This is the moving and powerful account of two remarkable boys struggling to survive in Chicago's Henry Horner Homes, a public housing complex disfigured by crime and neglect.

    Using medication that darkened his skin to deep brown, he exchanged his privileged life as a Southern white man for the disenfranchised world of an unemployed black man. His audacious, still chillingly relevant eyewitness history is a work about race and humanity-that in this new millennium still has something important to say to every American.

    Trump, television has conquered America. In Audience of One, New York Times chief television critic James Poniewozik traces the history of TV and mass media from the Reagan era to today, explaining how a volcanic, camera-hogging antihero merged with America’s most powerful medium to become our forty-fifth president.In the tradition of Neil Postman’s masterpiece Amusing Ourselves to Death, Audience of One shows how American media have shaped American society and politics, by interweaving two crucial stories. The first story follows the evolution of television from the three-network era of the 20th century, which joined millions of Americans in a shared monoculture, into today’s zillion-channel, Internet-atomized universe, which sliced and diced them into fractious, alienated subcultures. The second story is a cultural critique of Donald Trump, the chameleonic celebrity who courted fame, achieved a mind-meld with the media beast, and rode it to ultimate power.Braiding together these disparate threads, Poniewozik combines a cultural history of modern America with a revelatory portrait of the most public American who has ever lived. Reaching back to the 1940s, when Trump and commercial television were born, Poniewozik illustrates how Donald became “a character that wrote itself, a brand mascot that jumped off the cereal box and entered the world, a simulacrum that replaced the thing it represented.” Viscerally attuned to the media, Trump shape-shifted into a boastful tabloid playboy in the 1980s; a self-parodic sitcom fixture in the 1990s; a reality-TV “You’re Fired” machine in the 2000s; and finally, the biggest role of his career, a Fox News–obsessed, Twitter-mad, culture-warring demagogue in the White House.Poniewozik deconstructs the chaotic Age of Trump as the 24-hour TV production that it is, decoding an era when politics has become pop culture, and vice versa. Trenchant and often slyly hilarious, Audience of One is a penetrating and sobering review of the raucous, raging, farcical reality show—performed for the benefit of an insomniac, cable-news-junkie “audience of one”—that we all came to live in, whether we liked it or not.

    Lipstick Traces tells a story as disruptive and compelling as the century itself. Hip, metaphorical and allusive...--Gail Caldwell, Boston Sunday Globe. Full-color illustrations and halftones.

    But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith.What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming—and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture—and so, between our culture and others, past and present.Nothing short of a reworking of our mental landscape, We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.

    In exploring the public meaning of ingeniously defended private meanings, de Certeau draws brilliantly on an immense theoretical literature in analytic philosophy, linguistics, sociology, semiology, and anthropology--to speak of an apposite use of imaginative literature.

    Trolling. Conspiracies. Social media pile-ons. Campus intolerance. On the surface, these recent additions to our daily vocabulary appear to have little in common. But together, they are driving an epistemic crisis: a multi-front challenge to America's ability to distinguish fact from fiction and elevate truth above falsehood.In 2016 Russian trolls and bots nearly drowned the truth in a flood of fake news and conspiracy theories, and Donald Trump and his troll armies continued to do the same. Social media companies struggled to keep up with a flood of falsehoods, and too often didn't even seem to try. Experts and some public officials began wondering if society was losing its grip on truth itself. Meanwhile, another new phenomenon appeared: "cancel culture." At the push of a button, those armed with a cellphone could gang up by the thousands on anyone who ran afoul of their sanctimony.In this pathbreaking book, Jonathan Rauch reaches back to the parallel eighteenth-century developments of liberal democracy and science to explain what he calls the "Constitution of Knowledge"--our social system for turning disagreement into truth.By explicating the Constitution of Knowledge and probing the war on reality, Rauch arms defenders of truth with a clearer understanding of what they must protect, why they must do--and how they can do it. His book is a sweeping and readable description of how every American can help defend objective truth and free inquiry from threats as far away as Russia and as close as the cellphone.

    How does the spectacle of the sufferings of others (via television or newspapers) affect us? Are viewers inured--or incited--to violence by the depiction of cruelty? In Regarding the Pain of Others, Sontag takes a fresh look at the representation of atrocity--from Goya's The Disasters of War to photographs of the American Civil War, lynchings of blacks in the South, and the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001. In Regarding the Pain of Others Susan Sontag once again changes the way we think about the uses and meanings of images in our world, and offers an important reflection about how war itself is waged (and understood) in our time.Features an analysis of our numbed response to images of horror. This title alters our thinking about the uses and meanings of images, and about the nature of war, the limits of sympathy, and the obligations of conscience.

    In Wicked Messenger, acclaimed cultural-political commentator Mike Marqusee advances the new thesis that Dylan did not drop politics from his songs but changed the manner of his critique to address the changing political and cultural climate and, more importantly, his own evolving aesthetic. Wicked Messenger is also a riveting political history of the United States in the 1960s. Tracing the development of the decade’s political and cultural dissent movements, Marqusee shows how their twists and turns were anticipated in the poetic aesthetic—anarchic, unaccountable, contradictory, punk— of Dylan's mid-sixties albums, as well as in his recent artistic ventures in Chronicles, Vol. I and Masked and Anonymous.Dylan’s anguished, self-obsessed, prickly artistic evolution, Marqusee asserts, was a deeply creative response to a deeply disturbing situation. "He can no longer tell the story straight," Marqusee concludes, "because any story told straight is a false one."

    Linda Tirado, in her signature brutally honest yet personable voice, takes all of these preconceived notions and smashes them to bits. She articulates not only what it is to be working poor in America (yes, you can be poor and live in a house and have a job, even two), but what poverty is truly like—on all levels. Frankly and boldly, Tirado discusses openly how she went from lower-middle class, to sometimes middle class, to poor and everything in between, and in doing so reveals why “poor people don’t always behave the way middle-class America thinks they should.”

    We are now moving from the modern to the postmodern era. But what is postmodernism? How did it arise? What characterizes the postmodern ethos? What is the postmodern mind and how does it differ from the modern mind? Who are its leading advocates? Most important of all, what challenges does this cultural shift present to the church, which must proclaim the gospel to the emerging postmodern generation? Stanley Grenz here charts the postmodern landscape. He shows the threads that link art and architecture, philosophy and fiction, literary theory and television. He shows how the postmodern phenomenon has actually been in the making for a century and then introduces readers to the gurus of the postmodern mind-set. What he offers here is truly an indispensable guide for understanding today's culture.

    As late as the 1940s and 1950s, he argues, poor Southern rednecks were regarded by Northern employers and law enforcement officials as lazy, lawless, and sexually immoral. This pattern was repeated by blacks with whom they shared a subculture in the South. Over the last half century poor whites and most blacks have moved up in class and affluence, but the ghetto remains filled with black rednecks. Their attempt to escape, Sowell shows, is hampered by their white liberal friends who turn dysfunctional black redneck culture into a sacrosanct symbol of racial identity. In addition to Black Rednecks and White Liberals, the book takes on subjects ranging from Are Jews Generic? to The Real History of Slavery.

    Darren McGarvey, aka 'Loki' gives voice to their feelings and concerns, and the anger that is spilling over. Anger he says we will have to get used to, unless things change. He invites you to come on a Safari of sorts. A Poverty Safari. But not the sort where the indigenous species is surveyed from a safe distance for a time, before the window on the community closes and everyone gradually forgets about it.

    Most Americans could agree that no candidate like Donald Trump had ever been elected President before. But political journalist Ezra Klein makes the case that the 2016 election wasn't surprising at all. In fact, Trump's electoral victory followed the exact same template as previous elections, by capturing a nearly identical percentage of voter demographics as previous Republican candidates.Over the past 50 years in America, our partisan identities have merged with our racial, religious, geographic, ideological, and cultural identities. Those merged identities have attained a weight that is breaking much in our politics and tearing at the bonds that hold this country together.In this groundbreaking book, Klein shows how and why American politics polarized around identity in the 20th century, and what that polarization did to the way we see the world and each other. And he traces the feedback loops between our polarized political identities and our polarized political institutions that are driving our political system towards crisis.Neither a polemic nor a lament, Klein offers a clear framework for understanding everything from Trump's rise to the Democratic Party's leftward shift to the politicization of everyday culture. A revelatory book that will change how you look at politics, and perhaps at yourself.

    Meanwhile, the professional elite—journalists, managers, and establishment politicians—is on the outside looking in, and left to argue over the reasons why. In White Working Class, Joan C. Williams, described as “something approaching rock star status” in her field by the New York Times, explains why so much of the elite’s analysis of the white working class is misguided, rooted in assumptions by what she has controversially coined “class cluelessness.”Williams explains how most analysts, and the corresponding media coverage, have conflated “working class” with “poor.” All too often, white working class motivations have been dismissed as simply racism or xenophobia. Williams explains how the term “working class” has been misapplied—it is, in fact, the elusive, purportedly disappearing middle class. This demographic often resents both the poor and the professionals. They don’t, however, tend to resent the truly rich, nor are they particularly bothered by income inequality. Their dream is not to join the upper middle class, with its different culture, but to stay true to their own values in their own communities—just with more money.White Working Class is a blunt, bracing narrative that sketches a nuanced portrait of millions of people throughout the world who have proven to be a potent political force. For anyone stunned by the rise in populist, nationalist movements, wondering why so many would seemingly vote against their own economic interests or simply feeling like a stranger in their own country, White Working Class will be a convincing primer on how to connect with a crucial set of workers—and voters.