An Australian millionaire says Millennials could all afford homes if we'd just give up avocado toast. Thanks, millionaire. This Millennial is here to prove them all wrong.Millennials have been stereotyped as lazy, entitled, narcissistic, and immature. We've gotten so used to sloppy generational analysis filled with dumb clichés about young people that we've lost sight of what really unites Millennials. Namely:-We are the most educated and hard-working generation in American history.-We poured historic and insane amounts of time and money into preparing ourselves for the 21st century labor market.- We have been taught to consider working for free (homework, internships) a privilege for our own benefit.- We are poorer, more medicated, and more precariously employed than our parents, grandparents, even our great grandparents, with less of a social safety net to boot. Kids These Days, is about why. In brilliant, crackling prose, early Wall Street occupier Malcolm Harris gets mercilessly real about our maligned birth cohort. Examining trends like runaway student debt, the rise of the intern, mass incarceration, social media, and more, Harris gives us a portrait of what it means to be young in America today that will wake you up and piss you off. Millennials were the first generation raised explicitly as investments, Harris argues, and in Kids These Days he dares us to confront and take charge of the consequences now that we are grown up.

    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.

    Follow the career of an actress with Middle-Eastern heritage whose dreams of playing a ghostbuster spiral into repeat castings as a jihadi bride. Among stories of honour killings and ill-fated love in besieged locations, we also find heart-warming connections and powerful challenges to the status quo.From Algiers to Brighton, these stories transcend time and place revealing just how varied the search for belonging can be.Between them the writers in this anthology have been short- or long-listed for four Orange Prizes, two Man Booker Prizes and won countless other awards. Alongside renowned authors are emerging voices published here for the first time.

    YouTube and Facebook dominate the web. In Reality Hunger: A Manifesto, his landmark new book, David Shields (author of the New York Times best seller The Thing About Life Is That One Day You’ll Be Dead) argues that our culture is obsessed with “reality” precisely because we experience hardly any.Most artistic movements are attempts to figure out a way to smuggle more of what the artist thinks is reality into the work of art. So, too, every artistic movement or moment needs a credo, from Horace’s Ars Poetica to Lars von Trier’s “Vow of Chastity.” Shields has written the ars poetica for a burgeoning group of interrelated but unconnected artists in a variety of forms and media who, living in an unbearably manufactured and artificial world, are striving to stay open to the possibility of randomness, accident, serendipity, spontaneity; actively courting reader/listener/viewer participation, artistic risk, emotional urgency; breaking larger and larger chunks of “reality” into their work; and, above all, seeking to erase any distinction between fiction and nonfiction.The questions Reality Hunger explores—the bending of form and genre, the lure and blur of the real—play out constantly all around us. Think of the now endless controversy surrounding the provenance and authenticity of the “real”: A Million Little Pieces, the Obama “Hope” poster, the sequel to The Catcher in the Rye, Robert Capa’s “The Falling Soldier” photograph, the boy who wasn’t in the balloon. Reality Hunger is a rigorous and radical attempt to reframe how we think about “truthiness,” literary license, quotation, appropriation.Drawing on myriad sources, Shields takes an audacious stance on issues that are being fought over now and will be fought over far into the future. People will either love or hate this book. Its converts will see it as a rallying cry; its detractors will view it as an occasion for defending the status quo. It is certain to be one of the most controversial and talked-about books of the year.

    To clear my way, I must be allowed to ask some plain questions, and the answers will probably appear as unequivocal as the axioms on which reasoning is built; though, when entangled with various motives of action, they are formally contradicted, either by the words or conduct of men.In what does man's pre-eminence over the brute creation consist?The answer is as clear as that a half is less than the whole; inReason.

    As Pluckrose and Lindsay warn, the unchecked proliferation of these anti-Enlightenment beliefs present a threat not only to liberal democracy but also to modernity itself. While acknowledging the need to challenge the complacency of those who think a just society has been fully achieved, Pluckrose and Lindsay break down how this often-radical activist scholarship does far more harm than good, not least to those marginalized communities it claims to champion. They also detail its alarmingly inconsistent and illiberal ethics. Only through a proper understanding of the evolution of these ideas, they conclude, can those who value science, reason, and consistently liberal ethics successfully challenge this harmful and authoritarian orthodoxy—in the academy, in culture, and beyond.

    It is also a school of thought popular because of its rejection of the supposedly universalizing categories of the Enlightenment. In this devastating critique, mounted on behalf of the radical Enlightenment tradition, Vivek Chibber offers the most comprehensive response yet to postcolonial theory. Focusing on the hugely popular Subaltern Studies project, Chibber shows that its foundational arguments are based on a series of analytical and historical misapprehensions. He demonstrates that it is possible to affirm a universalizing theory without succumbing to Eurocentrism or reductionism.Postcolonial Theory and the Specter of Capital promises to be a historical milestone in contemporary social theory.

    African Studies. In the Introduction, Robin D. G. Kelly comments, A HISTORY OF PAN-AFRICAN REVOLT is one of those rare books that continues to strike a chord of urgency, even half a century after it was first published. Time and again, its lessons have proven to be valuable and relevant for understanding liberation movements in Africa and the diaspora. Each generation who has had the opportunity to read this small book finds new insights, new lessons, new vision for their own age....-- This new edition of James' classic, originally published in England in 1938, brings a work that previously enjoyed underground popularity to a much wider audience.

    Feminism, Interrupted is a bold call to seize feminism back from the cultural gatekeepers and return it to its radical roots. Lola Olufemi explores state violence against women, the fight for reproductive justice, transmisogyny, gendered Islamophobia and solidarity with global struggles, showing that the fight for gendered liberation can change the world for everybody when we refuse to think of it solely as women's work. Including testimonials from Sisters Uncut, migrant groups working for reproductive justice, prison abolitionists and activists involved in the international fight for Kurdish and Palestinian rights, Olufemi emphasises the link between feminism and grassroots organising. Reclaiming feminism from the clutches of the consumerist, neoliberal model, Feminism, Interrupted shows that when 'feminist' is more than a label, it holds the potential for radical transformative work.

    In Consilience  (a word that originally meant "jumping together"), Edward O. Wilson renews the Enlightenment's search for a unified theory of knowledge in disciplines that range from physics to biology, the social sciences and the humanities.Using the natural sciences as his model, Wilson forges dramatic links between fields. He explores the chemistry of the mind and the genetic bases of culture. He postulates the biological principles underlying works of art from cave-drawings to Lolita. Presenting the latest findings in prose of wonderful clarity and oratorical eloquence, and synthesizing it into a dazzling whole, Consilience is science in the path-clearing traditions of Newton, Einstein, and Richard Feynman.

    Colonialism/Postcolonialism is a comprehensive yet accessible guide to the historical and theoretical dimensions of colonial and postcolonial studies.Ania Loomba deftly introduces and examines:key features of the ideologies and history of colonialismthe relationship of colonial discourse to literaturechallenges to colonialism, including anticolonial discoursesrecent developments in postcolonial theories and historiesissues of sexuality and colonialism, and the intersection of feminist and postcolonial thoughtdebates about globalization and postcolonialismRecommended on courses across the academic disciplines and around the world, Colonialism/Postcolonialism has for some years been accepted as the essential introduction to a vibrant and politically charged area of literary and cultural study.With new coverage of emerging debates around globalization, this second edition will continue to serve as the ideal guide for students new to colonial discourse theory, postcolonial studies or postcolonial theory as well as a reference for advanced students and teachers.

    The essay focuses on political language, which, according to Orwell, "is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind." Orwell believed that the language used was necessarily vague or meaningless because it was intended to hide the truth rather than express it.

    Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world. It includes the famous essays "Notes on Camp" and "Against Interpretation," as well as her impassioned discussions of Sartre, Camus, Simone Weil, Godard, Beckett, Lévi-Strauss, science-fiction movies, psychoanalysis, and contemporary religious thought.This edition has a new afterword, "Thirty Years Later," in which Sontag restates the terms of her battle against philistinism and against ethical shallowness and indifference.

    For many non-Muslims, "the suicide bomber" quickly became the icon of "an Islamic culture of death"--a conceptual leap that struck Asad as problematic. Is there a "religiously-motivated terrorism?" If so, how does it differ from other cruelties? What makes its motivation "religious"? Where does it stand in relation to other forms of collective violence?Drawing on his extensive scholarship in the study of secular and religious traditions as well as his understanding of social, political, and anthropological theory and research, Asad questions Western assumptions regarding death and killing. He scrutinizes the idea of a "clash of civilizations," the claim that "Islamic jihadism" is the essence of modern terror, and the arguments put forward by liberals to justify war in our time. He critically engages with a range of explanations of suicide terrorism, exploring many writers' preoccupation with the motives of perpetrators. In conclusion, Asad examines our emotional response to suicide (including suicide terrorism) and the horror it invokes.On Suicide Bombing is an original and provocative analysis critiquing the work of intellectuals from both the left and the right. Though fighting evil is an old concept, it has found new and disturbing expressions in our contemporary "war on terror." For Asad, it is critical that we remain aware of the forces shaping the discourse surrounding this mode of violence, and by questioning our assumptions about morally good and morally evil ways of killing, he illuminates the fragile contradictions that are a part of our modern subjectivity.

    She is a lover of art, the humanities, and the sciences. She is a novelist and a feminist. Her lively, lucid essays in A Woman Looking at Men Looking at Women begin to make some sense of those plural perspectives.Divided into three parts, the first section, “A Woman Looking at Men Looking at Women,” investigates the perceptual and gender biases that affect how we judge art, literature, and the world in general. Among the legendary figures considered are Picasso, De Kooning, Jeff Koons, Louise Bourgeois, Anselm Kiefer, Susan Sontag, Robert Mapplethorpe, the Guerrilla Girls, and Karl Ove Knausgaard.The second part, “The Delusions of Certainty,” is about the age-old mind/body problem that has haunted Western philosophy since the Greeks. Hustvedt explains the relationship between the mental and the physical realms, showing what lies beyond the argument—desire, belief, and the imagination.The final section, “What Are We? Lectures on the Human Condition,” discusses neurological disorders and the mysteries of hysteria. Drawing on research in sociology, neurobiology, history, genetics, statistics, psychology, and psychiatry, this section also contains a profound and powerful consideration of suicide.There has been much talk about building a beautiful bridge across the chasm that separates the sciences and the humanities. At the moment, we have only a wobbly walkway, but Hustvedt is encouraged by the travelers making their way across it in both directions. A Woman Looking at Men Looking at Women is an insightful account of the journeys back and forth.