades have witnessed an increasingly multiracial society and a growing acceptance of hybridity, the problem of race and identity remains at the center of public debate and emotionally fraught personal decisions.

    He has also written several books and chapters on diverse subjects, and has been blogging and speaking since 2006. He is known the world over for all the above. But here, together for the first time, are all of Dr. Carrier's peer reviewed academic journal articles in history through the year 2013, collected with his best magazine articles, research papers and blog posts on the same subjects. Many have been uniquely revised for this publication. Others are inaccessible except through libraries or paywalls. Twenty chapters include his seminal papers on the scandal of Hitler's Table Talk, the Jerry Vardaman microletter farce, and the testimonies to Christ in Josephus, Tacitus, and Thallus, as well as Carrier's journalistic foray into ancient pyramid quackery, his work on the historical & textual errancy of the bible, and more.

    Includes the technical aspects of food gathering,as well as the social and spiritual