Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

    We either compartmentalize our faith or drift from it altogether—into a world that’s so alluring.Have you wondered lately:Why does the Western church look so much like the world?Why are so many of my friends leaving the faith?How can we get back to our roots?Disappearing Church will help you sort through concerns like these, guiding you in a thoughtful, faithful, and hopeful response. Weaving together art, history, and theology, pastor and cultural observer Mark Sayers reminds us that real growth happens when the church embraces its countercultural witness, not when it blends in.It’s like Jesus said long ago, “If the salt loses its saltiness, it is no longer good for anything…”

    What is race and why does it matter? What motivates the human tendency to construct Others? Why does the presence of Others make us so afraid?Drawing on her Norton Lectures, Toni Morrison takes up these and other vital questions bearing on identity in The Origin of Others. In her search for answers, the novelist considers her own memories as well as history, politics, and especially literature. Harriet Beecher Stowe, Ernest Hemingway, William Faulkner, Flannery O'Connor, and Camara Laye are among the authors she examines. Readers of Morrison's fiction will welcome her discussions of some of her most celebrated books--Beloved, Paradise, and A Mercy.If we learn racism by example, then literature plays an important part in the history of race in America, both negatively and positively. Morrison writes about nineteenth-century literary efforts to romance slavery, contrasting them with the scientific racism of Samuel Cartwright and the banal diaries of the plantation overseer and slaveholder Thomas Thistlewood. She looks at configurations of blackness, notions of racial purity, and the ways in which literature employs skin color to reveal character or drive narrative. Expanding the scope of her concern, she also addresses globalization and the mass movement of peoples in this century. National Book Award winner Ta-Nehisi Coates provides a foreword to Morrison's most personal work of nonfiction to date.

    Along the way he has written major stories for American outlets, including a remarkable New York Times Magazine cover story. Now comes the powerful new work that has always been his ultimate goal, The Way to the Spring.We are familiar with brave journalists who travel to bleak or war-torn places on a mission to listen and understand, to gather the stories of people suffering from extremes of oppression and want: Katherine Boo, Ryszard Kapuściński, Ted Conover, and Philip Gourevitch among them. Palestine is, by any measure, whatever one's politics, one such place. Ruled by the Israeli military, set upon and harassed constantly by Israeli settlers who admit unapologetically to wanting to drive them from the land, forced to negotiate an ever more elaborate and more suffocating series of fences, checkpoints, and barriers that have sundered home from field, home from home, this is a population whose living conditions are unique, and indeed hard to imagine. In a great act of bravery, empathy and understanding, Ben Ehrenreich, by placing us in the footsteps of ordinary Palestinians and telling their story with surpassing literary power and grace, makes it impossible for us to turn away.

    First there are those stuttering moments in the new social landscape. Then after missed cues and social bruises comes the revelation that this culture--indeed much of the world--runs on an honor-shame operating system. When Western individualism and its introspective conscience fails to engage cultural gears, how can we shift and navigate this alternate code? And might we even learn to see and speak the gospel differently if we did? In Ministering in Honor-Shame Cultures Jayson Georges and Mark Baker help us decode the cultural script of honor and shame. What's more, they assist us in reading the Bible anew through the lens of honor and shame, often with startling turns. And they offer thoughtful and practical guidance in ministry within honor-shame contexts. Apt stories, illuminating insights and ministry-tested wisdom complete this well-rounded guide to Christian ministry in honor-shame cultures.

    Douglas was an eighteen-year-old living in Europe, he was brutally raped by a Catholic priest. He eventually moved to the United States and became a highly regarded historian, writing with great care about the violent expulsion of Germans from Eastern Europe after the Second World War, and parsing the complicated moral questions of these actions. But until now, Douglas has been silent about his own experience of trauma.In On Being Raped, Douglas recounts this painful event and his later attempts to seek help to lay bare the physical and psychological trauma of a crime we still don’t openly discuss: the rape of adult men by men. With eloquence and passion, he examines the requirements society implicitly places upon men who are victims of rape, examines the reasons for our resounding silence around this issue, and reveals how alarmingly prevalent this kind of sexual violence truly is.An insightful and sensitive analysis of a type of bodily violation that we either joke about or ignore, On Being Raped promises to open an important dialogue about male rape and what needs to be done to provide adequate services and support for victims. “But before that can happen,” writes Douglas, “men who have been raped will have to come out of the shadows...A start has to be made somewhere. This is my attempt at one.”

    Agoraphobia, the challenges of parenting a child with special needs, and the legacy of a formidable father all shaped that journey. In these deeply personal and instructive essays, the author of the internationally acclaimed If I loved you, I would tell you this and Life Drawing explores the making of art through the experiences of building a life. Engaging, challenging, and moving, Crash Course is full of insight into how to write—and why.From "Autumn, 1972, A Moment at Which I Became a Writer":I sense, even now, the reverberations of a kind of shattering of my foundation and a quick rebuild, a change at a molecular level of who I understood myself to be. No longer someone who could look at another person without wondering what their life was like, but someone with a new curiosity about what people's stories might actually be.Robin Black is the author of the story collection, If I loved you, I would tell you this and the novel Life Drawing, both critically acclaimed, and both published in multiple languages. She has developed a loyal, enthusiastic following for her essays on life and writing, online and in such publications as the New York Times, the Chicago Tribune, and O Magazine. She lives with her husband in Philadelphia, Pennsylvania, where the house is always open for their three grown children.

    Baltimore’s 2015 ended as its bloodiest and deadliest year — on a per-capita basis. In 2014, Detroit’s police chief called upon law-abiding citizens to take arms against its burgeoning, violent, criminal subculture. Unfortunately, these cities aren’t anomalies. Year after year, a seemingly unshakable reality of violence plagues black communities nationwide. In fact, since 1980, blacks have routinely accounted for almost half of America’s annual homicide victims, and more than half of the perpetrators — all while being a minor thirteen percent of the national populace. Yet, a certain black-based industry — which specializes in nurturing comfortable lies while burying uncomfortable truths — propagates a notion that “racism” is the foremost issue facing black Americans, and white cops are blood-thirsty enforcers. Moreover, this cunning, race-peddling entity knows that it's easier to lie to blacks than to convince blacks that they've been lied to. Thus, black "lies" are good for business... black "lives" are good for nothing (except exploitation). And presently, business is booming.

    Yet a striking number of women are dissatisfied with their sex lives. Over half of women report having a sexual complaint, whether that’s lack of desire or difficulty reaching orgasm. But this issue doesn’t get much press; the urge is to ignore or medicalize it (witness the quest for ‘pink Viagra’). If so many ordinary women suffer from sexual frustration, then perhaps the problem isn’t one that can be addressed by a pharmaceutical fix – or isn’t a problem. Maybe we need to get hot and bothered about a broader cultural cure: a reorienting of our current male-focused approach to sex and pleasure, and a rethinking of what’s ‘normal.’Using a blend of reportage, interview and first-person reflection, journalist Sarah Barmak explores the cutting-edge science and grassroots cultural trends that are getting us closer to truth of women’s sexuality. Closer reveals how women are reshaping their sexuality today in wild, irrepressible ways: nude meetings, how-to apps, trans-friendly porn, therapeutic vulva massage, hour-long orgasms and public clit-rubbing demonstrations – and redefining female sexuality on its own terms.Sarah Barmak is a Toronto-based freelance journalist and author. Her writing has appeared in Maclean's, the Globe and Mail, the Toronto Star, Canadian Business, Marketing, and Reader's Digest.

    They satisfy your boozy thirst in a strife filled life and a good one will listen to anything on your mind when no one else will. Our barman/narrator is one of the good ones. He's been disposed under chins and elbows and cocktail napkins and ashtrays and spilled drinks for decades in New York City for countless drinkers willing to confess anything to a bar top. From one bar stool to another our barman's raw and soulful voice delivers a metropolitan story of good times, struggle, regret and salvation - a story put together with well-known real life places, countless celebrity faces and amazing characters only found in New York City. Maybe you live in New York or simply wondered about living there. Maybe you've dreamed of tending a bar or owning a bar or sitting in a bar in New York City. Maybe you've always wanted to meet a bartender from the prohibition era who pissed into Al Capone's beer or a horse-betting Rabbi that can explain the world order or see Mickey Mantle fall down drunk with his face buried in a filthy barroom toilet. Maybe you're interested in a wine and beer stained, cigarette burned oak top metamorphism that will add some hardened experience to your teetotaler life. Or maybe you just have a tiny sadistic stripe and you'd like to witness what a big city, countless smokes and lots of drugs, liquor, sex, and bearing witness to the eternal under the neon glare of Times Square can do to somebody, to anybody. From 1966 and his first job in a South Bronx bar at 4 years old opening cans of beer to shining shoes in bars across the Bronx to serving booze in iconic bars and restaurants all over Manhattan our Barman spars with the life force of New York City for fifty years until last call when he's faced with an unforeseen betrayal and is left almost broke, without a plan and nearly a hollow man. That is until he learns to forgive and luckily realize that life without warning has just begun.

    Mapplethorpe taught himself about the history of art, how to run a studio, how to network, and how to keep the public interested in him. At the same time, he honed a distinctive individual vision based on craftsmanship and an aesthetic of classical grace. One of the most influential figures of his time, today Mapplethorpe stands as an example to emerging photographers who continue to test boundaries and concepts of the beautiful.Robert Mapplethorpe: The Photographs offers a timely and rewarding examination of his oeuvre and influence. Drawing from the extraordinary collection jointly acquired by the J. Paul Getty Museum and the Los Angeles County Museum of Art from The Robert Mapplethorpe Foundation, as well as the Mapplethorpe Archive housed at the Getty Research Institute, the authors were given the unique opportunity to explore new resources and present fresh perspectives. The result is a fascinating exploration of Mapplethorpe’s career and legacy, with in-depth essays on sexuality and identity, all accompanied by more than 250 striking images covering the remarkable range of his photographic work – from florals to portraits from nudes to still lifes, as well as the controversial X Portfolio. All of these beautifully integrated elements contribute to what is an essential point of access to Mapplethorpe’s work and practice.

    Unable to cope with the desperate conditions, she begins to fall apart.A moving tribute to the power of hope and resilience, Invisible North is an intimate portrait of a place that pushes everyone to their limits. Part memoir, part history of the Canadian reserves, Shimo offers an expansive exploration and unorthodox take on many of the First Nation issues that dominate the news today, including the suicide crises, murdered and missing indigenous women and girls, Treaty rights, First Nations sovereignty, and deep poverty.

    The eight foundational lectures Hall delivered at the University of Illinois in 1983 introduced North American audiences to a thinker and discipline that would shift the course of critical scholarship. Unavailable until now, these lectures present Hall's original engagements with the theoretical positions that contributed to the formation of Cultural Studies. Throughout this personally guided tour of Cultural Studies' intellectual genealogy, Hall discusses the work of Richard Hoggart, Raymond Williams, and E. P. Thompson; the influence of structuralism; the limitations and possibilities of Marxist theory; and the importance of Althusser and Gramsci. Throughout these theoretical reflections, Hall insists that Cultural Studies aims to provide the means for political change.

    Shipped from home to home and subject to the whims of various caregivers after his father turned to alcohol and violence, he committed his first crime of breaking and entering when he was ten. His teenage and early adult years were spent drifting, and his petty crime turned increasingly violent, culminating in the terrible events for which he was jailed for life in 1984.Entering prison at 27, James struggled to come to terms with the enormity of his crimes and a future without purpose or hope. Then he met Joan, a prison psychologist, who helped him to confront the painful truth of his past, and to understand how it had shaped him from such a young age. Her sessions transformed his life. Encouraged to read and to educate himself, over the next twenty years Erwin James would go on to receive a BA in History, and become a regular columnist for the Guardian.Speaking to the very heart of the human condition, this is a book that offers no excuses--only the need to understand how we become who we become, and shows that no matter how far a person may fall, redemption is possible with the right kind of help. It is an important and timely memoir.

    “Of all the women I’ve ever met,” Dan told a friend, “she’s the first one who felt like family.” But at Christmas, as they prepared for the birth of their first child, tragedy struck.Based on Daniel Raeburn’s acclaimed New Yorker essay, Vessels: A Love Story is the story of how he and Bekah clashed and clung to each other through a series of unsuccessful pregnancies before finally, joyfully, becoming parents. In prose as handsomely unadorned as his wife’s pottery, Raeburn recounts a marriage cemented by the same events that nearly broke it.Vessels is an unflinching, enormously moving account of intimacy, endurance, and love.

    Hodges and the legalization of gay marriage was wonderful -- in that it's now forcing every Christian to decide whether their allegiance is to the Supreme Court or to the Supreme Being. In every other way, Obergefell was terrible. Same-Sex Mirage starts with the fundamentals of marriage and then traces the effects of this foundational institution in every area of life. Is marriage a private matter -- an agreement before God alone? Or is it public -- a matter for legislation? Obergefell was a disaster for our nation. And, as with every disaster, the biggest benefit is in understanding how we Christians ignored all warnings and let it happen.

    Women from different backgrounds came together to make posters and calendars that tackled issues of sexuality, identity and oppression. With humor and bold, colorful graphics, See Red expressed the personal experiences of women as well as their role in wider struggles for change.Written by See Red members, detailing the group's history up until the closure of the workshop in 1990, and with a foreword by celebrated feminist historian Sheila Rowbotham, See Red Women's Workshop features all of the collective's original screenprints and posters. Confronting negative stereotypes, questioning the role of women in society, and promoting women's self-determination, the power and energy of these images reflect an important and dynamic era of women's liberation--with continued relevance for today.

     By following the stories of nine contemporary Chinese artists, The Phoenix Years shows how China's rise unleashed creativity, thwarted hopes, and sparked tensions between the individual and the state that continue to this day.It relates the heady years hope and creativity in the 1980s, which ended in the disaster of the Tiananmen Square massacre. Following that tragedy comes China's meteoric economic rise, and the opportunities that emerged alongside the difficult compromises artists and others have to make to be citizens in modern China.Foreign correspondent Madeleine O'Dea has been an eyewitness for over thirty years to the rise of China, the explosion of its contemporary art and cultural scene, and the long, ongoing struggle for free expression. The stories of these artists and their art mirror the history of their country. The Phoenix Years is vital reading for anyone interested in China today.

    The Twitter hashtag #charlestonsyllabus quickly emerged as the central resource for help in learning how the tragedy fit into the tumultuous history of race relations - not only in the United States but globally. This reader collects some of the best writings to be recommended and debated using the Charleston Syllabus hashtag. Featuring a variety of texts such as songs and poems, historical documents, op-eds, and excerpts from books and journals, Charleston Syllabus is a tool for understanding the roots of American systemic racism, white privilege, the uses and abuses of the Confederate flag and its ideals, the black church as a foundation for civil rights activity, and much more.

    With the help of his parents, Nick has become an internationally-known inspirational speaker, a best-selling author, the founder of the non-profit organization Life Without Limbs and, most importantly, a loving and responsible husband and father himself.But Nick’s journey didn’t start there. This is the inspiring, powerfully transparent story of how two unprepared and overwhelmed parents–Boris and Dushka Vujicic–overcame their grief, fears, and badly shaken faith to raise such an accomplished, faith-filled, and perfectly imperfect son. Through their stories, Boris offers practical advice and encouragement for all parents facing a “new normal” when raising a special needs or unique child. With transparency and tenderness, he addresses the spiritual, emotional, and financial challenges, as well as offering insight on how to equip a child for happiness and success in life.

    To Live Freely in This World is the first book to tell the story of the brave activists at the beating heart of the sex workers’ rights movement in Africa—the newest and most vibrant face of the global sex workers’ rights struggle. African sex worker activists are proving that communities facing human rights abuses are not bereft of agency. They’re challenging politicians, religious fundamentalists, and anti-prostitution advocates; confronting the multiple stigmas that affect the diverse members of their communities; engaging in intersectional movement building with similarly marginalized groups; and participating in the larger global sex workers’ rights struggle in order to determine their social and political fate. By locating this counter-narrative in Africa, To Live Freely in This World challenges disempowering and one-dimensional depictions of “degraded Third World prostitutes” and helps fill what has been a gaping hole in feminist scholarship regarding sex work in the African context. Based on original fieldwork in seven African countries, including Botswana, Kenya, Mauritius, Namibia, Nigeria, South Africa, and Uganda, Chi Adanna Mgbako draws on extensive interviews with over 160 African female and male (cisgender and transgender) sex worker activists, and weaves their voices and experiences into a fascinating, richly-detailed, and powerful examination of the history and continuing activism of this young movement.

    Today, a time when many of these characters are billion-dollar global commodities, there are more female superheroes, more queer superheroes, more superheroes of color, and more disabled superheroes--but not many more.Superwomen investigates how and why female superhero characters have become more numerous but are still not-at-all close to parity with their male counterparts; how and why they have become a flashpoint for struggles over gender, sexuality, race, and disability; what has changed over time and why in terms of how these characters have been written, drawn, marketed, purchased, read, and reacted to; and how and why representations of superheroes matter, particularly to historically underrepresented and stereotyped groups.Specifically, the book explores the production, representations, and receptions of prominent transmedia female superheroes from their creation to the present: Wonder Woman; Batgirl and Oracle; Ms. Marvel and Captain Marvel; Buffy the Vampire Slayer; Star Wars' Padmé Amidala, Leia Organa, Jaina Solo, and Rey; and X-Men's Jean Grey, Storm, Kitty Pryde, Rogue, and Mystique. It analyzes their changing portrayals in comics, novels, television shows, and films, as well as how cultural narratives of gender have been negotiated through female superheroes by creators, consumers, and parent companies over the last several decades.

    At ten she was a caregiver to her dying mother. As an adolescent, an All-Star high school, college, and professional softball player. As a young adult, a fitness competition winner, beauty pageant contestant, and model. And as a grown woman, a high-achieving Lieutenant in the Marines, in charge of an entire platoon while deployed in Iraq.Meanwhile, Theresa was battling bulimia nervosa, an internal struggle which ultimately cut short her military service when she was voluntarily evacuated from combat. Theresa’s journey to wellness required the bravery to ask for help, to take care of herself first, and abandon the idea of “perfect.” In Warrior, she lays bare all of these lives in intimate and vivid detail, examining extremely personal and sometime painful moments and how, by finally accepting the help of others, she learned to make herself whole. From growing up in a log cabin outside Seattle to facing down the enemy in Iraq, Theresa’s journey demonstrates that good health and happiness is a daily, intentional act that requires persistence and commitment.Theresa hopes that through sharing her story, she will help inspire others to empower themselves, embrace their inner warrior and re-define strength. Startling and funny, terrifying and triumphant, heartbreaking and inspirational, Warrior is at heart a story of perseverance and success—of a determined woman who is model for everyone struggling to conquer their own demons. Theresa shows that asking for help can be an act of courage, and that we are stronger than we think when faced with seemingly impossible odds.

    In this lyrical collection, Sonja Livingston weaves together strands of research and imagination to conjure figures from history, literature, legend, and personal memory. The result is a series of essays that highlight lives as varied, troubled, and spirited as America itself.Harnessing the power of language, Livingston breathes life into subjects who led extraordinary lives--as rule-breakers, victims, or those whose differences made them cultural curiosities--bringing together those who slipped through the world largely unseen with those whose images were fleeting or faulty so that they, too, remained relatively obscure. Included are Alice Mitchell, a Memphis society girl who murdered her female lover in 1892; Maria Spelterini, who crossed Niagara Falls on a tightrope in 1876; May Fielding, a "white slave girl" buried in a Victorian cemetery; Valaida Snow, a Harlem Renaissance trumpeter; a child exhibited as Darwin's Missing Link; the sculptors' model Audrey Munson; a Crowwarrior; victims of a 1970s serial killer; the Fox Sisters; and many more.

    Vance (Hillbilly Elegy) and the historical rigour of Carol Anderson (White Rage), Kamal Al-Solaylee explores the in-between space that brown people occupy in today’s world: on the cusp of whiteness and the edge of blackness. Brown proposes a cohesive racial identity and politics for the millions of people from the Global South and provides a timely context for the frictions and anxieties around immigration and multiculturalism that have led to the rise of populist movements in Europe and the election of Donald Trump.At once personal and global, Brown is packed with storytelling and on-the-street reporting conducted over two years in ten countries on four continents that reveals a multitude of lives and stories from destinations as far apart as the United Arab Emirates, the Philippines, the United States, Britain, Trinidad, France, Hong Kong, Sri Lanka, Qatar and Canada. It features striking research about the emergence of brown as the colour of cheap labor and the pursuit of a lighter skin tone as a global status symbol. As he studies the significance of brown skin for people from North Africa and the Middle East, Mexico and Central America, and South and East Asia, Al-Solaylee also reflects on his own identity and experiences as a brown-skinned person (in his case from Yemen) who grew up with images of whiteness as the only indicators of beauty and success.This is a daring and politically resonant work that challenges our assumptions about race, immigration and globalism and recounts the heartbreaking stories of the people caught in the middle.

    In this deeply personal book, Behrendt uses Eliza’s tale as a starting point to interrogate how Aboriginal people – and indigenous people of other countries – have been portrayed in their colonizers’ stories. Citing works as diverse as Robinson Crusoe and Coonardoo, she explores the tropes in these accounts, such as the supposed promiscuity of Aboriginal women, the Europeans’ fixation on cannibalism, and the myth of the noble savage. Ultimately, Behrendt shows how these stories not only reflect the values of their storytellers but also reinforce those values – which in Australia led to the dispossession of Aboriginal people and the laws enforced against them.

    It began as soon as they dropped their anchor in Plymouth Bay. Since that time, they have meddled, cheated, and lied their way into every nook and cranny of American life. The Southern people warned others about the radical utopians of New England, and even went to war to get away from them, but to no avail. Now all Americans, not just Southerners, are subject to the whims of “those people” and their never ending mission to recreate, not only America, but the entire world in their bizarre, sanctimonious image. Dr. Clyde Wilson, in this first installment of The Wilson Files, takes the Yankee problem head-on. After decades of historical research and personal observation, he exposes and explains these pesky purveyors of mischief and mayhem! If you want to understand America, American History, and the upside-down dystopian nightmare in which we all live, you have to understand the problem. We do not have an economic problem, a race problem, a class problem, a gender problem, a toilet access problem, a drug problem, a gun problem, or any other ideological or social problem at the root of America’s dysfunctional anti-culture – we have a Yankee problem! This title is enrolled in Kindle MatchBook. FREE if print edition is purchased on Amazon.

    Fusing together gender and feminist theory, critical body studies, political activism, and menstrual anarchy, Breanne Fahs illuminates the troubling omissions of menstrual coming-of-age narratives in the museum, the outdated terminology of "feminine hygiene," and the moral panics about blood that erupts from in and outside of our bathrooms, classrooms, and cell phones. Borrowing from a multitude of voices--single moms, trans teenagers, zine makers, menstrual artists, college students, tour guides, French philosophers, and culture jammers--Fahs forcefully argues for a new culture of menstruation, one where the joys, rhythms, and controversies of menstrual cycles collides with the defiant, shameless, and bold new possibilities of menstrual resistance.

    In the ways they invite us to interact with them, these sites teach us to recognize our ties to the past. Colin Rafferty explores places as familiar as his hometown of Kansas City and as alien as the concentration camps of Poland in an attempt to understand not only our common histories, but also his own past, present, and future. Rafferty blends the travel essay with the lyric, the memoir with the analytic, in this meditation on the ways personal histories intersect with History, and how those intersections affect the way we understand and interact with Place.

    Our newscasters take time to explain who the players are--from Hezbollah to the Iranian Quds, from ISIS to the Palestinian National Authority. But there is something underneath these events and players that fuels atrocity after atrocity in the Middle East. What is it? Tass Saada provides the answer to that question as he delves into the mind of terror, explaining what motivates extremist groups throughout the Middle East. A former Muslim and a onetime sniper with Yasser Arafat's Fatah organization, Tass has lived it himself. At age 42, he steered his life in a radical new direction, committing it to Jesus. Tass not only describes the motivations and aspirations of those who live in the Middle East, he also outlines a peaceful solution. We can plant seeds of hope that will transform not only the Middle East, but also our increasingly diverse neighborhoods at home. Discover the mind behind terror and how to oppose its grip.

    Its purpose—place of worship, sacrificial arena, giant calendar—is unknown, but its story is one of the most extraordinary of any of the world's prehistoric monuments.Constructed in several phases over a period of some 1500 years, beginning in 3000 BC, Stonehenge's key elements are its “bluestones,” transported from West Wales by unexplained means, and its sarsen stones quarried from the nearby Marlborough Downs.Francis Pryor delivers a rigorous account of the nature and history of Stonehenge, but also places the enigmatic monument in a wider cultural context, bringing acute insight into how antiquarians, scholars, writers, artists–and even neopagans—have interpreted the mystery over the centuries.

    After his parents’ volatile marriage ended in divorce, when Rashod was six years old, he retreated into the records his father left behind—discovering that the music of Aretha Franklin, Bobby Womack, Al Green, and others provided solace and coherence. Soul Serenade is the captivating coming-of-age story of a boy who tries to makes sense of life in central Arkansas in the 1980s and ’90s, his family’s tragic past, and his sexuality, all through empowering soul music.

    He declares that Foucault recognized that Iranians were at a threshold and were considering if it were possible to think of dignity, justice, and liberty outside the cognitive maps and principles of the European Enlightenment. Foucault in Iran centers not only on the significance of the great thinker’s writings on the revolution but also on the profound mark the event left on his later lectures on ethics, spirituality, and fearless speech. Contemporary events since 9/11, the War on Terror, and the Arab Uprisings have made Foucault’s essays on the Iranian Revolution more relevant than ever. Ghamari-Tabrizi illustrates how Foucault saw in the revolution an instance of his antiteleological philosophy: here was an event that did not fit into the normative progressive discourses of history. What attracted him to the Iranian Revolution was precisely its ambiguity.Theoretically sophisticated and empirically rich, this interdisciplinary work will spark a lively debate in its insistence that what informed Foucault’s writing was not an effort to understand Islamism but, rather, his conviction that Enlightenment rationality has not closed the gate of unknown possibilities for human societies.

    Far from fading away, anarchists dealt with major events such as the rise of Communism, the New Deal, atomic warfare, the black freedom struggle, and a succession of artistic avant-gardes stretching from 1915 to 1975.Unruly Equality traces U.S. anarchism as it evolved from the creed of poor immigrants militantly opposed to capitalism early in the twentieth century to one that today sees resurgent appeal among middle-class youth and foregrounds political activism around ecology, feminism, and opposition to cultural alienation.

    Nick (Goodfellas) Pileggi called it "the single best book about prosecuting sex crimes in America, period." Now, twenty years later, Alice Vachss becomes Special Prosecutor for Sex Crimes in a new environment ... on the opposite coast, in a small rural community. And asks the critical question: What has changed? Sex Crimes: Then and Now shreds the myths about sex crime prosecution in America, revealing that the passage of time and a different locale are mere window dressing for horrors America has yet to face. For those who want something more than press releases and Trash-TV "coverage," this no-compromises ebook offers the brutal truth.    In Sex Crimes Then, (included free in this two-book package) the woman the press described as one of America's toughest prosecutors grippingly recounts her career and in the process offers a searing indictment of our justice system. Included are close-ups of her most harrowing cases, among them the predatory pedophile who headed a boy's club to get closer to victims; the serial rapist who terrorized the city as "The Stalker": and the violent incest offender who tortured his "property" (his own daughter.)    "My first lesson about sex crimes prosecution," Vachss writes, "was that perpetrators were not the only enemy." She shows how the system is heavily weighted against victims. In what has come to be her trademarked term, she brands as "rape collaborators” police officers and judges whose ingrained attitudes aid and comfort criminals; elected officials and attorneys concerned only with their political futures; fickle juries seemingly impervious to compelling evidence; and a legal system skeptical of cries of rape.    Asked in a 2007 interview in The Guardian “Does she miss putting rapists in prison? ‘Hell, yes,’ says Vachss. Would she return to the front line? ‘Am I willing to put up with the politics of running for office, or the backstabbing and infighting of being an employee of an elected official? That's a much tougher question.’" [Julie Bindel, "The rapists' enemy"]    Sex Crimes Now finds Alice Vachss, still the same, back in the trenches insisting to a jury: "I don't have to prove motive. The motive for rape is rape," and battling a system hell-bent on freeing a monster. Inevitably, Vachss reached a point of no return, “Years before, Richard A. Brown’s response when he was asked why he fired me was that I’d done an excellent job. Ever-aware of the politics of prosecution, Brown had waited until he was elected, not simply appointed, before taking it upon himself to decide how much weight ‘doing an excellent job’ would or would not carry in his office. All these years later this new DA was about to make the same decision.”

    Hart’s incisive blend of philosophy, moral theology, and cultural criticism, together with his flair for both the well-told story and the well-turned phrase, is sure to delight.

    The story of Christian Rosenkreuz and his secretive order, as told in the Fama Fraternitatis, had political repercussions that continue to this day, while The Chemical Wedding is a landmark in European fantasy fiction. This present book offers the 3 founding documents in reliable, readable, modern English. Fully annotated and with modern introductions, these new translations explain the historical context, shed light on the beginnings of the Rosicrucian Order, and bring this fascinating material to a wider readership.

    Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become "white"? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans.Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the color line. In the 1960s, however, rock and roll gave way to rock: a new musical ideal regarded as more serious, more artistic--and the province of white musicians. Decoding the racial discourses that have distorted standard histories of rock music, Jack Hamilton underscores how ideas of "authenticity" have blinded us to rock's inextricably interracial artistic enterprise.According to the standard storyline, the authentic white musician was guided by an individual creative vision, whereas black musicians were deemed authentic only when they stayed true to black tradition. Serious rock became white because only white musicians could be original without being accused of betraying their race. Juxtaposing Sam Cooke and Bob Dylan, Aretha Franklin and Janis Joplin, Jimi Hendrix and the Rolling Stones, and many others, Hamilton challenges the racial categories that oversimplified the sixties revolution and provides a deeper appreciation of the twists and turns that kept the music alive.

    Through captivating accounts of the daily lives of a core group of farmworkers over nearly a decade, Sarah Bronwen Horton documents in startling detail how a tightly interwoven web of public policies and private interests creates exceptional and needless suffering.

    Marijuana: A Short History profiles the politics and policies concerning the five-leaf plant in the United States and around the world.Millions of Americans have used marijuana at some point in their lives, yet it remains a substance shrouded by myth, misinformation, and mystery. This book offers an up-to-date, cutting-edge look at how a plant with a tumultuous history has emerged from the shadows of counterculture and illegality. Today, marijuana has become a remarkable social, economic, and even political force, with a surprising range of advocates and opponents. Public policy toward marijuana, especially in the United States, is changing rapidly. Marijuana: A Short History provides a brief yet compelling narrative that discusses the social and cultural history of marijuana but also tells us how a once-vilified plant has been transformed into a serious, even mainstream, public policy issue. Focusing on politics, the media, government, and education, the book describes why public policy has changed, and what that change might mean for marijuana’s future place in society.

    Her explorations have led her in search of one of the world's largest web weaving spiders, to the rooftops of Oxford University and to a garage in Sussex.Her weaving and drawing with spider silk drew her to research the lost history of Europe's attempt to create a spider silk weaving industry and to the ancient and ongoing sacred use of spider webs in the South Pacific. Legends of schoolgirls tempting spiders with their singing inspired her own attempt to serenade a spider.In this personal, lively and far ranging book, Eleanor Morgan transforms the way we think about spiders and the wonders of their webs.

    1960s comic book creators, anticipating Fiedler, began to morph American superheroes from icons of nationalism and white masculinity into actual mutant outcasts, defined by their genetic difference from ordinary humanity. These powerful misfits and "freaks" soon came to embody the social and political aspirations of America's most marginalized groups, including women, racial and sexual minorities, and the working classes.In The New Mutants, Ramzi Fawaz draws upon queer theory to tell the story of these monstrous fantasy figures and how they grapple with radical politics from Civil Rights and The New Left to Women's and Gay Liberation Movements. Through a series of comic book case studies - including The Justice League of America, The Fantastic Four, The X-Men, and The New Mutants -alongside late 20th century fan writing, cultural criticism, and political documents, Fawaz reveals how the American superhero modeled new forms of social belonging that counterculture youth would embrace in the 1960s and after. The New Mutants provides the first full-length study to consider the relationship between comic book fantasy and radical politics in the modern United States.

    This Anthology combines essays, comics, and poetry with transcripts from The City Club’s tremendous archives to give a glimpse into a dynamic that affects us all. (GTK Press website)

    Now young readers can discover their exciting true stories in this eye-opening collection.From well-known figures like Sojourner Truth, Harriet Tubman, and Rosa Parks to women rarely found in any history book, Women in Black History explores the lives of writers, athletes, singers, activists, and educators who have made an indelible mark on our country and our culture. Perfect for kids, but also for adults who like to read about important figures and unsung heroes, this collection will delight, surprise, and challenge readers.

    Focusing on political movements and cultural practices in different global locations, including Turkey, Palestine, France, and the former Yugoslavia, the contributors to Vulnerability in Resistance articulate an understanding of the role of vulnerability in practices of resistance. They consider how vulnerability is constructed, invoked, and mobilized within neoliberal discourse, the politics of war, resistance to authoritarian and securitarian power, in LGBTQI struggles, and in the resistance to occupation and colonial violence. The essays offer a feminist account of political agency by exploring occupy movements and street politics, informal groups at checkpoints and barricades, practices of self-defense, hunger strikes, transgressive enactments of solidarity and mourning, infrastructural mobilizations, and aesthetic and erotic interventions into public space that mobilize memory and expose forms of power. Pointing to possible strategies for a feminist politics of transversal engagements and suggesting a politics of bodily resistance that does not disavow forms of vulnerability, the contributors develop a new conception of embodiment and sociality within fields of contemporary power.Contributors: Meltem Ahiska, Athena Athanasiou, Sarah Bracke, Judith Butler, Elsa Dorlin, Basak Ertür, Zeynep Gambetti, Rema Hammami, Marianne Hirsch, Elena Loizidou, Leticia Sabsay, Nükhet Sirman, Elena Tzelepis

    Saldaña-Portillo formulates the central place of indigenous peoples in the construction of national spaces and racialized notions of citizenship, showing, for instance, how Chicanos/as in the U.S./Mexico borderlands might affirm or reject their indigenous background based on their location.  In this and other ways, she demonstrates how the legacies of colonial Spain's and Britain's differing approaches to encountering indigenous peoples continue to shape perceptions of the natural, racial, and cultural landscapes of the United States and Mexico. Drawing on a mix of archival, historical, literary, and legal texts, Saldaña-Portillo shows how los indios/Indians provided the condition of possibility for the emergence of Mexico and the United States.

    Yet these enduring racial biases afflict not only the Academy Awards, but also Hollywood as a whole. Why do actors of color, despite exhibiting talent and bankability, continue to lag behind white actors in presence and prominence?  Reel Inequality examines the structural barriers minority actors face in Hollywood, while shedding light on how they survive in a racist industry. The book charts how white male gatekeepers dominate Hollywood, breeding a culture of ethnocentric storytelling and casting. Nancy Wang Yuen interviewed nearly a hundred working actors and drew on published interviews with celebrities, such as Viola Davis, Chris Rock, Gina Rodriguez, Oscar Isaac, Lucy Liu, and Ken Jeong, to explore how racial stereotypes categorize and constrain actors. Their stories reveal the day-to-day racism actors of color experience in talent agents’ offices, at auditions, and on sets. Yuen also exposes sexist hiring and programming practices, highlighting the structural inequalities that actors of color, particularly women, continue to face in Hollywood.   This book not only conveys the harsh realities of racial inequality in Hollywood, but also provides vital insights from actors who have succeeded on their own terms, whether by sidestepping the system or subverting it from within. Considering how their struggles impact real-world attitudes about race and diversity, Reel Inequality follows actors of color as they suffer, strive, and thrive in Hollywood.

    It preserves a moment in time that is quickly fading, a unique period in the American travel experience when the journey was just as important as the destination. It's clear these modest structures did far more than provide picnic tables, they shaped our collective experience of golden-age car travel across the vast United States. While driving in 2007 on a solo road trip from California to central Texas, photographer Ryann Ford was struck by a recurring sight: humble, solitary rest stops. A nondescript blur outside the car window to most, the quirky rest stops on Ford's journey seized her attention - mock adobe dwellings in New Mexico, depression-era stone houses in Arizona, faux oil rigs in Texas. What was the story behind these playful pieces of Americana?After doing some research, Ford was alarmed to learn that these rest areas were currently being closed and demolished all over the country. With countless commercial options at nearly every highway exit, and states needing to cut expenses, many felt that these old rest stops were no longer necessary. Upon learning the news, she immediately felt an urgency to capture as many as she could before they were gone forever.Ford spent years on the road ducking under fences, stepping over fallen trees, and hiking through snow to reach some of these iconic rest stops; in doing so, she learned that they are so much more than toilets and tables - for the past several decades they have given millions of travelers from around the world rest, relief, hospitality and nostalgia. States Ryann visited and featured in the book are: New Mexico, Texas, California, Arizona, Utah, Nevada, Oklahoma, Missouri, Illinois, Minnesota, Iowa, Kansas, South Dakota, and Louisiana.

    Inspired by outlaw motorcycle clubs, street gangs in Chicago made business cards displaying their symbols, nicknames, territories, and enemies as a means to assert their pride, for recruitment, and to serve as general tokens of affiliation. Less intentional, but perhaps more significant is the role of these cards as historical artifacts—-not only documenting the specific histories of these gangs and their members, but also the larger social dynamics of a contentious time period in the city of Chicago. With enlarged reproductions of 60+ original cards, this book is an appreciation of Chicago gang “compliment cards”: their hand-drawn graphics, their blackletter typefaces, their outlandish names and clever slogans.

    And by the time the civil rights movement reached the American art museum, it had already crested: the first public demonstrations to integrate museums occurred in late 1968, twenty years after the desegregation of the military and fourteen years after the Brown vs. Board of Education decision. In Mounting Frustration Susan E. Cahan investigates the strategies African American artists and museum professionals employed as they wrangled over access to and the direction of New York City's elite museums. Drawing on numerous interviews with artists and analyses of internal museum documents, Cahan gives a detailed and at times surprising picture of the institutional and social forces that both drove and inhibited racial justice in New York's museums. Cahan focuses on high-profile and wildly contested exhibitions that attempted to integrate African American culture and art into museums, each of which ignited debate, dissension, and protest. The Metropolitan Museum's 1969 exhibition Harlem on My Mind was supposed to represent the neighborhood, but it failed to include the work of the black artists living and working there. While the Whitney's 1971 exhibition Contemporary Black Artists in America featured black artists, it was heavily criticized for being haphazard and not representative. The Whitney show revealed the consequences of museums' failure to hire African American curators, or even white curators who possessed knowledge of black art. Cahan also recounts the long history of the Museum of Modern Art's institutional ambivalence toward contemporary artists of color, which reached its zenith in its 1984 exhibition "Primitivism" in Twentieth Century Art. Representing modern art as a white European and American creation that was influenced by the "primitive" art of people of color, the show only served to further devalue and cordon off African American art. In addressing the racial politics of New York's art world, Cahan shows how aesthetic ideas reflected the underlying structural racism and inequalities that African American artists faced. These inequalities are still felt in America's museums, as many fundamental racial hierarchies remain intact: art by people of color is still often shown in marginal spaces; one-person exhibitions are the preferred method of showing the work of minority artists, as they provide curators a way to avoid engaging with the problems of complicated, interlocking histories; and whiteness is still often viewed as the norm. The ongoing process of integrating museums, Cahan demonstrates, is far broader than overcoming past exclusions.

    Jonas Cramby will teach you all the tricks to recreate these mouth-watering dishes at home, from the best recipes for antojitos (snacks), to dulces (sweets) and bebidas (drinks). Plus, you'll discover how to make traditional sugar skulls to celebrate Día de los Muertos, the simplest way to make the ultimate tortillas, and the trendiest tunes to ask a mariachi band to play! And, of course, you will learn how to make tacos. Lots of tacos. An incredible amount of tacos, the world’s most exciting street food made easy. Includes dual measures.

    Tripp, his dad, his sister, and all the patrons are in disbelief. Condiment complaints of misuse, prejudice, bullying and more are scrawled on paper napkins spread across the counter. Mayo asks, "Why do they hate me?" With a tear in his eye Relish sadly proclaims, "People say I'm too sweet and ignore me ... or just scrape me off." Can Management and the condiments work out their issues? If not, it will be a sad day and a dining disaster for all of us! A picture book of 56 pages explores the life of 12 condiments as well as the concept of a meal without any condiments in sight. And yes, we may not love them all but we want them here to stay! S.H.Wood, first time children's author, and Nic Gregory, talented Australian illustrator and animator, carry you through The Diner showcasing the humorous and at times emotionally charged personalities of each "'famous" featured condiment. Adults and children of all ages will smile and laugh as they recognize their favorite condiments come to life. Turning every page might give the reader a new understanding for each condiment: you might even begin to feel sorry for Relish. If you like The Day the Crayons Quit you may just become a fan of The Condiment Chronicles ... Please Pass the Ketchup. The back story, titled "The Condiment Chronicles ... The Family Portrait", reveals historical inferences about when, where, and how each condiment arrived on our counter, our kitchen table, and in our fridge. Who would have thought condiments could stir up images of family, diversity, tolerance, competition, and individuality all resulting from an ever growing insatiable love for a variety of tastes? Condiments and Condimentours, be on alert! Creativity is on the rise. There is always room for one more hot, spicy, sweet, or savory condiment. Experimentation is all part of self expression and being an individual. Don't hold back. Go ahead and spread that peanut butter and jelly on your hamburger ... as a condimentour that's your choice. Remember, variety is the spice (or in this case the condiment) of life. Cheers!

    culture—from novels and poems to photojournalism and horror movies—has responded to the collapse of the financialized consumer credit economy in 2008. Connecting debt theory to questions of cultural form, this book argues that artists, filmmakers, and writers have re-imagined what it means to owe and to own in a period when debt is what makes our economic lives possible. Encompassing both popular entertainment and avant-garde art, the post-crisis productions examined here help to map the landscape of contemporary debt: from foreclosure to credit scoring, student debt to securitized risk, microeconomic theory to anti-eviction activism. A searing critique of the ideology of debt, Dead Pledges dismantles the discourse of moral obligation so often invoked to make us repay. Debt is no longer a source of economic credibility, it contends, but is a system of dispossession that threatens the basic fabric of social life.

    Once a small Mexican pueblo teeming with Californios, Indians, and Americans, all armed with Bowie knives and Colt revolvers, it was among the most murderous locales in the Californian frontier. In Eternity Street: Violence and Justice in Frontier Los Angeles, "a vivid, disturbing portrait of early Los Angeles" (Publishers Weekly), John Mack Faragher weaves a riveting narrative of murder and mayhem, featuring a cast of colorful characters vying for their piece of the city. These include a newspaper editor advocating for lynch laws to enact a crude manner of racial justice and a mob of Latinos preparing to ransack a county jail and murder a Texan outlaw. In this "groundbreaking" (True West) look at American history, Faragher shows us how the City of Angels went from a lawless outpost to the sprawling metropolis it is today.

    None, however, is as riveting as what master storyteller Ngũgĩ wa Thiong'o offers in The Upright Revolution. Blending myth and folklore with an acute insight into the human psyche and politics, Wa Thiong'o conjures up a fantastic fable about how and why humans began to walk upright. It is a story that will appeal to children and adults alike, containing a clear and important message: "Life is connected." Originally written in Gikuyu, this short story has been translated into sixty-three languages--forty-seven of them African--making it the most translated story in the history of African literature. This new collector's edition of The Upright Revolution is richly illustrated in full color with Sunandini Banerjee's marvellous digital collages, which open up new vistas of imagination and add unique dimensions to the story.

    Incisive, vindictive, and brutally funny, each page features a recognizable cover with the title renamed: To Kill a Mockingbird becomes My Dad Is Cooler than Your Dad; A Walk to Remember is reborn as Teen Sex Is Ok if One of Them Has Cancer. Perfect for parties, gift for fanatic book lovers, and casual bathroom reading.“Classics” (the books you’ve lied about reading). Actual Classics (Greek and Latin books people don’t even pretend to have read). Contemporary fiction (those books people talk about at parties that you’ve "definitely heard of” but never bothered to pick up). Children’s (books that say the most with the fewest number of words, i.e. “The Best Books”). Reference (Those books that were around before Google). From children’s literature, The Very Hungry Caterpillar gets the retitle Eat Until You Feel Pretty. An American classic, The Great Gatsby is switched to Drink Responsibly. And from contemporary fiction, Gone Girl is retitled A Tale of Two Shitty People. There’s something here for every reader.

    In his first essay, "Retelling the Story of Science," Barr challenges the widely held idea that there is an inherent conflict between science and religion. He goes on to analyze such topics as the quantum creation of universes from nothing, the multiverse, the Intelligent Design movement, and the implications of neuroscience for the reality of the soul. Including reviews of highly influential books by such figures as Edward O. Wilson, Richard Dawkins, Stephen Jay Gould, Francis S. Collins, Michael Behe, and Thomas Nagel, The Believing Scientist helpfully engages pressing questions that often vex religious believers who wish to engage with the world of science.

    From trying to assemble flat pack furniture to clearing an office paper jam, juggling remote controls, dropping contact lenses on the bathroom floor, and nudging the cat who absolutely won't let you read your book, the dozens of witty and sympathetically amusing illustrations offer real therapy and poke gentle fun at the meditative coloring craze.

    Chin centers the book on diary entries that focus on everyday items—kitchen cabinet knobs, shoes, a piano—and uses them to intimately examine the ways consumption resonates with personal and social meaning: from writing love haikus about her favorite nail polish and discussing the racial implications of her tooth cap, to revealing how she used shopping to cope with a miscarriage and contemplating how her young daughter came to think that she needed Lunesta. Throughout, Chin keeps Karl Marx and his family's relationship to their possessions in mind, drawing parallels between Marx's napkins, the production of late nineteenth-century table linens, and Chin's own vintage linen collection. Unflinchingly and refreshingly honest, Chin unlocks the complexities of her attachments to, reliance on, and complicated relationships with her things. In so doing, she prompts readers to reconsider their own consumption, as well as their assumptions about the possibilities for creative scholarship.

    Two decades after the original publication of these texts, her approach to investigation through embodied thought has been wholly absorbed by a new generation of artists and writers. Provocative and wholly pleasurable, Tillman's stories/essays dissect the mundane with alarming precision. As Lydia Davis wrote of her work, "Our assumptions shift. The every day becomes strange, paradox is embraced, and the unexpected is always around the corner."This new collection also includes the complete stories of Tillman's other persona, the quixotic author Paige Turner (whose investigation of the language of love overshoots any actual experience of it), and additional stories and essays that address figures such as the "Translation Artist" and Cindy Sherman.

    By linking justice to the effects of American geopolitical hegemony, and by deploying a conjunctive cultural critique—of "comfort women" redress efforts, state-sponsored apologies and amnesties, Asian American involvement in redress cases, the ongoing effects of the U.S. occupation of Japan and Okinawa, Japanese atrocities in China, and battles over WWII memories—Yoneyama helps illuminate how redress culture across Asia and the Pacific has the potential to bring powerful new and challenging perspectives on American exceptionalism, militarized security, justice, sovereignty, forgiveness, and decolonization.

    In North of Dixie, historian Mark Speltz shines a light past the most iconic photographs of the era to focus on images of everyday activists who fought campaigns against segregation, police brutality, and job discrimination in Philadelphia, Cleveland, Columbus, St. Louis, and Cedar Rapids, and many other cities.   With images by photojournalists, artists, and activists, including Bob Adelman Charles Brittin, Diana Davies, Leonard Freed, Gordon Parks, and Art Shay, North of Dixie offers a broader and more complex view of the American civil rights movement than is usually presented by the media. North of Dixie also considers the camera as a tool that served both those in support of the movement and against it. Photographs inspired activists, galvanized public support, and implored local and national politicians to act, but they also provided means of surveillance and repression that were used against movement participants. North of Dixie brings to light numerous lesser-known images and illuminates the story of the civil rights movement in the American North and West.

    LGBTQIA Studies. California Interest. African & African American Studies. Women's Studies. Lambda Literary Award Finalist for Lesbian Poetry. Angular, smart, and fearless, Arisa White's newest collection takes its titles from words used internationally as hate speech against gays and lesbians, reworking, re-envisioning, and re- embodying language as a conduit for art, love, and understanding. "To live freely, observantly as a politically astute, sensually perceptive Queer Black woman is to be risk taker, at risk, a perceived danger to others and even dangerous to/as oneself," writes poet Tracie Morris. "White's attentive word substitutions and range of organized forms, lithe anecdotes, and disturbed resonances put us in the middle of living a realized, intelligent life of the senses." YOU'RE THE MOST BEAUTIFUL THING THAT HAPPENED works through intersectional encounters with gender, identity, and human barbarism, landing deftly and defiantly in beauty.

    Hellboy's World shows how our engagement with Hellboy's world is a highly aestheticized encounter with comics and their materiality. Scott Bukatman’s dynamic study explores how comics produce a heightened “adventure of reading” in which syntheses of image and word, image sequences, and serial narratives create compelling worlds for the reader’s imagination to inhabit. Drawing upon other media—including children’s books, sculpture, pulp fiction, cinema, graphic design, painting, and illuminated manuscripts—Bukatman reveals the mechanics of creating a world on the page. He also demonstrates the pleasurable and multiple complexities of the reader’s experience, invoking the riotous colors of comics that elude rationality and control and delving into shared fictional universes and occult detection, the horror genre and the evocation of the sublime, and the place of abstraction in Mignola’s art. Monsters populate the world of Hellboy comics, but Bukatman argues that comics are themselves little monsters, unruly sites of sensory and cognitive pleasures that exist, happily, on the margins. The book is not only a treat for Hellboy fans, but it will entice anyone interested in the medium of comics and the art of reading.

    Mexico is a country filled with beautiful art, incredible ancient ruins, and gorgeous beaches, rainforests, and deserts! Have you ever wondered what Mexico is like? Come along with me to find out!Each book in our new Living in… series is narrated by a kid growing up in their home country and is filled with fresh, modern illustrations as well as loads of history, geography, and cultural goodies that fit perfectly into Common Core standards. Join kids from all over the world on a globe-trotting adventure with the Living in… series—sure to be a hit with children, parents, educators, and librarians alike!

    The minor gesture, although it may pass almost unperceived, transforms the field of relations. More than a chance variation, less than a volition, it requires rethinking common assumptions about human agency and political action. To embrace the minor gesture's power to fashion relations, its capacity to open new modes of experience and manners of expression, is to challenge the ways in which the neurotypical image of the human devalues alternative ways of being moved by and moving through the world—in particular what Manning terms "autistic perception." Drawing on Deleuze and Guattari's schizoanalysis and Whitehead's speculative pragmatism, Manning's far-reaching analyses range from fashion to depression to the writings of autistics, in each case affirming the neurodiversity of the minor and the alternative politics it gestures toward.

    Queer people have always flocked to New York seeking freedom, forging close-knit groups for support and inspiration. Gay Gotham brings to life the countercultural artistic communities that sprang up over the last hundred years, a creative class whose radical ideas would determine much of modern culture. More than 200 images—both works of art, such as paintings and photographs, as well as letters, snapshots, and ephemera—illuminate their personal bonds, scandal-provoking secrets at the time and many largely unknown to the public since.Starting with the bohemian era of the 1910s and 1920s, when the pansy craze drew voyeurs of all types to Greenwich Village and Harlem, the book winds through midcentury Broadway as well as Fire Island as it emerged as a hotbed, turns to the post-Stonewall, decade-long wild party that revolved around clubs like the Mineshaft and Studio 54, and continues all the way through the activist mobilization spurred by the AIDS crisis and the move toward acceptance at the century’s close. Throughout, readers encounter famous figures, from James Baldwin and Mae West to Leonard Bernstein, and discover lesser-known ones, such as Harmony Hammond, Greer Lankton, and Richard Bruce Nugent. Surprising relationships emerge: Andy Warhol and Mercedes de Acosta, Robert Mapplethorpe and Cecil Beaton, George Platt Lynes and Gertrude Stein. By peeling back the overlapping layers of this cultural network that thrived despite its illicitness, this groundbreaking publication reveals a whole new side of the history of New York and celebrates the power of artistic collaboration to transcend oppression.

    Khan also widens the conversation by including the perspectives of epidemiologists, addiction and legal experts, journalists, filmmakers, activists, patients, and sufferers. New approaches to mental illness are situated in the context of historical, political, psychoanalytic, and postcolonial frameworks, allowing readers to understand how health, illness, normality, and abnormality are constructed and produced. Using case studies from a variety of regions, Khan explores what anthropologically informed psychology, psychiatry, and medicine can tell us about mental illness across cultures.

    Winters responds to the enduring belief that America follows a constant trajectory of racial progress. Such notions—like those that suggested the passage into a postracial era following Barack Obama's election—gloss over the history of racial violence and oppression to create an imaginary and self-congratulatory world where painful memories are conveniently forgotten. In place of these narratives, Winters advocates for an idea of hope that is predicated on a continuous engagement with loss and melancholy. Signaling a heightened sensitivity to the suffering of others, melancholy disconcerts us and allows us to cut against dominant narratives and identities. Winters identifies a black literary and aesthetic tradition in the work of intellectuals, writers, and artists such as W. E. B. Du Bois, Ralph Ellison, Toni Morrison, and Charles Burnett that often underscores melancholy, remembrance, loss, and tragedy in ways that gesture toward such a conception of hope. Winters also draws on Walter Benjamin and Theodor Adorno to highlight how remembering and mourning the uncomfortable dimensions of American social life can provide alternate sources for hope and imagination that might lead to building a better world.

    Ziggy Stardust, Aladdin Sane, Thin White Duke. . . . Bowie changed his style more dramatically than any other musician in history. His transformations brought about seismic cultural shifts, altering the definition of what it meant to be a popular rock star. This annotated collection of illustrations provide a remarkable overview of Bowie's nearly fifty years of evolution, featuring looks by the likes of Freddie Burretti and Kansai Yamamoto, further establishing him as the fashion king of self-invention."

    Petty focuses on five performers whose Hollywood film careers flourished during this period—Louise Beavers, Fredi Washington, Lincoln “Stepin Fetchit” Perry, Bill “Bojangles” Robinson, and Hattie McDaniel—to reveal the “problematic stardom” and the enduring, interdependent patterns of performance and spectatorship for performers and audiences of color. She maps how these actors—though regularly cast in stereotyped and marginalized roles—employed various strategies of cinematic and extracinematic performance to negotiate their complex positions in Hollywood and to ultimately “steal the show.” Drawing on a variety of source materials, Petty explores these stars’ reception among Black audiences and theorizes African American viewership in the early twentieth century. Her book is an important and welcome contribution to the literature on the movies.

    history is as emotionally fraught as the nation’s centuries-long entanglement with slavery. How can teachers get students to understand the racist underpinnings of that institution—and to acknowledge its legacies in contemporary America? How can they overcome students’ shame, anger, guilt, or denial? How can they incorporate into the classroom important primary sources that may contain obsolete and racist terms, images, and ideas? This book, designed for college and high school teachers, is a critical resource for understanding and teaching this challenging topic in all its complexity.             Opening with Ira Berlin’s reflections on ten elements that are essential to include in any course on this topic, Understanding and Teaching American Slavery offers practical advice for teaching specific content, utilizing sources, and getting students to think critically. Contributors address, among other topics, slavery and the nation’s founders, the diverse experiences of the enslaved, slavery’s role in the Civil War, and the relationship between slavery and the northern economy. Other chapters offer ideas for teaching through slave narratives, runaway ads, spirituals, films, and material culture. Taken together, the essays in the volume help instructors tackle problems, discover opportunities, and guide students in grappling with the ugliest truths of America’s past.

    In July 2013, five days after his commencement ceremony from graduate school, he was on an airplane to the People's Republic of China (PRC). Aldo worked for a Chinese corporation and was an English teacher at a five-employee startup. Also, he traveled to cities throughout the country, which included Langfang, Tianjin, Shijiazhuang, Beijing, and Shanghai.He touches base on how a "when in doubt, send it out" moment resulted in the unexpected. Aldo shares how he was able to adapt to an entirely different lifestyle and culture, along with popping the culture-shock bubble in a short amount of time. Plus, the unforeseen surprises, memorable moments, the highs and lows, Chinese business practices, and so on. Keep in mind that Aldo doesn’t claim to be a subject matter expert on the Chinese way of life. With the help of some locals and from the many conversations logged in a journal, "180 Days Abroad with the Chinese Locals" reveals topics that textbooks and classrooms don’t tell us about China from a real-world point of view.

    Chion considers how cultural institutions privilege some sounds above others and how spurious distinctions between noise and sound guide the ways we hear and value certain sounds. He critiques the tenacious tendency to understand sounds in relation to their sources and advocates "acousmatic" listening—listening without visual access to a sound’s cause—in order to disentangle ourselves from auditory habits and prejudices. Yet sound can no more be reduced to mere perceptual phenomena than encapsulated in the sciences of acoustics and physiology. As Chion reminds us and explores in depth, a wide range of linguistic, sensory, cultural, institutional, and media- and technologically-specific factors interact with and shape sonic experiences. Interrogating these interactions, Chion stimulates us to think about how we might open our ears to new sounds, to become more nuanced and informed listeners, and to more fully understand the links between how we hear and what we do.

    Flitting between the worlds of music, art and crime, he exerted a hidden influence that helped create the Kray twins’ legend and Lucian Freud’s reputation as a man never to be crossed; connected the Rolling Stones with London’s dark side; redirected Eric Clapton’s musical career; and shaped the plot of the classic film Performance by revealing his knowledge of the city’s underworld, a decision that put his life in danger.Litvinoff’s determination to live without trace means that his life has always eluded biographers, until now. This extraordinary feat of research entailed 100 interviews over five years, with everyone from Eric Clapton and Marianne Faithfull to James Fox and ‘Mad’ Frankie Fraser: the result is by turns wickedly funny, appalling, revelatory and moving, and epic in its scope as it traces a rogue’s progress at the interface of bohemia and criminality from the early Fifties to the Seventies. It is also an account of Keiron Pim’s determined pursuit of Litvinoff’s ghost, which took him from London to Wales and Australia in a quest to reveal one of British pop culture’s last great untold stories.

    Including such divergent topics as landscape art, ocean ecologies, and plastic activism, Alaimo explores our environmental predicaments to better understand feminist occupations of transcorporeal subjectivity.She puts scientists, activists, artists, writers, and theorists in conversation, revealing that the state of the planet in the twenty-first century has radically transformed ethics, politics, and what it means to be human. Ultimately, Exposed calls for an environmental stance in which, rather than operating from an externalized perspective, we think, feel, and act as the very stuff of the world.

    They practice apostolic succession, seven sacraments, and devotion to the saints. But without a pope, they can change quickly and experiment freely. Some affirm communion for the divorced, women's ordination, clerical marriage, and same-sex marriage. From their early-modern origins in the Netherlands to their contemporary proliferation in the United States, these "other Catholics" represent an unusually liberal, mobile, and creative version of America's largest religion.In "The Other Catholics," Julie Byrne shares the remarkable history and current activity of independent Catholics, who number at least two hundred communities and a million members across the United States. She focuses on the Church of Antioch, one of the first Catholic groups to ordain women in modern times. Through archival documents and interviews, Byrne tells the story of the unforgettable leaders and surprising influence of these understudied churches, which, when included in Catholic history, change the narrative arc and total shape of modern Catholicism. While Pope Francis fights to soften Roman doctrines with a pastoral touch and his fellow Roman bishops push back with equal passion, the independent Catholics continue to leap ahead of Roman reform, keeping key Catholic traditions but adding a progressive difference.

    They have successfully infiltrated ... public institutions from where they can enforce their creed on everyone else. Importantly, they further get access to public monies ... the consequences are far reaching.' In the West, political correctness is the ascendant ideology since the rise of the so-called New Left in the 1960s. It has infiltrated the public sector and its devotees have gained access to legislative powers of enforcement and, importantly, public monies. Dissent is not tolerated. Dissenters, even children, are persecuted. Minorities are deemed victims and as being oppressed, while the majority are deemed the oppressors. A hatred of the West is aggressively promoted. Terrorism is excused. Free Speech is not allowed. Only politically correct views are tolerated. The media present propaganda instead of the truth. Human Rights are corrupted into being a vehicle for political correctness with lots of fees for its advocates. Sex attacks on women and even children by immigrants are covered up, if not tolerated. Democracy is undermined as bureaucrats and international organizations highjack the powers of the nation state. The interests and opinions of ordinary people are ignored. Economies are plundered. High taxes are imposed. In Europe, the interests of the EU take priority over national prosperity. The 'chauvinism of prosperity' is condemned. Race War Politics is aggressively promoted. White people are deemed racist, unless they advocate political correctness, and a repopulation policy of mass immigration is enforced against the express wishes and interests of the host nation. The zealotry and conflict political correctness brings is the product of its communist heritage, going as far back as the Communist Manifesto of 1848. It has been rightly described as 'cultural Marxism'. 'Like vampires, communists lurk in dark places away from the sunlight of public awareness. For them to succeed, it is important that their activities are not recognised until it is too late. So they crawl about various government, charity, and other public organizations, feeding off ordinary peoples' monies.'

    What caused crops to fail? How did families cope? Follow the causes and effects of the disaster.

    Stanley's discovery of this African "white tribe" haunted him and seemed to substantiate the so-called Hamitic Hypothesis: the theory that the descendants of Ham, the son of Noah, had populated Africa and other remote places, proving that the source and spread of human races around the world could be traced to and explained by a Biblical story. In The Lost White Tribe, Michael Robinson traces the rise and fall of the Hamitic Hypothesis. In addition to recounting Stanley's "discovery," Robinson shows how it influenced others, including that of the Ainu in Japan; or Vilhjalmur Stefansson's tribe of "blond Eskimos" in the Arctic; or the 9,000-year-old skeleton found in Washington State with what were deemed "Caucasian features." As Robinson shows, race theory stemming originally from the Bible only not only guided exploration but archeology, including Charles Mauch's discovery of the Grand Zimbabwe site in 1872, and literature, such as H. Rider Haggard's King Solomon's Mines, whose publication launched an entire literary subgenre dedicated to white tribes in remote places. The Hamitic Hypothesis would shape the theories of Carl Jung and guide psychological and anthropological notions of the primitive. The Hypothesis also formed the foundation for the European colonial system, which was premised on assumptions about racial hierarchy, at whose top were the white races, the purest and oldest of them all. It was a small step from the Hypothesis to theories of Aryan superiority, which served as the basis of the race laws in Nazi Germany and had horrific and catastrophic consequences. Though racial thinking changed profoundly after World War Two, a version of Hamitic validation of the "whiter" tribes laid the groundwork for conflict within Africa itself after decolonization, including the Rwandan genocide. Based on painstaking archival research, The Lost White Tribe is a fascinating, immersive, and wide-ranging work of synthesis, revealing the roots of racial thinking and the legacies that continue to exert their influence to this day.

    It is a place that, like America itself, is gritty and determined. It has faced the worst kind of adversity, and supposedly now it’s back. But what does this narrative of “new Detroit” leave out? Beautiful Wasteland reveals that the contemporary story of Detroit’s rebirth is an upcycled version of the American Dream, which has long imagined access to work, home, and upward mobility as race-neutral projects. They’re not. As Rebecca J. Kinney shows, the narratives of Detroit’s rise, decline, and potential to rise again are deeply steeped in material and ideological investments in whiteness. By remapping the narratives of contemporary Detroit through an extension of America’s frontier mythology, Kinney analyzes a cross-section of twentieth and twenty-first century cultural locations—an Internet forum, ruin photography, advertising, documentary film, and print and online media. She illuminates how the stories we tell about Detroit as a frontier of possibility enable the erasure of white privilege and systemic racism. By situating Detroit as a “beautiful wasteland,” both desirable and distressed, this shows how the narrative of ruin and possibility form a mutually constituted relationship: the city is possible precisely because of its perceived ruin.Beautiful Wasteland tackles the key questions about the future of postindustrial America. As cities around the country reckon with their own postindustrial landscapes, Rebecca Kinney cautions that development that elides considerations of race and class will only continue to replicate uneven access to the city for the poor, working class, and people of color.

    Although this expanded circle was increasingly visible in the daily lives of Americans through TV shows, films, and popular news media, these gains were circumscribed by the discourse that certain immigrants, for instance single and working mothers, were feared, censured, or welcomed exclusively as laborers.In The Cultural Politics of U.S. Immigration, Leah Perry argues that 1980s immigration discourse in law and popular media was a crucial ingredient in the cohesion of the neoliberal idea of democracy. Blending critical legal analysis with a feminist media studies methodology over a range of sources, including legal documents, congressional debates, and popular media, such as Golden Girls, Who's the Boss?, Scarface, and Mi Vida Loca, Perry shows how even while "multicultural" immigrants were embraced, they were at the same time disciplined through gendered discourses of respectability. Examining the relationship between law and culture, this book weaves questions of legal status and gender into existing discussions about race and ethnicity to revise our understanding of both neoliberalism and immigration.

    Jumping rivers and burning miles of buildings and homes, the flames raged for more than two days. More than a hundred people died, and thousands were left homeless. Could the city have prevented this blaze? To understand the impact of a disaster, you must understand its causes. How did Chicago's building methods add fuel to the fire? How did human error delay help when the fire broke out? Investigate the disaster from a cause-and-effect perspective and find out!-- "Journal"

    In this timely study, Michael Cronin investigates how the perspective of the Anthropocene, or the effect of humans on the global environment, has profound implications for the way translation is considered in the past, present and future. Starting with a deep history of translation and ranging from food ecology to inter-species translation and green translation technology, this thought-provoking book offers a challenging and ultimately hopeful perspective on how translation can play a vital role in the future survival of the planet.

    Activists, filmmakers, writers, and artists are seeking to bring the crisis to the public’s attention through stories and images that use the strategies of elegy, tragedy, epic, and even comedy. Imagining Extinction is the first book to examine the cultural frameworks shaping these narratives and images. Ursula K. Heise argues that understanding these stories and symbols is indispensable for any effective advocacy on behalf of endangered species. More than that, she shows how biodiversity conservation, even and especially in its scientific and legal dimensions, is shaped by cultural assumptions about what is valuable in nature and what is not. These assumptions are hardwired into even seemingly neutral tools such as biodiversity databases and laws for the protection of endangered species. Heise shows that the conflicts and convergences of biodiversity conservation with animal welfare advocacy, environmental justice, and discussions about the Anthropocene open up a new vision of multispecies justice. Ultimately, Imagining Extinction demonstrates that biodiversity, endangered species, and extinction are not only scientific questions but issues of histories, cultures, and values.

    Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements.Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York's downtown art and punk scenes of the 1970s to 1990s, arguing that xerography—including photocopied posters, mail art, and zines—changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine's gritty, DIY aesthetics into international art markets.Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.

    After asking herself what she was truly most scared to admit in her writing—what was most taboo—Greenberg realized that, rather than sex or family history, what felt the most revealing and terrifying was to confess how much time she spent thinking about hairstyles and shoes. Stuff that, perhaps, a professor of poetry, a socalled intellectual and feminist, a person who cares about justice and activism, a busy working mother and wife, does not want to admit thinking about. So, in a series of book-length short first-person essays, Greenberg thinks about war, What Not to Wear, fat, conceptual art, lingerie, pregnancy, J. Crew, activism, breasts, street attention, vintage clothes, feminism, Project Runway and money, and the connections between it all.

    With the help of this engaging and enlightening volume, you will feel knowledgeable enough to walk up to the bar with the full Hemingway swagger and get a damn good drink -- and be able to fix one at home.Topics include:How to equip and stock a home bar Basic and not-so-basic terms (single malt, IPA, infusion, IBU, VSOP, etc.)How to make a flawless martini (and why you should always use gin, never vodka) What all those random liqueurs on the back of the bar taste like, what they're actually for How to order wine at a restaurant without dying a little inside Which delicious sparkling wine to buy when you're too cheap or broke to spring for Champagne Scotch to buy for the boss, and for yourselfDrinking -- after work, out on the town, and in the comfort of your own home (complete with witty repartee, of course) -- will once again be elevated to an art form, and those awkward, anxious encounters with alcohol will be a thing of the distant past.

    Edited by his long-time publisher, Fran Griffin, and author, Tom Bethell, this collection is “dedicated to a resurgence of Christianity in a world that has chosen to ‘subtract’ Christ.” It has a Preface by the Bishop Fabian Bruskewitz, who calls the book, “a true spiritual and intellectual treasure”; and a Foreword by Fr. J.J. Pokorsky who says that “his insights, his clarity of thought, and his unique way of getting to the heart of an issue have stuck with me.” Pat Buchanan endorses the new anthology by saying: “Christianity and the moral code it bequeathed mankind did not have a more eloquent defender in our lifetimes than Joe Sobran. His wit, his insight, his capacity to clarify, simplify, and beautify the revealed truths were unrivaled. He was a champion of the unborn who relished intellectual combat, and bore his wounds of battle bravely.” In an essay, “The Words and Deeds of Christ,” Sobran, who is often compared to G.K. Chesterton, writes: “Christ is still quoted after 2000 years. His words have a unique power that sets them off from all merely human words. Even two removes from their original language, they still penetrate us and rule our consciences.” In “Calling All Grown-Ups,” Joe says: “As the state relieves us of responsibility to our parents and children, it increases our responsibilities to itself. You many divorce your spouse, desert (or abort) your children, and abandon your parents, but your duty to pay taxes is absolute. There is no divorce or separation from the welfare state, till death do you part.” This collection has candid essays in the chapters, “Killing as a ‘Right’”; “For Fear of the Jews”; and “Odd Couplings,” in which Sobran predicted (in “Sodomy and the Constitution,” written in 2003) that Justice Anthony Kennedy would be the pivotal player in the Supreme Court legalizing so-called same-sex marriage. In “Dark Ages, New Morality,” Joe writes: “The progressives have found no substitute for virtue. They can offer only such morbid stopgaps as contraception, abortion, and euthanasia. The Dark Ages understood virtue built a civilization; the progressive age doesn’t understand virtue and is tearing down the civilization it inherited. Euthanasia is a fitting symbol: the last sacrament of a society that cannot aspire to heaven, but only to painless annihilation.” In “The Expurgated Christ,” Sobran discusses the “historical Jesus”: “The result is a paltry figure nobody could worship. Had this ‘historical Jesus’ really existed, we would never have heard of Him. The message that you should be nice to others and refrain from stuff like imperial exploitation would hardly have transformed the ancient world and haunted the conscience of mankind through several civilizations to come. A man who preached such watery doctrine wouldn’t be worth crucifying.” Sobran says that the words of Jesus “have a unique permanence…they have an authority in our hearts, even when we try to deny them. They command. We can obey or rebel. That is why Jesus is still not only loved but also hated — and why those who hate Him feel they have to profess to love Him.” Fr. Ronald Tacelli, S.J., writes: “In this astonishingly relevant book, Sobran exposes with searingly ironic wit the many vices and follies of our modern-day culture.

    Yet, from its inception, the American film industry relied on the labor of thousands more women, workers whose vital contributions often went unrecognized.  Never Done introduces generations of women who worked behind the scenes in the film industry—from the employees’ wives who hand-colored the Edison Company’s films frame-by-frame, to the female immigrants who toiled in MGM’s backrooms to produce beautifully beaded and embroidered costumes. Challenging the dismissive characterization of these women as merely menial workers, media historian Erin Hill shows how their labor was essential to the industry and required considerable technical and interpersonal skills. Sketching a history of how Hollywood came to define certain occupations as lower-paid “women’s work,” or “feminized labor,” Hill also reveals how enterprising women eventually gained a foothold in more prestigious divisions like casting and publicity.    Poring through rare archives and integrating the firsthand accounts of women employed in the film industry, the book gives a voice to women whose work was indispensable yet largely invisible. As it traces this long history of women in Hollywood, Never Done reveals the persistence of sexist assumptions that, even today, leave women in the media industry underpraised and underpaid. For more information: http://erinhill.squarespace.com

    Since 2001 activists have attempted to rewrite Section 377 of the Indian Penal Code, which in addition to outlawing homosexual behavior is often used to prosecute a range of activities and groups that are considered perverse. Having interviewed activists and NGO workers throughout five metropolitan centers, investigated crime statistics and case law, visited various state institutions, and met with the police, Puri found that Section 377 is but one element of how homosexuality is regulated in India. This statute works alongside the large and complex system of laws, practices, policies, and discourses intended to mitigate sexuality's threat to the social order while upholding the state as inevitable, legitimate, and indispensable. By highlighting the various means through which the regulation of sexuality constitutes India's heterogeneous and fragmented "sexual state," Puri provides a conceptual framework to understand the links between sexuality and the state more broadly.

    From the late 1940s, when Ernesto Galarza led a strike in the San Joaquin Valley, to the early 1990s, when the United Farm Workers (UFW) helped organize a fast in solidarity with janitors at Apple Computers in the Santa Clara Valley, this book explores the friction between agribusiness and farm workers through the lens of visual culture.Marez looks at how the appropriation of photography, film, video, and other media technologies expressed a “farm worker futurism,” a set of farm worker social formations that faced off against corporate capitalism and government policies. In addition to drawing fascinating links between the worlds envisioned in UFW videos on the one hand and visions of Cold War geopolitics on the other, he demonstrates how union cameras and computer screens put the farm worker movement in dialogue with futurist thinking and speculative fictions of all sorts, including the films of George Lucas and the art of Ester Hernandez. Finally Marez examines the legacy of farm worker futurism in recent cinema and literature, contemporary struggles for immigrant rights, management–labor conflicts in computer hardware production, and the antiprison movement.In contrast with cultural histories of technology that take a top-down perspective, Farm Worker Futurism tells the story from below, showing how working-class people of color have often been early adopters and imaginative users of new media. In doing so, it presents a completely novel analysis of speculative fiction’s engagements with the farm worker movement in ways that illuminate both.

    The volume maps some of the specifically local issues as well as the common ones affecting queer/trans people of colour (qtpoc). The contributions are not delimited by traditional academic style but rather draw on creative inspiration to produce knowledge and insight through various styles and formats, including poetry, essays, statements, manifestos, as well as academic mash-ups. Queering coloniality and the epistemic categories that classify people means to disobey and delink from the coloniality of knowledge and of being. At this intersection, decolonial queerness is necessary not only to resist coloniality but, above all, to re-exist and re-emerge decolonially."The volume is more than timely. First, it contributes to the field of decolonial queer theory, second it offers a transnational approach, third it never seeks to fix categories, and finally, and more importantly, it centred on narratives of solidarity and alliance which are so important today in a world under the assault of financial capitalism, new politics of dispossession and colonization, and new politics of division and fragmentation." -- FranCoise Verges (Chair Global South(s), College d'Etudes mondiales, Paris)"The brave and thoughtful pieces in this book span across 'intellectual' and 'artistic' categorisations, and together make an important contribution not only to the field of sexuality/queer studies, but also to the ongoing battle to keep such studies from racist cooptation." -- Dr Sarah Keenan, Lecturer in Law, Birkbeck, University of London."The range and depth of these contributions make this an invaluable resource for students and researchers alike. Above all, these essays highlight the fact that we can no longer assume or theorize an LGBT identity or politics that is constituted outside of racialization, coloniality, place and time." -- Momin Rahman (Professor of Sociology, Trent University, Canada)"In a world in which colonialism and neocolonialism make their marks on sexuality as well as race and class, this rich volume shows that decolonial thinking and doing cannot be done without an attention to queer politics." -- Roderick A. Ferguson, Aberrations in Black: Toward a Queer of Color Critique

    Levees created to protect New Orleans from flooding failed, and water rushed into the city. Some stranded residents waited days in horrible conditions for rescue to arrive. More than a thousand people died, and thousands more lost their homes. Could anyone have prevented these losses? To understand the impact of a disaster, you must understand its causes. How did Hurricane Katrina turn into a monster storm? How did poor planning contribute to the scope of the disaster? Investigate the disaster from a cause-and-effect perspective and find out!

    This book takes a range of these bodies, from antiquity to the present day, to explore how we seek out echoes, caricatures and replications of ourselves in order to make sense of the complex world in which we live.Packed with case studies, from the commedia del'arte to Hans Bellmer, and the work of André Courrèges to the 1980s supermodel, this volume explores the divide between the “real” and the constructed. Arguing that the body “other” plays a crucial role in the formation of the self physically and psychologically, leading scholar Adam Geczy contends that the “natural” body has been replaced by a series of imaginary archetypes in our post-modern world, central to which is the figure of the doll.The Artificial Body in Fashion and Art provides a much-needed synthesis of constructed bodies across time and place, drawing on fashion theory, theatre studies and material culture, to explore what the body means in the realms of identity, gender, performance and art.

    

    Drawing on key Weimar theorists and addressing artistic and cultural movements ranging from Dada to worker-produced media, this book challenges us to rethink conventional understandings of left culture and politics, and of Weimar culture more generally.

    Volume 29 of Rhizomes journal; special issue on afropessimism.

    Using the unpublished letter archive of the Elizabethan spy Anthony Bacon (1558-1601), it shows how Bacon negotiated a path through life that relied on the support of his friends, rather than the advantages and status that came with marriage. Through a set of case-studies focusing on the Inns of Court, the prison, the aristocratic great house and the spiritual connection between young and ardent Protestants, this book argues that the friendship spaces of early modern England permitted the expression of male same-sex intimacy to a greater extent than has previously been acknowledged."

    Includes over two dozen essays covering the spectrum of popular culture studies from food to folklore and from TV to technology Features contributions from established and up-and-coming scholars from a range of disciplines Offers a detailed history of the study of popular culture Balances new perspectives on the politics of culture with in-depth analysis of topics at the forefront of popular culture studies