We all know it.American life expectancy is declining for a third straight year. Birth rates are dropping. Nearly half of us think the other political party isn’t just wrong; they’re evil. We’re the richest country in history, but we’ve never been more pessimistic. What’s causing the despair?In Them, bestselling author and U.S. Senator Ben Sasse argues that, contrary to conventional wisdom, our crisis isn’t really about politics. It’s that we’re so lonely we can’t see straight—and it bubbles out as anger. Local communities are collapsing. Across the nation, little leagues are disappearing, Rotary clubs are dwindling, and in all likelihood, we don’t know the neighbor two doors down. Work isn’t what we’d hoped: less certainty, few lifelong coworkers, shallow purpose. Stable families and enduring friendships—life’s fundamental pillars—are in statistical freefall. As traditional tribes of place evaporate, we rally against common enemies so we can feel part of on a team. No institutions command widespread public trust, enabling foreign intelligence agencies to use technology to pick the scabs on our toxic divisions. We’re in danger of half of us believing different facts than the other half, and the digital revolution throws gas on the fire. There’s a path forward—but reversing our decline requires something radical: a rediscovery of real places and real human-to-human relationships. Even as technology nudges us to become rootless, Sasse shows how only a recovery of rootedness can heal our lonely souls.America wants you to be happy, but more urgently, America needs you to love your neighbor. Fixing what’s wrong with the country depends on you rebuilding right where you’re planted.

    E. B. Du Bois offered a view into the lives of black Americans, conveying a literal and figurative representation of "the color line." From advances in education to the lingering effects of slavery, these prophetic infographics--beautiful in design and powerful in content--make visible a wide spectrum of black experience.W. E. B. Du Bois's Data Portraits collects the complete set of graphics in full color for the first time, making their insights and innovations available to a contemporary imagination. As Maria Popova wrote, these data portraits shaped how "Du Bois himself thought about sociology, informing the ideas with which he set the world ablaze three years later in The Souls of Black Folk."

    Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and popular modernism for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds.

    In this heated context, sociologist Margaret A. Hagerman zeroes in on affluent, white kids to observe how they make sense of privilege, unequal educational opportunities, and police violence. In fascinating detail, Hagerman considers the role that they and their families play in the reproduction of racism and racial inequality in America.White Kids, based on two years of research involving in-depth interviews with white kids and their families, is a clear-eyed and sometimes shocking account of how white kids learn about race. In doing so, this book explores questions such as, "How do white kids learn about race when they grow up in families that do not talk openly about race or acknowledge its impact?" and "What about children growing up in families with parents who consider themselves to be 'anti-racist'?"Featuring the actual voices of young, affluent white kids and what they think about race, racism, inequality, and privilege, White Kids illuminates how white racial socialization is much more dynamic, complex, and varied than previously recognized. It is a process that stretches beyond white parents' explicit conversations with their white children and includes not only the choices parents make about neighborhoods, schools, peer groups, extracurricular activities, and media, but also the choices made by the kids themselves.By interviewing kids who are growing up in different racial contexts--from racially segregated to meaningfully integrated and from politically progressive to conservative--this important book documents key differences in the outcomes of white racial socialization across families. And by observing families in their everyday lives, this book explores the extent to which white families, even those with anti-racist intentions, reproduce and reinforce the forms of inequality they say they reject.

     Featuring rare outtakes from over 100 photoshoots alongside interviews and essays from industry legends, Contact High: A Visual History of Hip-Hop takes readers on a chronological journey from old-school to alternative hip-hop and from analog to digital photography. The ultimate companion for music and photography enthusiasts, Contact High is the definitive history of hip-hop's early days, celebrating the artists that shaped the iconic album covers, t-shirts and posters beloved by hip-hop fans today. With essays from BILL ADLER, RHEA L. COMBS, FAB 5 FREDDY, MICHAEL GONZALES, YOUNG GURU, DJ PREMIER, and RZA

    Bridging black feminist theory with disability studies, Schalk demonstrates that this genre's political potential lies in the authors' creation of bodyminds that transcend reality's limitations. She reads (dis)ability in neo-slave narratives by Octavia Butler (Kindred) and Phyllis Alesia Perry (Stigmata) not only as representing the literal injuries suffered under slavery, but also as a metaphor for the legacy of racial violence. The fantasy worlds in works by N. K. Jemisin, Shawntelle Madison, and Nalo Hopkinson—where werewolves have obsessive-compulsive-disorder and blind demons can see magic—destabilize social categories and definitions of the human, calling into question the very nature of identity. In these texts, as well as in Butler’s Parable series, able-mindedness and able-bodiedness are socially constructed and upheld through racial and gendered norms. Outlining (dis)ability's centrality to speculative fiction, Schalk shows how these works open new social possibilities while changing conceptualizations of identity and oppression through nonrealist contexts.

    But those comic creations cannot save us from our greatest foes—sin and death. Throughout the history of the Church there have been bad ideas, misconceptions, and heretical presentations of Jesus. Each one of these heresies fails to present Jesus as the Bible reveals him. In Superheroes Can’t Save You, Todd Miles demonstrates how these ancient heresies are embodied in contemporary comic superheroes. Miles compares something everybody already knows (who the superheroes are) with what they need to know (who Jesus is), in a book that makes vitally important Christian truths understandable and applicable to a wide audience.

    It is an ache for the homecoming. The Greeks called it nostalgia.  Post-modern man, homeless almost by definition, cannot understand nostalgia. If he is a progressive, dreaming of a utopia to come, he dismisses it contemptuously, eager to bury a past he despises. If he is a reactionary, he sentimentalizes it, dreaming of a lost golden age. In this profound reflection, Anthony Esolen explores the true meaning of nostalgia and its place in the human heart. Drawing on the great works of Western literature from the Odyssey to Flannery O'Connor, he traces the development of this fundamental longing from the pagan's desire for his earthly home, which most famously inspired Odysseys' heroic return to Ithaca, to its transformation under Christianity. The doctrine of the fall of man forestalls sentimental traditionalism by insisting that there has been no Eden since Eden. And the revelation of heaven as our true and final home, directing man's longing to the next world, paradoxically strengthens and ennobles the pilgrim's devotion to his home in this world. In our own day, Christian nostalgia stands in frank opposition to the secular usurpation of this longing. Looking for a city that does not exist, the progressive treats original sin, which afflicts everyone, as mere political error, which afflicts only his opponents. To him, history is a long tale of misery with nothing to teach us. Despising his fathers, he lives in a world without piety. Only the future, which no one can know, is real to him. It is an idol that justifies all manner of evil and folly. Nostalgia rightly understood is not an invitation to repeat the sins of the past or to repudiate what experience and reflection have taught us, but to hear the call of sanity and sweetness again. Perhaps we will shake our heads as if awaking from a bad and feverish dream and, coming to ourselves, resolve, like the Prodigal, to "arise and go to my father's house."

    Meet the 'evergreens', the 'edibles' and the 'elderly' plants that have outlived the dinosaurs in this alphabetically-ordered encyclopedia. Filled with fascinating flowers, curious crops and wonderful weeds, this book will keep young explorers busy for hours. A fantastic follow-up to smash-hit Creaturepedia. A beautiful gift book featuring an embossed cover and a grosgrain ribbon marker.

    The book does not just tell us about fashion and clubs, it is immersed in the scenes it conjures. This is engaging, relevant, and glamorous." —Jack Halberstam, author of Female Masculinity and The Queer Art of Failure “Fabulous lives up to its title. Who knew there was such riveting sociopolitical drama behind those velvet ropes?"— New York Times Book Review Prince once told us not to hate him ’cause he’s fabulous. But what does it mean to be fabulous? Is fabulous style only about labels, narcissism, and selfies—looking good and feeling gorgeous? Or can acts of fabulousness be political gestures, too? What are the risks of fabulousness? And in what ways is fabulous style a defiant response to the struggles of living while marginalized? madison moore answers these questions in a timely and fascinating book that explores how queer, brown, and other marginalized outsiders use ideas, style, and creativity in everyday life. Moving from catwalks and nightclubs to the street, moore dialogues with a range of fabulous and creative powerhouses, including DJ Vjuan Allure, voguing superstar Lasseindra Ninja, fashion designer Patricia Field, performance artist Alok Vaid‑Menon, and a wide range of other aesthetic rebels from the worlds of art, fashion, and nightlife. In a riveting synthesis of autobiography, cultural analysis, and ethnography, moore positions fabulousness as a form of cultural criticism that allows those who perform it to thrive in a world where they are not supposed to exist.

    But when her beloved father dies after a decade-long battle with cancer when she is just a teenager, it feels like the end of everything. Lost in grief, Al and her mother hardly know where to begin with the rest of their lives.Into this grieving house burst Al’s three friends from theatre camp, determined to help out as only drama students know how—and they’re moving in for the duration. Over the course of that winter, the now five-strong household will do battle with everything Death can throw at them—meddling relatives, merciless bureaucracy, soul-sapping sadness, the endless Tupperware. They will learn (almost) everything about love and will eventually return to the world, altered in different ways by their time in a home by a river.Told with raw passion, candor and wit, White Hot Grief Parade is an ode to the restorative power of family and friendship—and the unbreakable bond, even in death, between father and daughter.

    Long before the Holocaust was taught in schools or presented in films such as Schindler's List, the youth of America was learning about the Nazi genocide from Batman, the X-Men, Captain America, and Sgt. Rock. Comics legend Neal Adams, Holocaust scholar Rafael Medoff, and comics historian Craig Yoe bring together a remarkable collection of comic book stories that introduced an entire generation to an engaging and important subject. We Spoke Out is an extraordinary journey into a compelling and essential topic.

    This collection, featuring work by both senior and rising scholars, considers topics including the politics of visibility, histories of Asian American participation in women of color political formations, accountability for Asian American "settler complicities" and cross-racial solidarities, and Asian American community-based strategies against state violence as shaped by and tied to women of color feminisms. Asian American Feminisms and Women of Color Politics provides a deep conceptual intervention into the theoretical underpinnings of Asian American studies; ethnic studies; women's, gender, and sexual studies; as well as cultural studies in general.

    These stories, however, largely ignore black Appalachian lives. Karida L. Brown's Gone Home offers a much-needed corrective to the current whitewashing of Appalachia. In telling the stories of African Americans living and working in Appalachian coal towns, Brown offers a sweeping look at race, identity, changes in politics and policy, and black migration in the region and beyond.Drawn from over 150 original oral history interviews with former and current residents of Harlan County, Kentucky, Brown shows that as the nation experienced enormous transformation from the pre- to the post-civil rights era, so too did black Americans. In reconstructing the life histories of black coal miners, Brown shows the mutable and shifting nature of collective identity, the struggles of labor and representation, and that Appalachia is far more diverse than you think.

    These writings contributed to the long and rich traditions of women-of-color-centered feminisms, which acknowledge all systems of power as connected, and understand that ending one form of violence demands the transformation of society on multiple fronts.Feminisms in Motion highlights ten years of intersectional feminist thought and action, featuring authors like Alexis Pauline Gumbs, adrienne maree brown, and Mattilda Bernstein Sycamore, among many others.“Women of color have been at the center and forefront of some of the most urgent political struggles for freedom in the United States. They have pioneered, through practice and theory, models of collective, intersectional feminism that have demanded more radical and more just ways of living, being, and acting. Feminisms in Motion is a welcome and urgent anthology that foregrounds the exciting and compelling work of these activists and writers.” —Viet Thanh Nguyen, Pulitzer Prize- winning author of The Sympathizer

    And, as in Western nations, the digital age has had dramatic effects on society and politics. Yet, while we hear about the #MeToo movement and the Russian bot scandal, there is little appreciation for the feminist movement #MyDressMyChoice and the subversion of state-run political propaganda by social media.Digital Democracy, Analogue Politics aims to change this by presenting a unique contribution to the debate on digital democracy. For traditionally marginalized groups, particularly women and the disabled, digital spaces have provided vital platforms that allow Kenyans to build new communities that transcend old ethnic and gender divisions. Covering attempts by political elites to prevent social movements from translating online visibility into meaningful offline gains, Digital Democracy, Analogue Politics explores the drastic efforts to contain online activism and new methods of feminist mobilization, as well as how “fake news,” Cambridge Analytica, and allegations of hacking contributed to tensions around the 2017 elections. Reframing digital democracy for the first time from the African perspective, Nanjala Nyabola’s groundbreaking work opens up new ways of understanding our current global online era.

    Meanwhile, environmentalists have acquired a reputation as gloom-and-doom killjoys. Bad Environmentalism identifies contemporary texts that respond to these absurdities and ironies through absurdity and irony—as well as camp, frivolity, irreverence, perversity, and playfulness. Nicole Seymour develops the concept of “bad environmentalism”: cultural thought that employs dissident affects and sensibilities to reflect critically on our current moment and on mainstream environmental activism. From the television show Wildboyz to the short film series Green Porno, Seymour shows that this tradition of thought is widespread—spanning animation, documentary, fiction film, performance art, poetry, prose fiction, social media, and stand-up comedy since at least 1975. Seymour argues that these texts reject self-righteousness and sentimentality, undercutting public negativity toward activism and questioning basic environmentalist assumptions: that love and reverence are required for ethical relationships with the nonhuman and that knowledge is key to addressing problems like climate change.Funny and original, Bad Environmentalism champions the practice of alternative green politics. From drag performance to Indigenous comedy, Seymour expands our understanding of how environmental art and activism can be pleasurable, even in a time of undeniable crisis.

    The powerful have their version of events, the people have another. And if we understand how the past was forged, we arm ourselves to change the future.This is the history of the struggle and revolution of human society: of hominids, hunters and herders; of emperors and slaves; of patriarchs and women; of rich and poor; of dictators and revolutionaries. From the ancient empires of Persia and Rome to the Russian Revolution, the Vietnam War, and the 2008 Crash, this is a history of greed and violence, but also of solidarity and resistance.Many times in the past, a different society became an absolute necessity. Humans have always struggled to create a better life. This history proves that we, the many, have the power to change the world.

    Examining feminist discourses that emphasize self-confidence, body positivity, and individual achievement alongside violent misogynist phenomena such as revenge porn, toxic geek masculinity, and men's rights movements, Banet-Weiser traces how popular feminism and popular misogyny are co-constituted. From Black Girls Code and the Always #LikeAGirl campaign to GamerGate and the 2016 presidential election, Banet-Weiser shows how popular feminism is met with a misogynistic backlash of mass harassment, assault, and institutional neglect. In so doing, she contends that popular feminism's problematic commitment to visibility limits its potential and collective power.

    Through the exemplary work of Nina Simone, Jorge Ignacio Cortiñas, Danh Vō, Felix Gonzalez-Torres, Eiko, and Tseng Kwong Chi, and with additional appearances by Nao Bustamante, Audre Lorde, Martin Wong, Assata Shakur, and Nona Faustine, After the Party considers performance as it is produced within and against overlapping histories of US colonialism, white supremacy, and heteropatriarchy. Building upon the thought of José Esteban Muñoz alongside prominent scholarship in queer of color critique, black studies, and Marxist aesthetic criticism, Joshua Chambers-Letson maps a portrait of performance’s capacity to produce what he calls a communism of incommensurability, a practice of being together in difference.Describing performance as a rehearsal for new ways of living together, After the Party moves between slavery, the Civil Rights Movement, the first wave of the AIDS crisis, the Vietnam War, and the catastrophe-riddled horizon of the early twenty-first century to consider this worldmaking practice as it is born of the tension between freedom and its negation. With urgency and pathos, Chambers-Letson argues that it is through minoritarian performance that we keep our dead alive and with us as we struggle to survive an increasingly precarious present.

    Subsequent reviews from critics were almost unanimously negative, and many fans of the show felt betrayed, as their beloved town was suddenly revealed as a personal hell. Yet in the years since the film’s release, there has begun to be a gradual wave of reappraisal and appreciation, one that accelerated with the broadcast of Twin Peaks: The Return in 2017. What has been central to this reevaluation is the realization that what Lynch had created was not a parody of soap opera and detective television but a horror movie.In this Devil’s Advocate, Lindsay Hallam argues that the horror genre aids Lynch’s purpose in presenting the protagonist Laura Palmer’s subjective experience leading to her death as the incorporation of horror tropes actually leads to a more accurate representation of a victim’s suffering and confusion. She goes on to explore how the film was an attempt by Lynch to take back ownership of the material and to examine the initial reaction and subsequent reevaluation of the film, as well as the paratexts that link to it and the influence that Fire Walk with Me now has on contemporary film and across popular culture.

    Sure, we learned about it in school, but if put to the test, how many of us can correctly explain the branches of government? The history of politics? The differences and connections between local government and federal government? Enter How to Be an American. While author and illustrator Silvia Hidalgo was studying for her citizenship test, she quickly found that the materials provided by the government were lacking. In order to more easily absorb the information, Hidalgo started her own illustrated reference to civics facts and American history essentials. She’s collected her findings in How to Be an American, a freshly designed and illustrated two-color guide to all things America.

    Scott’s road is also a spiritual journey ignited by an exploration of her first name, the wonder of her physical being, and coming to understand why her soul must dance like Saturday Night Fever’s Tony Manero.Inspired by Annie Dillard’s observation in Holy the Firm that we all “reel out love’s long line alone . . . like a live wire loosed in space to longing and grief everlasting,” Scott’s essays acknowledge the loneliness, longing, and grief exacted by a fearless engagement with the everyday world. But she shows that by holding the line, there is an abundance of joy and forgiveness and grace to be had as well.

    Now he presents an exquisite collection that captures the full range of his work and the magic of chance encounters in New York City. Hayes's "frank, beautiful, bewitching" street photographs "unmask their subjects' best and truest selves" (Jennifer Senior, New York Times): A policeman pauses at the end of a day. Cooks sneak in cigarette breaks. A pair of movers plays cards on the back of a truck. Friends claim the sidewalk. Lovers embrace. A flame-haired girl gazes mysteriously into the lens. And park benches provide a setting for a couple of hunks, a mom and her baby, a stylish nonagenarian . . . How New York Breaks Your Heart reveals ordinary New Yorkers at their most peaceful, joyful, distracted, anxious, expressive, and at their most fleeting--bringing the texture of the city to vivid life. Woven through with Hayes's lyric reflections, these photos will, like the city itself, break your heart by asking you to fall in love.

    "Etan confronts our collective challenges and reminds us that life is not just a game, but demands a constant struggle for justice."--Amy Goodman, Democracy NowFeaturing interviews by former NBA star Etan Thomas with over fifty athletes, and interwoven with essays and critiques by Thomas, We Matter, shares the personal tales and opinions of Russell Westbrook, Jamal Crawford, Mahmoud Abdul-Rauf, John Carlos, Craig Hodges, Swin Cash, Chamique Holdsclaw, Torrey Smith, and many more.This volume will be an inspiration for many different people: sports junkies, young readers who need words of encouragement from their favorite athletes; parents seeking positive messages for their children; activists who want to hear athletes using their voices to address social justice; and schools that need motivational material for their students.

    Since then the movement has been analyzed and over-analyzed, declared triumphant and, more than once, given up for dead. But because outside observers have maintained a near-relentless focus ondomestic politics, the most transformative development over the last several decades--the explosive growth of Christianity in the global south--has gone unrecognized by the wider public, even as it has transformed evangelical life, both in the US and abroad.The Kingdom of God Has No Borders offers a daring new perspective on conservative Christianity by shifting the lens to focus on the world outside US borders. Melani McAlister offers a sweeping narrative of the last fifty years of evangelical history, weaving a fascinating tale that upends much ofwhat we know--or think we know--about American evangelicals. She takes us to the Congo in the 1960s, where Christians were enmeshed in a complicated interplay of missionary zeal, Cold War politics, racial hierarchy, and anti-colonial struggle. She shows us how evangelical efforts to convertnon-Christians have placed them in direct conflict with Islam at flash points across the globe. And she examines how Christian leaders have fought to stem the tide of HIV/AIDS in Africa while at the same time supporting harsh repression of LGBTQ communities.Through these and other stories, McAlister focuses on the many ways in which looking at evangelicals abroad complicates conventional ideas about evangelicalism. We can't truly understand how conservative Christians see themselves and their place in the world unless we look beyond our shores.

    It explains why women’s difficulties were different to those of men. Men were taken away and the women were left to cope with children and elderly relatives and obliged to take on new roles. Women like Andrew Sachs' mother had to deal with organising departure for a foreign country and making choices about what to take and what to abandon. The often desperate hunt for food for themselves and those in their care more often than not fell to the women, as did medical issues. They had to face pregnancies, abortions and, in some camps, medical experiments. Many women wrote diaries, memoirs, letters and books about their experiences and these have been used extensively here. The accounts include women who fought or worked in the resistance, like Zivia Lubetkin who was part of the Warsaw Ghetto Uprising. Dr Gisella Perl was a doctor in Auschwitz under the infamous Dr Mengele. Some young girls acted as Kashariyot, underground couriers between ghettos. Their varied experiences represent the extremities of human suffering, endeavour and courage. The author herself is a survivor, born in 1944. Her mother struggled to keep her safe in the mayhem of the Budapest Ghetto when she was a tiny baby and dealt with the threat from Russian soldiers after the liberation of Budapest in January 1945.

    It just sounds perfect-so sharp and clear and beautiful. It's one of those satisfying four letter words, like cunt and fuck. Slut also happens to be an anagram for lust, which is one of those divine coincidences that makes you wonder if God actually exists.We're lucky that slut is such a great word, because it's safe to say that almost every woman will be called a slut at least once in her lifetime. Despite a slowly shifting sexual double standard, it's still taboo to be a woman who's openly sexual-let alone one who sleeps around. Now Vogue columnist Karley Sciortino is on a mission to reclaim the word "slut" to represent a person who seeks out visceral experiences through sex, and who isn't ashamed about it. Sluts are special. Sluts are radical. And sluts are skilled at time management, because they can handle multiple partners on rotation, plus their jobs and their blogs and their beauty routines. Not everyone is qualified for this coveted position.SLUTEVER is a call-to-arms, a confessional memoir, a slut manifesto, as told by a sex-radical hedonist in a pink PVC mini dress. It's a thoughtful, first-person account of a modern woman, navigating sex, love, casual hookups, open relationships,, bisexuality, BDSM, breakups, sex work, sex parties, and the power of sexual agency, as told from the front lines.

    The Dallas that shaped Erykah Badu. The Holly Springs, Mississippi, that compelled Ida B. Wells to activism against lynching. The Birmingham where Martin Luther King, Jr., penned his most famous missive. Now how do you see the United States? Chocolate Cities offers a new cartography of the United States--a "Black Map" that more accurately reflects the lived experiences and the future of Black life in America. Drawing on cultural sources such as film, music, fiction, and plays, and on traditional resources like Census data, oral histories, ethnographies, and health and wealth data, the book offers a new perspective for analyzing, mapping, and understanding the ebbs and flows of the Black American experience--all in the cities, towns, neighborhoods, and communities that Black Americans have created and defended. Black maps are consequentially different from our current geographical understanding of race and place in America. And as the United States moves toward a majority minority society, Chocolate Cities provides a broad and necessary assessment of how racial and ethnic minorities make and change America's social, economic, and political landscape"--Provided by publisher.

    Through the eyes of the BDM girls, it recounts the struggle to rebuild lives destroyed by years of war, and how a country came to terms with terrible war crimes committed in its name. The result is powerful, sad, harrowing, humorous and shocking. In the realms of the study of female Hitler Youth organizations in Nazi Germany, In Hitler's Shadow has no equal.

    African & African American Studies. LGBTQIA Studies. Women's Studies. Art. Edited by Erica Hunt and Dawn Lundy Martin. A collection of poems, essays, elder conversations, and visual works, LETTERS TO THE FUTURE: BLACK WOMEN / RADICAL WRITING, celebrates temporal, spatial, formal, and linguistically innovative literature. The anthology collects late-modern and contemporary work by Black women from the United States, England, Canada, and the Caribbean--work that challenges readers to participate in meaning making. Because one contextual framework for the collection is "art as a form of epistemology," the writing in the anthology is the kind of work driven by the writer's desire to radically present, uncovering what she knows and does not know, as well as critically addressing the future.Erica Hunt, in her introduction to the collection, says, "The future is a slippery project. What can it hold? We asked writers to write about it, imagining the future as the present conjugated--conjoining the past, the present with some other time...One dimension that drew our curiosity was to know how this particular group of Black women writers would respond to the question of tomorrow. The Black women in this edition were writers we'd known or been introduced to who had been insistent makers of poems and prose that set up radical encounters between language, person, community and the political. We discussed these letters as we received them, marveling at the range of strategies to refract, forecast or expand the penumbra of the present into the shifting and dim lit future."In Dawn Lundy Martin's introduction, she says, "It has always been difficult for me to conceptualize what we call blackness in relation to human bodies, particularly myself as an indicator of the thing I don't quite understand. It's a strange predicament, and a worrying one...On the one hand, the claim of blackness need not be a claim. A black person in the world experiences themselves as black given the perception by others as to what black is. It is a (mis)recognition, always legible, often very slight in the adjustment of the face, a minor tick, a momentary widening of the eyes, almost imperceptible in its speechless announcement, 'a black is in the room.'"List of contributors includes Betsy Fagin, Ruth Ellen Kocher, Robin Coste Lewis, Lillian Yvonne Bertram, LaTasha N. Nevada Diggs, r. erica doyle, Adjua Gargi Nzinga Greaves, Duriel E. Harris, Harryette Mullen, giovanni singleton, Evie Shockley, Khadijah Queen, Wendy S. Walters, Adrian Piper, Yona Harvey, Harmony Holiday, Tracie Morris, Claudia Rankine, Deborah Richards, Metta S�ma, Kara Walker, Renee Gladman, Tonya Foster, Julie Patton, Akilah Oliver, Simone White, M. NourbeSe Philip, Lucille Clifton and Sonia Sanchez in conversation, Wanda Coleman interview, Jayne Cortez and Sekou Siundiata with Tracie Morris, Erica Hunt, Dawn Lundy Martin, and Tisa Bryant.

    Spanning film, fine art, poetry, and photography, these cultural forms—which Gopinath conceptualizes as aesthetic practices of queer diaspora—reveal the intimacies of seemingly disparate histories of (post)colonial dwelling and displacement and are a product of diasporic trajectories. Countering standard formulations of diaspora that inevitably foreground the nation-state, as well as familiar formulations of queerness that ignore regional gender and sexual formations, she stages unexpected encounters between works by South Asian, Middle Eastern, African, Australian, and Latinx artists such as Tracey Moffatt, Akram Zaatari, and Allan deSouza. Gopinath shows how their art functions as regional queer archives that express alternative understandings of time, space, and relationality. The queer optics produced by these visual practices creates South-to-South, region-to-region, and diaspora-to-region cartographies that profoundly challenge disciplinary and area studies rubrics. Gopinath thereby provides new critical perspectives on settler colonialism, empire, military occupation, racialization, and diasporic dislocation as they indelibly mark both bodies and landscapes.

    The viewer is forced to see female characters through a male lens, which distorts how all of us see women, and even how women see themselves.Typically, the keepers of film history and writers of film criticism have also been men. Yet, since the very birth of cinema, women have been making movies. So, what does the world look like through the “female gaze”? This is the question bestselling author and film reporter Alicia Malone poses, as she presents The Female Gaze―a collection of essays on fifty-two movies made by women. These films encompass various eras, nationalities, and stories, yet each movie is distinctly feminine. Joining Alicia Malone is a variety of established and aspiring female film critics, who write about their favorite film made by a female director.In these fascinating chapters you’ll discover brilliantly talented and accomplished women filmmakers―both world-renowned and obscure―who have shaped the film industry in ways rarely acknowledged. Learn about the hidden figures of filmmaking and about the acclaimed luminaries of the past and present.Readers will discover:• The accomplishments of numerous women in film such as Dorothy Arzner, Ida Lupino, Kathryn Bigelow, Lady Bird’s Greta Gerwig and more• The complex lives of these women and the struggles they faced carving a place for themselves in the film industry• How these women’s unique voices shaped the films they made and influenced the film world

    Naomi André draws on the experiences of performers and audiences to explore this music's resonance with today's listeners. Interacting with creators and performers, as well as with the works themselves, André reveals how black opera unearths suppressed truths. These truths provoke complex, if uncomfortable, reconsideration of racial, gender, sexual, and other oppressive ideologies. Opera, in turn, operates as a cultural and political force that employs an immense, transformative power to represent or even liberate. Viewing opera as a fertile site for critical inquiry, political activism, and social change, Black Opera lays the foundation for innovative new approaches to applied scholarship.

    A peat fire was lit, and our guide, Sir Geoffrey Guest, regaled us with ancient stories of dragons while, outside, the gale battered the coastline....What follows is a retelling of classical legends, plucked from the folklore of cultures spread across time and around the world, from ancient Greece and China to Medieval England and Norse mythology. You'll discover the epochal dragons who reigned over snow and sea; those with wings and flaming maws; those who thwarted Beowulf in underground lairs; and those slain by Hercules' mighty sword.Dracopedia Legends presents 13 epic tales of heroes vanquishing dragons, accompanied by lavish dragon illustrations inspired by the myths. Acting as both a storybook and art guide, each chapter also includes in-depth instructions to reveal how to conceptualize, research and design every iconic battle scene, broken down into multiple stages so you can create your own commanding and evocative narrative paintings.Includes:- 13 tales of the most legendary dragons from around the world - Instructions for drawing and painting each climactic clash between hero and beast - How to design, sketch and develop illustrations into layered and detailed final paintingsThe fourth book in the best-selling Dracopedia saga!

    Less noted is another critical technology with which women forged new and mobile public lives—cycle wear. This illustrated account of women's cycle wear from Goldsmiths Press brings together Victorian engineering and radical feminist invention to supply a missing chapter in the history of feminism.Despite its benefits, cycling was a material and ideological minefield for women. Conventional fashions were unworkable, with skirts catching in wheels and tangling in pedals. Yet wearing “rational” cycle wear could provoke verbal and sometimes physical abuse from those threatened by newly mobile women. Seeking a solution, pioneering women not only imagined, made, and wore radical new forms of cycle wear but also patented their inventive designs. The most remarkable of these were convertible costumes that enabled wearers to transform ordinary clothing into cycle wear.Drawing on in-depth archival research and inventive practice, Kat Jungnickel brings to life in rich detail the little-known stories of six inventors of the 1890s. Alice Bygrave, a dressmaker of Brixton, registered four patents for a skirt with a dual pulley system built into its seams. Julia Gill, a court dressmaker of Haverstock Hill, patented a skirt that drew material up the waist using a mechanism of rings or eyelets. Mary and Sarah Pease, sisters from York, patented a skirt that could be quickly converted into a fashionable high-collar cape. Henrietta Müller, a women's rights activist of Maidenhead, patented a three-part cycling suit with a concealed system of loops and buttons to elevate the skirt. And Mary Ann Ward, a gentlewoman of Bristol, patented the “Hyde Park Safety Skirt,” which gathered fabric at intervals using a series of side buttons on the skirt. Their unique contributions to cycling's past continue to shape urban life for contemporary mobile women.

    What they discovered was the rich buried history of an enclave that was part of The Ward -- that dense, poor, but vibrant 'arrival city' that took shape between the 1840s and the 1950s. Home to waves of immigrants and refugees -- Irish, African-Americans, Italians, eastern European Jews, and Chinese -- The Ward was stigmatized for decades by Toronto's politicians and residents, and eventually razed to make way for New City Hall. The archaeologists who excavated the lot, led by co-editor Holly Martelle, discovered almost half a million artifacts -- a spectacular collection of household items, tools, toys, shoes, musical instruments, bottles, industrial objects, food scraps, luxury items, and even a pre-contact Indigenous projectile point. Martelle's team also unearthed the foundations of a nineteenth-century Black church, a Russian synagogue, early-twentieth-century factories, cisterns, privies, wooden drains, and even row houses built by formerly enslaved African Americans.Following on the heels of the immensely popular The Ward: The Life and Loss of Toronto's First Immigrant Neighbourhood, which told the stories of some of the people who lived there, The Ward Uncovered digs up the tales of things, using these well-preserved artifacts to tell a different set of stories about life in this long-forgotten and much-maligned neighbourhood.

    The Rattlesnake Fire had been burning since midday on the Mendocino National Forest. The fresh, violent wind picked up embers from the fire and spun them down into the depths of the canyon, blowing into a thunderous torrent of fire. The sight mesmerized veteran firefighters. Long, fatal minutes passed before they remembered a crew of twenty-four men working in the canyon below. The firefighters had hunkered down in a ravine to eat supper – and had posted no lookouts. The alarm was raised, but it came late. Fifteen of the men below began a race with fire down the canyon, while another nine scrambled upward toward safety. Other firefighters watched in horror from canyon slopes as the torrent of fire hurtled down after the fifteen men and snuffed out their headlamps, one after another. The 1953 Rattlesnake Fire, however, has become an icon of teaching, an educational opportunity for firefighters, and a marker for wildfire safety.

    Lindquist, and Edgar Award winner Naomi Hirahara comes a nuanced account of the “Resettlement”: the relatively unexamined period when ordinary people of Japanese ancestry, having been unjustly imprisoned during World War II, were finally released from custody. Given twenty-five dollars and a one-way bus ticket to make a new life, some ventured east to Denver and Chicago to start over, while others returned to Southern California only to face discrimination and an alarming scarcity of housing and jobs. Hirahara and Lindquist weave new and archival oral histories into an engaging narrative that illuminates the lives of former internees in the postwar era, both in struggle and unlikely triumph. Readers will appreciate the painstaking efforts that rebuilding required, and will feel inspired by the activism that led to redress and restitution—and that built a community that even now speaks out against other racist agendas.

    While it is common to understand the ocean as something that divides land, for those Indigenous to the Pacific or the Moana, it was traditionally a connector and an ancestor. Imperialism in the Moana, however, created false divides between islands and separated their peoples. In this BWB Text, Lana Lopesi argues that globalising technologies and the adaptability of Moana peoples are now turning the ocean back into the unifying continent that it once was.

    Playing to the Crowd explores and explains how the rise of digital communication platforms has transformed artist-fan relationships into something closer to friendship or family. Through in-depth interviews with musicians such as Billy Bragg and Richie Hawtin, as well as members of the Cure, UB40, and Throwing Muses, Baym reveals how new media has facilitated these connections through the active, and often required, participation of the artists and their devoted, digital fan base.Before the rise of social sharing and user-generated content, fans were mostly seen as an undifferentiated and unidentifiable mass, often mediated through record labels and the press. However, in today's networked era, musicians and fans have built more active relationships through social media, fan sites, and artist sites, giving fans a new sense of intimacy and offering artists unparalleled information about their audiences. However, this comes at a price. For audiences, meeting their heroes can kill the mystique. And for artists, maintaining active relationships with so many people can be both personally and financially draining, as well as extremely labor intensive.Drawing on her own rich history as an active and deeply connected music fan, Baym offers an entirely new approach to media culture, arguing that the work musicians put in to create and maintain these intimate relationships reflect the demands of the gig economy, one which requires resources and strategies that we must all come to recognize and appreciate.

    Joseph Jay’s original and insightful study illuminates yet another important difference that fueled conflict between the North and South—theology. It has been more than once observed that Southern clergy were among the strongest advocates of Southern Independence. Jay shows why that was so. He explains how Southerners based their faith on Biblical authority and regarded the “Higher Law,” Unitarianism, and crusading political religion of their Northern counterparts as a threat to Christianity.

    From Todd Snyder, a first generation college student turned college professor, comes a passionate commentary on these themes in a family memoir set in West Virginia coal country.  12 Rounds in Lo’s Gym is the story of the author’s father, Mike “Lo” Snyder, a fifth generation West Virginia coal miner who opened a series of makeshift boxing gyms with the goal of providing local at-risk youth with the opportunities that eluded his adolescence. Taking these hardscrabble stories as his starting point, Snyder interweaves a history of the region, offering a smart analysis of the costs—both financial and cultural—of an economy built around extractive industries. Part love letter to Appalachia, part rigorous social critique, readers may find 12 Rounds in Lo’s Gym—and its narrative of individual and community strength in the face of globalism’s headwinds—a welcome corrective to popular narratives that blame those in the region for their troubles.

    For Kānaka Maoli people, the concept of "aloha" is a representation and articulation of their identity, despite its misappropriation and commandeering by non-Native audiences in the form of things like the "hula girl" of popular culture. Considering the way aloha is embodied, performed, and interpreted in Native Hawaiian literature, music, plays, dance, drag performance, and even ghost tours from the twentieth century to the present, Stephanie Nohelani Teves shows that misunderstanding of the concept by non-Native audiences has not prevented the Kānaka Maoli from using it to create and empower community and articulate its distinct Indigenous meaning.While Native Hawaiian artists, activists, scholars, and other performers have labored to educate diverse publics about the complexity of Indigenous Hawaiian identity, ongoing acts of violence against Indigenous communities have undermined these efforts. In this multidisciplinary work, Teves argues that Indigenous peoples must continue to embrace the performance of their identities in the face of this violence in order to challenge settler-colonialism and its efforts to contain and commodify Hawaiian Indigeneity.

    

    These men produced the first accurate translation of the Qur’an into a European language, mapped the branches of the Islamic arts and sciences, and wrote Muslim history using Arabic sources. The Republic of Arabic Letters reconstructs this process, revealing the influence of Catholic and Protestant intellectuals on the secular Enlightenment understanding of Islam and its written traditions.Drawing on Arabic, English, French, German, Italian, and Latin sources, Alexander Bevilacqua’s rich intellectual history retraces the routes―both mental and physical―that Christian scholars traveled to acquire, study, and comprehend Arabic manuscripts. The knowledge they generated was deeply indebted to native Muslim traditions, especially Ottoman ones. Eventually the translations, compilations, and histories they produced reached such luminaries as Voltaire and Edward Gibbon, who not only assimilated the factual content of these works but wove their interpretations into the fabric of Enlightenment thought.The Republic of Arabic Letters shows that the Western effort to learn about Islam and its religious and intellectual traditions issued not from a secular agenda but from the scholarly commitments of a select group of Christians. These authors cast aside inherited views and bequeathed a new understanding of Islam to the modern West.

    Yet despite Silicon Valley’s utopian promise, more and more of us find ourselves addicted to our smartphones, made insecure by social media, and alarmed at how tech companies profit off our personal data.And while Silicon Valley’s CEOs are often viewed as visionary prophets, their companies’ policies have sown social discord around the world, led to mass evictions in the Bay Area, and perhaps enabled far-right nationalist parties in the Western World.A People’s History of Silicon Valley follows the history of the people exploited, displaced, and made obsolete by the tech industry, from the colonization of the Bay Area to the present day. From the first Macintosh to the rise of social media,A People’s History of Silicon Valley peels back the curtain on an industry that brands itself as visionary yet which may be chipping away at the foundations of society, including our democratic institutions.Keith A. Spencer is a San Francisco-based writer, artist and commentator. He is currently an editor at Salon.com, where he manages science and tech coverage, and previously served as editor-in-chief of the Bay Area culture magazine The Bold Italic.

    Featuring international interviews by grief counsellor and researcher Lois Tonkin, this collection of first-person stories provides insight into the under-discussed situation of being childless by circumstance.Each story highlights the different aspects of being childless by circumstance, as women move through their 30s, 40s, and 50s, and beyond their ages of fertility. The book explores feelings of grief and loss, and also how women adapt positively to their changed life expectations, finding excitement in the alternative, rich and complex shapes their lives have taken.

    Broadly attentive to the political and economic shifts of the last several decades, Robert McRuer asks how disability activists, artists and social movements generate change and resist the dominant forms of globalization in an age of austerity, or "crip times."Throughout Crip Times, McRuer considers how transnational queer disability theory and culture--activism, blogs, art, photography, literature, and performance--provide important and generative sites for both contesting austerity politics and imagining alternatives. The book engages various cultural flashpoints, including the spectacle surrounding the London 2012 Olympic and Paralympic Games; the murder trial of South African Paralympian Oscar Pistorius; the photography of Brazilian artist Livia Radwanski which documents the gentrification of Colonia Roma in Mexico City; the defiance of Chilean students demanding a free and accessible education for all; the sculpture and performance of UK artist Liz Crow; and the problematic rhetoric of "aspiration" dependent upon both able-bodied and disabled figurations that emerged in Thatcher's England.Crip Times asserts that disabled people themselves are demanding that disability be central to our understanding of political economy and uneven development and suggests that, in some locations, their demand for disability justice is starting to register. Ultimately, McRuer argues that a politics of austerity will always generate the compulsion to fortify borders and to separate a narrowly defined "us" in need of protection from "them."

    From Tolerance to Equality explores how this seismic shift of social perspective occurred and why it was led by the country’s educational and financial elite. Rejecting claims of a commitment to toleration or a heightened capacity for moral sympathy, author Darel E. Paul argues that American elites use opinion on homosexuality as a mark of social distinction and thus as a tool for accumulating cultural authority and political power. Paul traces this process through its cultural pathways as first professionals and, later, corporate managers took up the cause. He marshals original data analysis and chapters on social class and the family, the ideology of diversity, and the waning status of religious belief and authority to explore the factors behind the cultural changes he charts. Paul demonstrates the high stakes for same-sex marriage’s mostly secular proponents and mostly religious opponents—and explains how so many came to fight so vigorously on an issue that directly affects so few. In the end, From Tolerance to Equality is far more than an explanation of gay equality and same-sex marriage. It is a road map to the emerging American political and cultural landscape.

    The term “horror film” was coined in 1931 between the premiere of Dracula and the release of Frankenstein, but monsters, ghosts, demons, and supernatural and horrific themes have been popular with American audiences since the emergence of novelty kinematographic attractions in the late 1890s. A Place of Darkness illuminates the prehistory of the horror genre by tracing the way horrific elements and stories were portrayed in films prior to the introduction of the term “horror film.”Using a rhetorical approach that examines not only early films but also the promotional materials for them and critical responses to them, Kendall R. Phillips argues that the portrayal of horrific elements was enmeshed in broader social tensions around the emergence of American identity and, in turn, American cinema. He shows how early cinema linked monsters, ghosts, witches, and magicians with Old World superstitions and beliefs, in contrast to an American way of thinking that was pragmatic, reasonable, scientific, and progressive. Throughout the teens and twenties, Phillips finds, supernatural elements were almost always explained away as some hysterical mistake, humorous prank, or nefarious plot. The Great Depression of the 1930s, however, constituted a substantial upheaval in the system of American certainty and opened a space for the reemergence of Old World gothic within American popular discourse in the form of the horror genre, which has terrified and thrilled fans ever since.

    The book highlights the devastating price Congo has paid for that support. However, the way the world deals with Congo is finally changing, and the book tells the remarkable stories of those in Congo and the United States leading that transformation. The people of Congo are fighting back against a tidal wave of international exploitation and governmental oppression to make things better for their nation, their neighborhoods, and their families. They are risking their lives to resist and alter the deadly status quo. And now, finally, there are human rights movements led by young people in the United States and Europe building solidarity with Congolese change-makers in support of dignity, justice, and equality for the Congolese people. As a result, the way the world deal with Congo is finally changing. Fidel Bafilemba, Ryan Gosling, and John Prendergast traveled to Congo to document some of the stories not only of the Congolese upstanders who are building a better future for their country but also of young Congolese people overcoming enormous odds just to go to school and help take care of their families. Through Gosling's photographs of Congolese daily life, Bafilemba's profiles of heroic Congolese activists, and Prendergast's narratives of the extraordinary history and evolving social movements that directly link Congo with the United States and Europe, Congo Stories provides windows into the history, the people, the challenges, the possibilities, and the movements that could change the course of Congo's destiny. Chosen by Amazon as the Best Book of the Month for December 2018 in Biographies & Memoirs, History, and Nonfiction. Featuring the life story of Dr. Denis Mukwege, winner of the 2018 Nobel Peace Prize

    Global corporations based originally in the United States have played a part in making gender and race everywhere. Focusing on Ford Motor Company's rise to become the largest, richest, and most influential corporation in the world, The Color Line and the Assembly Line takes on the traditional story of Fordism. Contrary to popular thought, the assembly line was perfectly compatible with all manner of racial practice in the United States, Brazil, and South Africa. Each country's distinct racial hierarchies in the 1920s and 1930s informed Ford's often divisive labor processes. Confirming racism as an essential component in the creation of global capitalism, Elizabeth Esch also adds an important new lesson showing how local patterns gave capitalism its distinctive features.

    In this powerful exposé, investigative journalist Barbie Latza Nadeau follows the weapons trail, meets the trafficked women trapped by black magic, the brave nuns who try to save them and the Italian police who turn a blind eye as the most urgent issues facing Europe play out in broad daylight.

    From ancient civilizations to modern art, 30 fascinating topics are covered in 30-seconds summaries, 3-second soundbites, and 3-minute active missions making this the perfect book for youngsters interested in art!

    Through a variety of Dominican cultural texts, from literature to public monuments to musical performance, it illuminates the Dominican quest for legibility and resistance.Dixa Ram�rez places the Dominican people and Dominican expressive culture and history at the forefront of an insightful investigation of colonial modernity across the Americas and the African diaspora. In the process, she untangles the forms of free black subjectivity that developed on the island. From the nineteenth century national Dominican poet Salom� Ure�a to the diasporic writings of Julia Alvarez, Chiqui Vicioso, and Junot D�az, Ram�rez considers the roles that migration, knowledge production, and international divisions of labor have played in the changing cultural expression of Dominican identity. In doing so, Colonial Phantoms demonstrates how the centrality of gender, race, and class in the nationalisms and imperialisms of the West have profoundly impacted the lives of Dominicans. Ultimately, Ram�rez considers how the Dominican people negotiate being left out of Western imaginaries and the new modes of resistance they have carefully crafted in response.

    In Firebrand Feminism, Breanne Fahs brings together ten years of dialogue with four founders of the radical feminist movement: Ti-Grace Atkinson, Kathie Sarachild, Roxanne Dunbar-Ortiz, and Dana Densmore. Taking aim at the selfishness of the right and the incremental politics of the liberal left, they defiantly and fiercely created a new kind of feminism in the late 1960s.Firebrand Feminism provides a timely and historically rich account of these audacious women and the lasting impact of their words and work. This unique and provocative book unites second- and third-wave feminism and creates a much-needed intergenerational dialogue about the utility of feminist rage, the importance of refusal, the changing politics of sex and love, trans rights, and tactics to start (and continue) a revolution.

    But the hollowness of such claims has been exposed by the rise of Trump and Brexit, both of which have revealed deep-seated white resentment and have been attended by a resurgence in hate crime and overt racial hatred on both sides of the Atlantic.  At a time when progress toward equality is not only stalling, but being actively reversed, how should anti-racist scholars respond? This collection carries on James Baldwin’s legacy of bearing witness to racial violence in its many forms. Its authors address how we got to this particular moment, arguing that it can only be truly understood by placing it within the wider historical and structural contexts that normalize racism and white supremacy. Its chapters engage with a wide range of contemporary issues and debates, from the whiteness of the recent women’s marches, to anti-racist education, to the question of Black queer studies and queer intersectionality. Mapping out the problems we face, and the solutions we need, The Fire Now considers how anti-racist scholarship and activism can overcome the setbacks posed by the resurgence of white supremacism.

    It's a place where animals roam free and the frontier spirit lives on.A True Book: My United States series allows readers to experience what makes each of the fifty state distinctive and exceptional. Readers will get to know each states' history, geography, wildlife and future outlook. This series includes an age appropriate (grades 3-5) introduction to curriculum-relevant subjects and a robust resource section that encourages independent study. Readers will explore this Western state's remarkable sights and meet its people as they learn about Wyoming history, culture, and more.

    Starting in the 1950s with works such as Jack Kerouac's On the Road, Allen Ginsberg's Howl, and William S. Burroughs's Naked Lunch, the Beat Generation defined an experimental zeitgeist that endures to today. Yet left out of this picture are the Beat women, who produced a large body of writing from the 1950s through the 1970s and beyond.In Women Writers of the Beat Era, Mary Paniccia Carden gives voice to these female writers and demonstrates how their work redefines our understanding of "Beat." The first single-authored study on female writers of this generation, the book offers vital analysis of autobiographical works by Diane di Prima, ruth weiss, Hettie Jones, Joanne Kyger, and others, introducing the reader to new voices that interact with and reconfigure the better-known narratives of the male Beat writers. In doing so, Carden demonstrates the significant role women played in this influential and dynamic literary movement.

    First introducing Jewish life as it was lived before the Nazis in Eastern Europe, the book chronologically surveys the development of Nazi policies in the area over the period from 1939 to 1945. This book provides an overview of both the German imagination and obsession with the East and its impact on the Nazi genocidal project there. It also covers the important period of Soviet occupation and its effects on the unfolding of the Holocaust in Eastern Europe. This text also treats in detail other themes such as ghettoization, the Final Solution, rescue, collaboration, resistance, and many others. Throughout, Beorn includes detailed examples of the similarities and differences of the nature of the Holocaust in various regions, in the words of perpetrators, witnesses, collaborators, and victims/survivors. Beorn also illustrates the complex nature of the Holocaust by discussing the difficult subjects of collaboration, sexual violence, the use of slave labour, treatment of Soviet POWs, profiteering and others within a larger narrative framework. He also explores key topics like Jewish resistance, Jewish councils, memory, and explanations for perpetration, collaboration, and rescue. The book includes images and maps to orient the reader to the topic area. This important book explains the brutality and complexity of the Holocaust in the East for all students of the Holocaust and 20th-century Eastern European history.

    Moving fluidly between the insurgent art of the 1960’s and the intersectional activism of the present day, Afro-Fabulations challenges genealogies of blackness that ignore its creative capacity to exceed conditions of traumatic loss, social death, and archival erasure.If black survival in an anti-black world often feels like a race against time, Afro-Fabulations looks to the modes of memory and imagination through which a queer and black polytemporality is invented and sustained. Moving past the antirelational debates in queer theory, Nyong’o posits queerness as “angular sociality,” drawing upon queer of color critique in order to name the gate and rhythm of black social life as it moves in and out of step with itself. He takes up a broad range of sites of analysis, from speculative fiction to performance art, from artificial intelligence to Blaxploitation cinema. Reading the archive of violence and trauma against the grain, Afro-Fabulations summons the poetic powers of queer world-making that have always been immanent to the fight and play of black life.

    The buying of art as an investment, temptations to forgery and fraud, tax evasion, money laundering and pressure to produce more and more art all form part of this story, as do the upheavals in auction houses and the impact of the enhanced use of financial instruments on art transactions. Drawing on a series of tenaciously wrought interviews with artists, collectors, lawyers, bankers and convicted artist forgers, the author charts the voracious commodification of artists and art objects, and art's position in the clandestine puzzle of the highest echelons of global capital. Adam's revelations appear even more timely in the wake of the Panama Papers revelations, for example incorporating examples of the way tax havens have been used to stash art transactions – and ownership – away from public scrutiny. With the same captivating style of her bestselling Big Bucks: The Explosion of the Art Market in the 21st Century, Georgina Adam casts her judicious glance over a section of the art market whose controversies and intrigues will be of eye-opening interest to both art-world players and observers.

    Then came La Femme Nikita, OZ, The Sopranos, Mad Men, Game of Thrones, and The Walking Dead. And then, just as "prestige cable" became a category, came House of Cards and Netflix, Hulu, Amazon Video, and other Internet distributors of television content. What happened? In We Now Disrupt This Broadcast, Amanda Lotz chronicles the collision of new technologies, changing business strategies, and innovative storytelling that produced an era termed "peak TV."Lotz explains that changes in the business of television expanded the creative possibilities of television. She describes the costly infrastructure rebuilding undertaken by cable service providers in the late 1990s and the struggles of cable channels to produce (and pay for) original, scripted programming in order to stand out from the competition. These new programs defied television conventions and made viewers adjust their expectations of what television could be. Le Femme Nikita offered cable's first antihero, Mad Men cost more than advertisers paid, The Walking Dead became the first mass cable hit, and Game of Thrones was the first global television blockbuster. Internet streaming didn't kill cable, Lotz tells us. Rather, it revolutionized how we watch television. Cable and network television quickly established their own streaming portals. Meanwhile, cable service providers had quietly transformed themselves into Internet providers, able to profit from both prestige cable and streaming services. Far from being dead, television continues to transform.

    In Posthumous Images, Chad Elias analyzes a generation of contemporary artists who have sought, in different ways, to interrogate the contested memory of those years of civil strife and political upheaval. In their films, photography, architectural projects, and multimedia performances, these artists appropriate existing images to challenge divisive and violent political discourses. They also create new images that make visible individuals and communities that have been effectively silenced, rendered invisible, or denied political representation. As Elias demonstrates, these practices serve to productively unsettle the distinctions between past and present, the dead and the living, official history and popular memory. In Lebanon, the field of contemporary art is shown to be critical to remembering the past and reimagining the future in a nation haunted by a violent and unresolved war.

    As readers tour the states natural areas and thriving towns and cities, they will also learn about Idahos history, get a glimpse of local wildlife, and more.

    Moe Berg could speak twelve languages--and make up signs on the baseball diamond. How did this major league catcher go on to become an American spy in World War II?

    Counter to the prevailing views of the time, Hall and Whannel recognized popular culture's social importance and considered it worthy of serious study. In their analysis of everything from Westerns and the novels of Mickey Spillane, Ian Fleming, and Raymond Chandler to jazz, advertising, and the television industry, they were guided by the belief that studying popular culture demanded an ethical evaluation of the text and full attention to its properties. In so doing, they raised questions about the relation of culture to society and the politics of taste and judgment in ways that continue to shape cultural studies. Long out of print, this landmark text highlights the development of Hall's theoretical and methodological approach while adding a greater understanding of his work. This edition also includes a new introduction by Richard Dyer, who contextualizes The Popular Arts within the history of cultural studies and outlines its impact and enduring legacy.

    Drawing on memories of his childhood on a dairy farm in Illinois, Austin Smith explores the beauty and cruelty of rural life, challenging the idea that the American Midwest is mere "flyover country," a place that deserves passing over. At the same time, the collection suggests that America itself has become a flyover country, carrying out drone strikes and surveillance abroad, locked in a state of perpetual war that Americans seem helpless to stop.In these poems, midwestern barns and farmhouses are linked to other lands and times as if by psychic tunnels. A poem about a barn cat moving her kittens in the night because they have been discovered by a group of boys resonates with a poem about the house in Amsterdam where Anne Frank and her family hid from the Nazis. A poem beginning with a boy on a farmhouse porch idly swatting flies ends with the image of people fleeing before a drone strike. A poem about a barbwire fence suggests, if only metaphorically, the debate over immigration and borders. Though at times a dark book, the collection closes with a poem titled "The Light at the End," suggesting the possibility of redemption and forgiveness.Building on Smith's reputation as an accessible and inventive poet with deep insights about rural America, Flyover Country also draws profound connections between the Midwest and the wider world.

    This book proposes a new and provocative reading of the clinical and political work of Frantz Fanon, the Martinican psychiatrist and revolutionary.

    Later, Turing's math skills would help Great Britain win World War II. Turing's parents and teachers thought he'd be better off dropping math in favor of more gentlemanly studies, such as literature and Latin. But he stuck with it, and by the start of World War II in 1939, he was ready to take on the biggest challenge his country faced: Nazi Germany. Turing put his advanced knowledge of math to work decoding secret German messages. His ideas not only helped Great Britain turn the tide of the war--they provided the foundation upon which much of modern computing and artificial intelligence is based.-- "Journal"

    In place of works imbued with pride, redemption, or celebration, artists such as Ana Mendieta, Nao Bustamante, and the Chicano art collective known as Asco employ negative affects—shame, disgust, and unbelonging—to capture experiences that lie at the edge of the mainstream, inspirational Latino-centered social justice struggles. Drawing from a diverse expressive archive that ranges from performance art to performative testimonies of personal faith-based subjection, Alvarado illuminates modes of community formation and social critique defined by a refusal of identitarian coherence that nonetheless coalesce into Latino affiliation and possibility.

    Yet several decades passed before many other black women began playing significant roles in speculative (i.e., science fiction, fantasy, and horror) film and television—a troubling omission, given that these genres offer significant opportunities for reinventing social constructs such as race, gender, and class. Challenging cinema’s history of stereotyping or erasing black women on-screen, Where No Black Woman Has Gone Before showcases twenty-first-century examples that portray them as central figures of action and agency.Writing for fans as well as scholars, Diana Adesola Mafe looks at representations of black womanhood and girlhood in American and British speculative film and television, including 28 Days Later, AVP: Alien vs. Predator, Children of Men, Beasts of the Southern Wild, Firefly, and Doctor Who: Series 3. Each of these has a subversive black female character in its main cast, and Mafe draws on critical race, postcolonial, and gender theories to explore each film and show, placing the black female characters at the center of the analysis and demonstrating their agency. The first full study of black female characters in speculative film and television, Where No Black Woman Has Gone Before shows why heroines such as Lex in AVP and Zoë in Firefly are inspiring a generation of fans, just as Uhura did.

      Sofia Vergara became the highest paid woman and Latina on TV for her starring role on Modern Family. In the first successful dramedy starring a Latina since ABC’s Ugly Betty, Gina Rodriguez gained critical acclaim for her role on the CW’s Jane the Virgin. And the first Latina leading lady of TV, America Ferrera (Ugly Betty), returned to TV stardom in NBC’s Superstore.   This period of diversity brought U.S. Latina and Latino lives to the screen, yet a careful look at TV comedic content and production reveals a more troubling terrain for Latinas/os producers, writers, actors, and audiences.   Interweaving discussions about the ethnic, racial, and linguistic representations of Latinas/os within network television comedies, Isabel Molina-Guzmán probes published interviews with producers and textual examples from hit programs like Modern Family, The Office, and Scrubs to understand how these primetime sitcoms communicate difference in the United States.   Understanding the complex ways that audiences interpret these programs, Molina-Guzmán situates her analysis within the Obama era, a period when ethnicity and race became increasingly grounded in “hipster racism,” and argues that despite increased inclusion, the feel-good imperative of TV comedies still inevitably leaves racism, sexism, and homophobia uncontested.

    It also details Indigenous resistance to both hydropower and disruptive conservation efforts. With a focus on northeastern California, this book highlights points of intervention to increase justice for Indigenous peoples in contemporary natural resource policy making. Author Beth Rose Middleton Manning relates the history behind the nation’s largest state-built water and power conveyance system, California’s State Water Project, with a focus on Indigenous resistance and activism. She illustrates how Indigenous history should inform contemporary conservation measures and reveals institutionalized injustices in natural resource planning and the persistent need for advocacy for Indigenous restitution and recognition.Upstream uses a multidisciplinary and multitemporal approach, weaving together compelling stories with a study of placemaking and land development. It offers a vision of policy reform that will lead to improved Indigenous futures at sites of Indigenous land and water divestiture around the nation.

    Sing along and join in the fun with this peppy illustrated song about one of the world's brightest and most colorful holidays. This hardcover book comes with a CD and online music access.

    In the twenty-first century, however, comics have seen a rise of female creators, characters, and readers. While this sudden presence of women and girls in comics is being regarded as new and noteworthy, the observation is not true for the genre's entire history.Throughout the first half of the twentieth century, the medium was enjoyed equally by both sexes, and girls were the protagonists of some of the earliest, most successful, and most influential comics. In Funny Girls: Guffaws, Guts, and Gender in Classic American Comics, Michelle Ann Abate examines the important but long-overlooked cadre of young female protagonists in US comics during the first half of the twentieth century. She treats characters ranging from Little Orphan Annie and Nancy to Little Lulu, Little Audrey of the Harvey Girls, and Li'l Tomboy--a group that collectively forms a tradition of Funny Girls in American comics.Abate demonstrates the massive popularity these Funny Girls enjoyed, revealing their unexplored narrative richness, aesthetic complexity, and critical possibility. Much of the humor in these comics arose from questioning gender roles, challenging social manners, and defying the status quo. Further, they embodied powerful points of collection about both the construction and intersection of race, class, gender, and age, as well as popular perceptions about children, representations of girlhood, and changing attitudes regarding youth. Finally, but just as importantly, these strips shed light on another major phenomenon within comics: branding, licensing, and merchandising. Collectively, these comics did far more than provide amusement--they were serious agents for cultural commentary and sociopolitical change.

    Under the pressure of new contemporary concerns, however, we are experiencing a “posthuman condition”; the combination of new developments-such as the neoliberal economics of global capitalism, migration, technological advances, environmental destruction on a mass scale, the perpetual war on terror and extensive security systems- with a troublesome reiteration of old, unresolved problems that mean the concept of the human as we had previously known it has undergone dramatic transformations. The Posthuman Glossary is a volume providing an outline of the critical terms of posthumanity in present-day artistic and intellectual work. It builds on the broad thematic topics of Anthropocene/Capitalocene, eco-sophies, digital activism, algorithmic cultures and security and the inhuman. It outlines potential artistic, intellectual, and activist itineraries of working through the complex reality of the 'posthuman condition', and creates an understanding of the altered meanings of art vis-à-vis critical present-day developments. It bridges missing links across disciplines, terminologies, constituencies and critical communities. This original work will unlock the terms of the posthuman for students and researchers alike.

    In many cases they regarded themselves as a person of their nation first and a Jew second, so persecution came as a terrible shock to them. Many had fought for their country in the First World War, but this offered very little protection – not even for those awarded Germany's Iron Cross. They were forced out of their professions and universities. Their neighbours and school friends betrayed them to the authorities. The authorities ‘legally’ withdrew their rights and stripped them of their businesses under Aryanization policies. Many who professed to be Christian were affected by the Nazis’ racial laws and found themselves and their children categorised as ‘halfbreeds’. Bodies such as the police and railway companies co-operated with the Nazis in transporting Jews to their deaths or to be subjected to unspeakable medical experiments. The betrayal did not end in 1945 as there is evidence of Holocaust survivors being attacked as and when they returned home.Agnes Grunwald-Spier MBE reveals, among other accounts, the story of the slave labourers who toiled for German firms and international companies like Ford; the fate of Jewish Olympians who were murdered; and the impact of Nazi policies on figures such as Margaret Thatcher and Coco Chanel.

    A Lover's Pinch tells the story of consensual sadomasochism, from a controversial religious practice to a secretive sexuality branded a perversion. The origins of kink and fetish culture have been shrouded in secrecy and myths, until now. Here, Peter Tupper reveals the true story of sadism and masochism, dominance and submission. From the ancient Christian flagellants to the Fifty Shades trilogy, the history of consensual sadomasochism is a story of fascinating individuals, unlikely connections and strange twists and turns. Meet Arthur Munby, the Victorian gentleman who secretly married Hannah Cullwick, his maid of all work, and called her his slave; and Jack McGeorge, the UN weapons inspector who was outed as a BDSM club leader just before the Iraq war. Explore the links between Robinson Crusoe, Uncle Tom's Cabin and modern BDSM pornography, and between fetish fashion and anti-Catholic propaganda. Learn how the 19th century middle-class household nurtured dominant-submissive sexuality. Discover the secret history of a hidden world. Winner, 2019 Geoff Mains Non-Fiction Book Award, NLA-International

    These include the upsurge of religious fundamentalism, with more political power today than ever before; the failure of public education to create an informed citizenry; the triumph of internet over print culture; and America's toxic addition to infotainment. Combining historical analysis with contemporary observation and sparing neither the right nor the left, Susan Jacoby asserts that Americans today have embraced "junk thought" that makes almost no effort to separate fact from opinion.At today's critical political juncture, nothing could be more important than recognizing the crisis described in this impassioned, tough-minded book, which challenges Americans to face the painful truth about what the flights from reason has cost us as individuals and as a nation.

    Yet historians of sexuality have tended to rely on archival evidence of genital-based or otherwise bodily sex acts for source material. Through careful readings of both elite natural history texts and popular print forms that circulated widely in the British North American colonies—among them Barbary captivity, execution, cross-dressing, and anti-vice narratives—LaFleur traces the development of a broad knowledge of sexuality defined in terms of the dynamic relationship between the human and the natural, social, physical, and climatic milieu.At the heart of this book is the question of how to produce a history of sexuality for an era in which modern vocabularies for sex and desire were unavailable. LaFleur demonstrates how environmental logic was used to explain sexual behavior on a broad scale, not just among the educated elite who wrote and read natural historical texts. LaFleur reunites the history of sexuality with the history of race, demonstrating how they were bound to one another by the emergence of the human sciences. Ultimately, The Natural History of Sexuality in Early America not only rewrites all dominant scholarly narratives of eighteenth-century sexual behavior but also poses a major intervention into queer theoretical understandings of the relationship between sex and the subject.

    Made at night, these photographs speak to the quiet resolve of Detroit's neighborhoods and its stewards: independent shop proprietors and home owners who have survived the long and difficult path of living in a post-industrial city stripped of economic prosperity and opportunity.In many rust-belt cities like Detroit, people's lives often hang in the balance as neighborhoods support and provide for each other through job creation, ad-hoc community involvement, moral and spiritual support, and a well-honed Do-It-Yourself attitude. With all the media attention about Detroit's rebirth and revival, it is important to note that many neighborhoods throughout the city have managed to survive against the odds for years, relying on local merchants and businesses that operate on a cash only basis who have stuck it out through decades of economic decline. Determination and a strong sense of self-preservation: Detroit's citizens manage to survive by maintaining a healthy sense of connection without the fear of giving up. All of these places of business and residences, whether large or small, are in many ways symbols representing the ongoing story that is Detroit, and a testament to the tenacity of those who are trying desperately to hold on to what is left of the social and economic fabric of the city. These photographs speak to that truth without casting an overly sentimental gaze. These nocturnal images offer a chance to view the locations in an unfamiliar light, and offer a moment of quiet and calm reflection.