We can write a check to feed starving children or hold signs in the streets and feel like we’ve made a difference without ever encountering the faces of the suffering masses. In this book, Shane Claiborne describes an authentic faith rooted in belief, action, and love, inviting us into a movement of the Spirit that begins inside each of us and extends into a broken world. Shane’s faith led him to dress the wounds of lepers with Mother Teresa, visit families in Iraq amidst bombings, and dump $10,000 in coins and bills on Wall Street to redistribute wealth. Shane lives out this revolution each day in his local neighborhood, an impoverished community in North Philadelphia, by living among the homeless, helping local kids with homework, and “practicing resurrection” in the forgotten places of our world. Shane’s message will comfort the disturbed, and disturb the comfortable . . . but will also invite us into an irresistible revolution. His is a vision for ordinary radicals ready to change the world with little acts of love.

    To learn how others had moved beyond labels, he bought his own short bus and set out cross-country, looking for kids who had dreamed up magical, beautiful ways to overcome the obstacles that separated them from the so-called normal world.The Short Bus is his irreverent and poignant record of that odyssey, meeting thirteen people in thirteen states who taught Mooney that there’s no such thing as normal—and that to really live, every person must find their own special way of keeping on.  The Short Bus is a unique gem, propelled by Mooney’s heart, humor, and outrageous rebellions.

    Unique among textbooks on this topic, our book approaches the study of myth through complete works of Greco-Roman literature, including six complete Greek dramas and generous excerpts from the narratives of Homer, Hesiod, Virgil, and Ovid, and through carefully-chosen examples of Classical works of art, both painting and sculpture. Combining literary masterpieces with the visual arts, this integrative approach offers readers a comprehensive experience with both cognitive and aesthetic appeal.

    Once a mainstay of campus life, fraternities are now subject to withering criticism for reinforcing white male privilege and undermining the lasting social and economic value of a college education.No fraternity embodies this problem more than Sigma Alpha Epsilon, a national organization with more than 15,000 undergraduate brothers spread over 230 chapters nationwide. While SAE enrollment is still strong, it has been pilloried for what John Hechinger calls "the unholy trinity of fraternity life": racism, deadly drinking, and misogyny. Hazing rituals have killed ten undergraduates in its chapters since 2005, and, in 2015, a video of a racist chant breaking out among its Oklahoma University members went viral. That same year, SAE was singled out by a documentary on campus rape, The Hunting Ground. Yet despite these problems and others, SAE remains a large institution with strong ties to Wall Street and significant political reach.In True Gentlemen, Hechinger embarks on a deep investigation of SAE and fraternity culture generally, exposing the vast gulf between its founding ideals and the realities of its impact on colleges and the world at large. He shows how national fraternities are reacting to a slowly dawning new reality, and asks what the rest of us should do about it. Should we ban them outright, or will they only be driven underground? Can an institution this broken be saved? With rare access and skillful storytelling, Hechinger draws a fascinating and necessary portrait of an institution in deep need of reform, and makes a case for how it can happen.

    Fans of Dear White People will embrace this activist-centered contemporary novel about a college freshman grappling with the challenges of attending an elite university with a disturbing racist history--that may not be as distant as it seems.Savannah Howard sacrificed her high school social life to make sure she got into a top college. Her sites were set on an HBCU, but when she is accepted to the ivy-covered walls of Wooddale University on a full ride, how can she say no?Wooddale is far from the perfectly manicured community it sells on its brochures, though. Savannah has barely unpacked before she comes face-to-face with microagressions stemming from racism and elitism. Then, Clive Wilmington's statue is vandalized with blackface. The prime suspect? Lucas Cunningham, Wooddale's most popular student and son to a local prominent family. Soon, Savannah is unearthing the hidden secrets of Wooddale's racist history. But what's the price for standing up for what is right? And will telling the truth about Wooddale's past cost Savannah her own future?A stunning, challenging, and timely debut about racism and privilege on college campuses.

    They’re taboo. They’re embarrassing. They’re gross. And due to a crumbling or nonexistent national sex ed program, they are misunderstood. Because of these stigmas, a status quo has been established to exclude people who menstruate from the seat at the decision-making table, creating discriminations like the tampon tax, medicines that favor male biology, and more.Power to the Period aims to explain what menstruation is, shed light on the stigmas and resulting biases, and create a strategy to end the silence and prompt conversation about periods.

    Contributing authors include Bryan Stevenson (Director of the Equal Justice Institute, NYU Law Professor, and author of New York Times bestseller Just Mercy), Sherrilyn Ifill (President and Director-Counsel of the NAACP Legal Defense Fund), Jeremy Travis (President of John Jay College of Criminal Justice), and many others. Policing the Black Man explores and critiques the many ways the criminal justice system impacts the lives of African American boys and men at every stage of the criminal process from arrest through sentencing. Essays range from an explication of the historical roots of racism in the criminal justice system to an examination of modern-day police killings of unarmed black men. The co-authors discuss and explain racial profiling, the power and discretion of police and prosecutors, the role of implicit bias, the racial impact of police and prosecutorial decisions, the disproportionate imprisonment of black men, the collateral consequences of mass incarceration, and the Supreme Court's failure to provide meaningful remedies for the injustices in the criminal justice system. Policing the Black Man is an enlightening must-read for anyone interested in the critical issues of race and justice in America.

    

    Told from the perspective of a young wife who’s become increasingly frustrated with her mild-mannered husband, “The Trespassers” begins as a quiet domestic drama and quickly escalates into a nightmare. When Evan refuses to confront men who are illegally hunting on the couple’s remote homestead, Chris takes matters into her own hands, with terrifying results. Written in 1958, when Leonard was working at a Detroit advertising agency and writing short stories on the side, “The Trespassers” shows the emerging talent of a man whose spare style and dark wit would redefine a literary genre. Filled with as much sexual menace as Sam Peckinpah’s classic thriller “Straw Dogs,” this timelessly relevant story delivers a sly surprise that could only come from the mind of Elmore Leonard. ABOUT THE AUTHOR Elmore Leonard wrote forty-five novels across his six-decade career, including the bestsellers “Road Dogs,” “Up in Honey’s Room,” “The Hot Kid,” “Mr. Paradise,” “Tishomingo Blues,” and the critically acclaimed collection of short stories “When the Women Come Out to Dance.” Many of his books have been made into movies, including “Get Shorty,” “Out of Sight,” and “Jackie Brown.” “Justified,” the hit series from FX, is based on Leonard’s character Raylan Givens, who appears in “Riding the Rap,” “Pronto,” the short story “Fire in the Hole,” and the novel “Raylan.” Leonard received the National Book Foundation’s Medal for Distinguished Contribution to American Letters, the Lifetime Achievement Award from PEN USA, and the Grand Master Award of the Mystery Writers of America. He was known to many as the “Dickens of Detroit” and had lived in the Detroit area since 1934. PRAISE FOR ELMORE LEONARD “Elmore Leonard can write circles around almost anybody active in the crime novel today.” —The New York Times Book Review “There is no greater writer of crime fiction than Elmore Leonard, and no one who has more resplendent energy.” —The Guardian (UK) “Elmore ‘Dutch’ Leonard is more than just one of the all-time greats of crime fiction. He’s … an authentic American icon.” —The Seattle Times “People look on writers that they like as an irreplaceable resource. I do. Elmore Leonard, every day I wake up and—not to be morbid or anything, although morbid is my life to a degree—don’t see his obituary in the paper, I think to myself, ‘Great! He’s probably working somewhere. He’s gonna produce another book, and I’ll have another book to read.’ Because when he’s gone, there’s nobody else.” — Stephen King “The King Daddy of crime novelists.” —The Seattle Times “As crime fiction goes, Leonard has few living equals. His characters leap from the page with a few short keystrokes, like a form of bloodstained haiku.” —The Cleveland Plain Dealer “[Leonard’s] finely honed sentences can sound as flinty/poetic as Hemingway or as hard-boiled as Raymond Chandler. His ear for the way people talk—or should—is peerless.” —The Detroit News “A master of narrative … A poet of the vernacular … Leonard paints an intimate, precise, funny, frightening, and irresistible mural of the

    

    

    Each casebook reprints documents relating to a work's historical context and reception, presents the best critical studies, and, when possible, features an interview with the author. Accessible and informative to scholars, students, and nonspecialist readers alike, the books in this series provide a wide range of critical and informative commentaries on major texts. Gabriel Garcia Marquez's One Hundred Years of Solitude is arguably the most important novel in twentieth-century Latin American literature. This Casebook features ten critical articles on Garcia Marquez's great work. Carefully selected from the most important work on the novel over the past three decades, they include pieces by Carlos Fuentes, Iris Zavala, James Higgins, Jean Franco, Michael Wood, and Gene H. Bell-Villada. Among the intriguing aspects of the work discussed are its mythic dimension, its "magical" side, its representations of women, its relationship with past chronicles of exploration and discovery, its portrayals of Western power and imperialism, its astounding diffusion throughout the globe and the media, and its simple truth-telling, its fidelity to the tangled history of Latin America. The book incorporates several theoretical approaches--historical, feminist, postcolonial; the first English translation of Fuentes's renowned, oft-cited, eight page meditation on the work; a general introduction; and a 1982 interview with Garcia Marquez.

    The arrival of an old friend of the woman brings into the open feelings and fears previously suppressed.

    Mona Hanna-Attisha, alongside a team of researchers, parents, friends, and community leaders, discovered that the children of Flint, Michigan, were being exposed to lead in their tap water--and then battled her own government and a brutal backlash to expose that truth to the world. At the center of the story is Dr. Mona herself--an immigrant, doctor, scientist, and mother whose family's activist roots inspired her pursuit of justice.What the Eyes Don't See is a riveting account of a shameful disaster that became a tale of hope, the story of a city on the ropes that came together to fight for justice, self-determination, and the right to build a better world for their--and all of our--children.

    Race, class, and gender shape our social identities, and thus who we perceive as “like us” or “not like us”. But one overlooked factor can be even more powerful: the way we speak. As the pioneering psychologist Katherine Kinzler reveals in How You Say It, the way we talk is central to our social identity because our speech largely reflects the voices we heard as children. We can change how we speak to some extent, whether by “code-switching” between dialects or learning a new language; over time, your speech even changes to reflect your evolving social identity and aspirations. But for the most part, we are forever marked by our native tongue—and are hardwired to prejudge others by theirs, often with serious consequences. Your accent alone can determine the economic opportunity or discrimination you encounter in life, making speech one of the most urgent social-justice issues of our day. Our linguistic differences present challenges, Kinzler shows, but they also can be a force for good. Humans can benefit from being exposed to multiple languages —a paradox that should inspire us to master this ancient source of tribalism, and rethink the role that speech plays in our society.