Lisa Marie Cacho forcefully argues that the demands for personhood for those who, in the eyes of society, have little value, depend on capitalist and heteropatriarchal measures of worth.With poignant case studies, Cacho illustrates that our very understanding of personhood is premised upon the unchallenged devaluation of criminalized populations of color. Hence, the reliance of rights-based politics on notions of who is and is not a deserving member of society inadvertently replicates the logic that creates and normalizes states of social and literal death. Her understanding of inalienable rights and personhood provides us the much-needed comparative analytical and ethical tools to understand the racialized and nationalized tensions between racial groups. Driven by a radical, relentless critique, Social Death challenges us to imagine a heretofore "unthinkable" politics and ethics that do not rest on neoliberal arguments about worth, but rather emerge from the insurgent experiences of those negated persons who do not live by the norms that determine the productive, patriotic, law abiding, and family-oriented subject.

     Larry, whose career with London’s Metropolitan Police started in 1971, a time when police officers were more than a little sceptical of science, soon proved his worth and attended every kind of crime scene, from terrorism to rape and from blackmail to murder - before he became the head of the Flying Squad’s forensic team during the busiest and most dangerous period of the legendary outfit’s existence. Soon, Larry was caught up in shoot-outs, pavement ambushes, record-breaking drug deals and tiger kidnappings, confronting some of the UK’s most terrifying villains along the way. Larry’s groundbreaking work features some of the UK’s most notorious crimes - a key piece of forensic evidence from one of Larry’s murder cases is displayed at Scotland Yard’s infamous Crime Museum. At turns breathtaking, fascinating, hilarious and tragic, 999 CSI opens up a truly astonishing world that most people never get to see, a world filled with cruelty, matched only by the courage of those who work tirelessly for justice.

    Throughout Europe and America, artists and intellectuals banded together to portray women as static and unindividuated beings who functioned solely in a sexual and reproductive capacity, thus formulating many of the anti-feminine platitudes that today still constrain women's potential. Bram Dijkstra's Idols of Perversity explores the nature and development of turn-of-the-century misogyny in the works of hundreds of writers, artists, and scientists, including Zola, Strindberg, Wedekind, Henry James, Rossetti, Renoir, Moreau, Klimt, Darwin, and Spencer. Dijkstra demonstrates that the most prejudicial aspects of Evolutionary Theory helped to justify this wave of anti-feminine sentiment. The theory claimed that the female of the species could not participate in the great evolutionary process that would guide the intellectual male to his ultimate, predestined role as a disembodied spiritual essence. Darwinists argued that women hindered this process by their willingness to lure men back to a sham paradise of erotic materialism. To protect the male's continued evolution, artists and intellectuals produced a flood of pseudo-scientific tracts, novels, and paintings which warned the world's males of the evils lying beneath the surface elegance of woman's tempting skin. Reproducing hundreds of pictures from the period and including in-depth discussions of such key works as Dracula and Venus in Furs, this fascinating book not only exposes the crucial links between misogyny then and now, but also connects it to the racism and anti-semitism that led to catastrophic genocidal delusions in the first half of the twentieth century. Crossing the conventional boundaries of art history, sociology, the history of scientific theory, and literary analysis, Dijkstra unveils a startling view of a grim and largely one-sided war on women still being fought today.

    But behind this archetypal small-town landscape lies a complicated past.Starting with the town's founding as a religious promised land, music journalist and poet Daniel Wolff plots a course through 130 years of entwined social and musical history, touching on John Philip Sousa, Count Basie, Frank Sinatra, and Frankie Lymon on the way to the town Bruce was born to run from. Out of the details of local history-the boardwalk in the Gilded Age; the celebrities who passed through, from Stephen Crane to Martin Luther King; sensational murder trials; the birth of Mob control; and a devastating mid-century "race riot"-emerges a universal story of one small town's fortunes. Told with grace and full of fascinating detail, Daniel Wolff's tour across thirteen decades of the Fourth of July in Asbury Park captures all the allure and heartbreak of the American dream reduced to blight and decay, with gentrification as the one hope for a return to its glory days.

    Taking the self out feels like obeying a gag order - pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature." - from HeroinesOn the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it - from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism - she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor" and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.

    Born of extreme racial and class conflicts, the blackface minstrel show sometimes usefully intensified them. Based on the appropriation of black dialect, music, and dance, minstrelsy at once applauded and lampooned black culture, ironically contributing to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery.

    Now author Paul Roland turns the tables with this brilliant new exposé - a fascinating psychological profile of the leading Nazis and their lesser-known associates.

    Like one of Patterson's reliable left hooks, Stratton sharply recounts the life of an important, but often forgotten, two-time world heavyweight champion." — Gary Andrew Poole, author of PacMan: Behind the Scenes with Manny PacquiaoIn 1956, Floyd Patterson became, at age twenty-one, the youngest boxer to claim the title of world heavyweight champion. Later, he was the first ever to lose and regain that honor.Here, the acclaimed author W. K. Stratton chronicles the life of "the Gentle Gladiator" — an athlete overshadowed by Ali's theatrics and Liston's fearsome reputation, and a civil rights activist overlooked in the Who's Who of race politics. From the Gramercy Gym and wildcard manager Cus D’Amato to the final rematch against Ali in 1972, Patterson's career spanned boxing's golden age. He won an Olympic gold medal, had bouts with Moore and Johansson, and was interviewed by James Baldwin, Gay Talese, and Budd Schulberg. A complex, misunderstood figure — he once kissed an opponent at the end of a match — he was known for his peekaboo stance and soft-spoken nature.Floyd Patterson was boxing’s invisible champion, but in this deeply researched and beautifully written biography he comes vividly to life and is finally given his due — as one of the most artful boxers of his time and as one of our great sportsmen, a man who shaped the world in and out of the ring.

    Envious locals in Tulsa dubbed the Greenwood section "Black Wall Street" because of its economic success, but that success was obliterated by a riot in 1921. The riot completely razed Greenwood, destroying the lives of its 10,000 residents. This account sees the events through the eyes of a fictional reporter. It offers perspective and hope. The events of Memorial Day, 1921 were hidden for the better part of a century, but knowing the truth about that day is critical to understanding ourselves and our motives and will ultimately make us all safer in an unsafe world. Today, just as in 1921, media hype too often obscures truth and embraces hype because hype is more interesting. The truth about this event must no longer be kept secret. Follow Sam Stackhouse, an old man remembering, as he discovers truth and wisdom.

    Pot dealers draped in Dolce. Divorce settlements that include the Birkins at their current retail price. Air kisses, landing strips, and lounge-chair bribery. For most of us, the idea of life inside the golden triad of Park Avenue, Sagaponack, and St. Barths is just as exotic as the mysteries of the Bermuda Triangle. Luckily, Richard Kirshenbaum has a VIP pass to the Upper East Side and is willing to share the wealth—of gossip. His New York Observer column on uptown social life provides a fascinating glimpse behind the gilded curtain into the swanky restaurants and eye-popping vacation destinations where the 1 percent gathers.Isn’t That Rich? features highlights from Kirshenbaum’s monthly column as well as several brand-new essays. From cash-strapped blue bloods willing to trade their good names for a taste of nouveau riche treasure to the fine art of donning a cashmere sweater in Capri, our intrepid correspondent exposes the preoccupations of the posh. His insider sources may be anonymous, but “his up-to-the-minute portrait of today’s 1 percent is both insightful and a joy to read, no matter what tax bracket you’re in.” (Mortimer Zuckerman)

    “I believe you change laws.”The fraught conflict between conscience and politics – between morality and power – in addressing race hardly began with Clinton. An electrifying and traumatic encounter in the sixties crystallized these furious disputes.In 1963 Attorney General Robert Kennedy sought out James Baldwin to explain the rage that threatened to engulf black America. Baldwin brought along some friends, including playwright Lorraine Hansberry, psychologist Kenneth Clark, and a valiant activist, Jerome Smith. It was Smith’s relentless, unfiltered fury that set Kennedy on his heels, reducing him to sullen silence.Kennedy walked away from the nearly three-hour meeting angry – that the black folk assembled didn’t understand politics, and that they weren’t as easy to talk to as Martin Luther King. But especially that they were more interested in witness than policy. But Kennedy’s anger quickly gave way to empathy, especially for Smith. “I guess if I were in his shoes…I might feel differently about this country.” Kennedy set about changing policy – the meeting having transformed his thinking in fundamental ways.There was more: every big argument about race that persists to this day got a hearing in that room. Smith declaring that he’d never fight for his country given its racist tendencies, and Kennedy being appalled at such lack of patriotism, tracks the disdain for black dissent in our own time. His belief that black folk were ungrateful for the Kennedys’ efforts to make things better shows up in our day as the charge that black folk wallow in the politics of ingratitude and victimhood. The contributions of black queer folk to racial progress still cause a stir. BLM has been accused of harboring a covert queer agenda. The immigrant experience, like that of Kennedy, versus the racial experience of Baldwin, is a cudgel to excoriate black folk for lacking hustle and ingenuity. The questioning of whether folk who are interracially partnered can authentically communicate black interests persists. And we grapple still with the responsibility of black intellectuals and artists to bring about social change.This book exists at the tense intersection of the conflict between politics and prophecy – of whether we embrace political resolution or moral redemption to fix our fractured racial landscape. The future of race and democracy hang in the balance.

    Having survived the retreat to and evacuation from Dunkirk, he volunteered for the newly formed Commandos and took part in their first operation, the raid on the Lofoten Islands. He fought and was captured in Tunisia. He went on the run before his POW camp at Fontanellato was taken over by the Nazis after the September 1943 Italian armistice. He spent six months on the run in the Apennine mountains aided by brave and selfless Italians. Many of whom were actively fighting their occupiers. He eventually reached Allied lines but not before several of his companions were tragically killed by both German and American fire.On return to England he immediately signed up for the invasion of North West Europe and despite being wounded eventually fought through to Germany.It is thanks to his son's research that Major Young's story can now be told. It is an inspiring and thrilling account which demands to be read.

    Vale: Four leading figures in social movements discuss the state of Western culture and what led to its demise, with firsthand accounts of their own experiences, including subjects that concern every creative artist and thinker: The Internet and social change; why every one must paint( ); mind control, marketing, branding and consumerism; corporate chain stores and the problem of Amazon; punk rock history; the rise of Do-It-Yourself (D-I-Y) culture production; fame and its downside; sex and relationships.

    In the 1960s, Edna Staebler moved in with an Old Order Mennonite family to absorb their oral history and learn about Mennonite culture and cooking. From this fieldwork came the cookbook Food That Really Schmecks. Originally published in 1968, Food That Really Schmecks instantly became a classic, selling tens of thousands of copies. Interspersed with practical and memorable recipes are Staebler's stories and anecdotes about cooking, life with the Mennonites, family, and the Waterloo Region. Described by Edith Fowke as folklore literature, Staebler's cookbooks have earned her national acclaim.Back in print as part of Wilfrid Laurier University Press's Life Writing series, a series devoted celebrating life writing as both genre and critical practice, the updated edition of this groundbreaking book includes a foreword by award-winning author Wayson Choy and a new introduction by well-known food writer Rose Murray.

    His range is wide, and his insights are acute, frequently ironic, and often downright funny. Translated by William Weaver. A Helen and Kurt Wolff Book