On the surface he’s the least likely candidate for a rap impresario. But with his signature charm and passion, he plunges headfirst into the wards, clubs, and projects of New Orleans, opening up a world closed to most outsiders: a journey into the heart of the hip-hop dream, and into larger question of racial identity in America. Written before Hurricane Katrina struck (and published here with an afterword that chronicles how Katrina altered the lives of those he met) Triksta now stands as an elegy to a city, its music, and its people.

    Until now."He straddled the punch bowl, dropped his pants, and whipped out his member, which, he assured everyone, was very large. Then Donald Trump pissed right into the punch of the Republican Party."So begins We're Still Right, They're Still Wrong- with that image of Donald Trump defiling the celebration that should've been the GOP Establishment's easy march to the White House.In We're Still Right, They're Still Wrong, Carville updates his #1 New York Times bestseller from 1996, the campaign tract that Bill Clinton once credited for his re-election. Carville skewers the GOP's dumpster fire of a record over the past twenty years, and argues that Trump is the living manifestation of a failed party. From income inequality to race relations, Carville believes that Democratic Party is not only the dominant party of the past, but of America's future, too - and he makes the case in his uncensored and earthy style.Among other things, We're Still Right, They're Still Wrong features a hot take on the Clinton e-mail "scandal," a story about Carville's momma' schooling a pair of crawfish mongers, a lecture on political panics called "The Anatomy of Bullshit," and a recipe for how to grill your (non-existent) Trump Steak.And wit and sharp tongue aside, Carville turns it all into the most cogent and thoughtful analysis of the 2016 and how the Democrats can--and must--be victorious.

    Haldeman to David Hasselhoff's world tour. Contributors include David Foster Wallace, Jess Mowry, Donnell Alexander, and R.U. Sirius.

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    Integrating literature with philosophy in an innovative way, editor Louis P. Pojman uses literary works to enliven and make concrete the ethical theory or applied issues addressed in each chapter. Literary works by Camus, Hawthorne, Hugo, Huxley, Ibsen, Le Guin, Melville, Orwell, Styron, Tolstoy, and many others lead students into philosophical concepts and issues such as relativism; utilitarianism; virtue ethics; the meaning of life; freedom; sex, love, and marriage; and environmental ethics. Once introduced, these topics are developed further through readings by philosophers including Aristotle, Jane English, Thomas E. Hill, Jr., Jean-Paul Sartre, and Bernard Williams. This unique anthology emphasizes the personal dimension of ethics, which is often ignored or minimized in ethics texts. The second edition offers several new selections including work by Maya Angelou, Kevin Bales, John Benson, Susan Glaspell, C. S. Lewis, R. M. MacIver, Plato, Plutarch, James Rachels, Ayn Rand, Voltaire, and Kurt Vonnegut. It also adds a new chapter on justice and the threat of terrorism featuring material from the Old Testament--in which the equivalent of a jihad occurs--followed by philosophical analyses by Martha Nussbaum and Louis P. Pojman. Featuring expanded part and chapter introductions as well as biographical sketches, abstracts, and study questions for each reading selection, The Moral Life, 2/e, is ideal for introductory ethics courses. It also provides an engaging gateway into personal and social ethics for the general reader.

    It's a book that has remained current for over half a century, fighting off critics and changing tastes in fiction. But do even its biggest fans know all there is to appreciate about The Great Gatsby?Maureen Corrigan, the book critic for "Fresh Air" and a Gatsby lover extraordinaire, points out that while Gatsby may be the novel most Americans have read, it's also the ones most of us read too soon -- when we were "too young, too defensive emotionally, too ignorant about the life-deforming powers of regret" to really understand all that Fitzgerald was saying ("it's not the green light, stupid, it's Gatsby's reaching for it," as she puts it). No matter when or how recently you've read the novel, Corrigan offers a fresh perspective on what makes it so enduringly relevant and powerful. Drawing on her experience as a reader, lecturer, and critic, her book will be a rousing consideration of Gatsby: not just its literary achievements, but also its path to "classic" (its initial lukewarm reception has been a form of cold comfort to struggling novelists for decades), its under-acknowledged debt to hard-boiled crime fiction, its commentaries on race, class, and gender.With rigor, wit, and an evangelistic persuasiveness, Corrigan will leave readers inspired to grab their old paperback copies of Gatsby and re-experience this great novel in an entirely new light.

    The two shared the same genius, the same childhood influences, and had the same literary instinct, but in Stanislaus it was channeled into sober academic pursuit, while in James it evolved into gaiety, wild whimsy, and at times sodden despair. Covering the first twenty-two years of James Joyce's life in Dublin and Trieste, My Brother's Keeper is a window onto the drama that was his youth. Thanks to Stanislaus's superb memory and sure hand, here we find the Dublin of Dubliners: the streets, neighbors, churches, and unforgettable eccentrics. Here we see the model for Ulysses' Simon Dedalus: James' father, a dour and violent figure when in his cups. Here are the Joyces in their own home, and the minor characters that pepper A Portrait of the Artist: Eileen, Leopold Bloom's comely daughter; Mrs. Riordan, the surly teacher; Mr. Casey, the political agitator. And finally, here is Trieste, a place of exile for Stanislaus but a retreat for James. Stanislaus Joyce has fashioned both an invaluable primary source for his brother's opaque masterpieces and a loving memoir of his brother's early life.

    With It Gets Me Home, This Curving Track, his first book in twenty years, legendary music critic Ian Penman takes on the black musicians who innovated and the white musicians who followed them - with a cast of characters including James Brown, Charlie Parker, Elvis Presley, Frank Sinatra, Steely Dan and Prince.

    A compilation of work by Native parents, children, educators, poets and writers, A Broken Flute contains, from a Native perspective, 'living stories,' essays, poetry, and hundreds of reviews of 'children's books about Indians.' It's an indispensable volume for anyone interested in presenting honest materials by and about indigenous peoples to children.

    At another level, Villanueva ponders his experiences in light of the history of rhetoric, the English Only movement, current socio- and psycholinguistic theory, and the writings of Gramsci and Freire, among others.Winner of the David H. Russell Award for Distinguished Research in the Teaching of English.

    Well, I tell you this: 'Prickly race, who know nothing except how to eat out your hearts with envy, you don't eat cunt'... Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker's raw, brilliant, emotional and cerebral texts from 1970s, including the self-published 'zines written under the nom-de-plume, The Black Tarantula. This volume features, among others, the full text of Acker's opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985, Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever gave over two years: a chatty, intriguing and delightfully self-deprecating conversation with Semiotext(e) editor Sylvere Lotringer--which is trippy enough in itself as Lotringer, besides being a real person, has appeared as a character in Acker's fiction. And last, but not least, is the full transcript of the decision reached by West Germany's Federal Inspection Office for Publications Harmful to Minors in which Acker's work was judged to be not only youth-threatening but also dangerous to adults, and subsequently banned. Acker is the sort of the writer that should be read first at 16, so that you can spend the rest of your life trying to figure her out; she confuses, infuriates, perplexes and then all of a sudden the writing seems to be in your bloodstream, like some kind of benign virus. She's definitely not for the easily offended--but then, there are worse things in life than being offended. Such as the things that Acker writes about...

    

    As Elle magazine informs us, “All the bases are covered here, from the hard lessons women learn (and impart) to the inextricability of romance and cold hard cash.”

    In Running Through Corridors, two Doctor Who lovers of old - Robert Shearman and Toby Hadoke - embark on an epic quest of friendship: spend the gap year of 2009 (when Doctor Who consisted of a handful of specials rather than a full season) re-watching the whole of Who two episodes a day, every day, from the show's start in 1963 and ending with David Tennant's swan song on New Year's, 2010.This three-volume series contains Shearman and Hadoke's diary of that experience - a grand opus of their wry observations about the show, their desire to see the good in every story, and their chronicle of the real-life changes to Who in that year.With this book, Who fans will feel that they're watching along with Shearman (World Fantasy Award winner, Hugo Award nominee and writer on the new Doctor Who) and Hadoke (renowned stage performer for his one-man comedy show, Moths Ate My Doctor Who Scarf) as they make their grand journey through the world's most wonderful and longest-running drama series.

    When Fight Club punched its way onto the scene a decade ago, it provided an unprecedented glimpse into the American male’s psyche and rapidly turned into a euphemism for a variety of things that should be “just understood” and not otherwise acknowledged. Key to its success is the variety of lenses through which the story can be interpreted; is it a story of male anxiety in a metrosexual world, of ritual religion in a secular age, of escape from totalitarian capitalism, or the spiritual malaise induced by technologically-oriented society? Writers, conspiracy theorists, and philosophers are among those ready to talk about Fight Club’s ability to be all these and more.