In "Crunch" he answers these as well as dozens of others he has fielded from working Americans by email, on blogs, and at events where he speaks. Chances are if there's a stumper you've always wanted to ask an economist, it's solved in this book.

    This volume covers a wide range of enthusiasms, criticisms, tributes, and reflections from the former National Review editor.

    citizens are looking for a new leader. That leader is Canada, and they want your vote for president of the United States.Since launching their video campaign in January, the Canada Party has gone viral, with almost a million hits on YouTube and coverage ranging from CNN and the BBC to the Huffington Post and German State Television. Their new book, America, but Better: the Canada Party Manifesto, balances the doctrine of American exceptionalism with a dose of Canadian humility and common sense in an effort to secure Canada as the new leader of the free world, by proxy.Their promises: One gay couple will be allowed to marry for every straight couple that gets divorced. The phrase "job creators" will be changed to "job creationists," and they will be given seven days to actually create some. Corporations will still be people, but if they can't provide a birth certificate they will be legally obligated to care for your lawn. Corners will be installed in the Oval Office, and timeouts given to congressmen who can't play nice.Devoted to restoring America to its former glory, the Canada Party will soon have the whole world chanting, "Yes We Canada."

    Is it America’s destiny to be both a nanny state and garrison state? America’s Forgotten History questions standard history from a constitutionalist point of view.This, the first of five volumes, covers English roots, the colonial period, the Revolution, the Constitution, and the first four presidential administrations, those of Washington, Adams, Jefferson, and Madison.CONTACT mark.david.ledbetter@gmail.com

    In this brilliant look at the rise of political Islam, the distinguished political scientist and anthropologist Mahmood Mamdani brings his expertise and insight to bear on a question many Americans have been asking since 9/11: how did this happen? Good Muslim, Bad Muslim is a provocative and important book that will profoundly change our understanding both of Islamist politics and the way America is perceived in the world today.

    Jones is buried in London’s Highgate Cemetery, to the left of Karl Marx—a location that Boyce Davies finds fitting given how Jones expanded Marxism-Leninism to incorporate gender and race in her political critique and activism.Claudia Cumberbatch Jones was born in Trinidad. In 1924, she moved to New York, where she lived for the next thirty years. She was active in the Communist Party from her early twenties onward. A talented writer and speaker, she traveled throughout the United States lecturing and organizing. In the early 1950s, she wrote a well-known column, “Half the World,” for the Daily Worker. As the U.S. government intensified its efforts to prosecute communists, Jones was arrested several times. She served nearly a year in a U.S. prison before being deported and given asylum by Great Britain in 1955. There she founded The West Indian Gazette and Afro-Asian Caribbean News and the Caribbean Carnival, an annual London festival that continues today as the Notting Hill Carnival. Boyce Davies examines Jones’s thought and journalism, her political and community organizing, and poetry that the activist wrote while she was imprisoned. Looking at the contents of the FBI file on Jones, Boyce Davies contrasts Jones’s own narration of her life with the federal government’s. Left of Karl Marx establishes Jones as a significant figure within Caribbean intellectual traditions, black U.S. feminism, and the history of communism.

    Arguing that Blacks have always been considered non-citizens in the United States, Samudzi and Anderson make the case for a new program of transformative politics for African Americans, one rooted in an anarchist framework. This is not a feel-good-and-make-peace book. With the passion of Ta-Nehisi Coates’s Between the World and Me, the raw truth of Michelle Alexander’s The New Jim Crow, and the revolutionary fervor of Emma Goldman’s timeless essays, As Black as Resistance shakes us from our slumber and energizes us for the road ahead.

    While he viewed slavery as a moral crime abhorrent to American principles, he disapproved of anti-slavery activists. Until the last year of his life, he advocated "voluntary deportation," concerned that free blacks in a white society would result in centuries of conflict. In 1861, he had reluctantly taken the nation to war to save it. While this devastating struggle would preserve the Union, it would also abolish slavery—creating the biracial democracy Lincoln feared. John Quincy Adams, forty years earlier, was convinced that only a civil war would end slavery and preserve the Union. An antislavery activist, he had concluded that a multiracial America was inevitable.Lincoln and the Abolitionists, a frank look at Lincoln, "warts and all," provides an in-depth look at how these two presidents came to see the issues of slavery and race, and how that understanding shaped their perspectives. In a far-reaching historical narrative, Fred Kaplan offers a nuanced appreciation of both these great men and the events that have characterized race relations in America for more than a century—a legacy that continues to haunt us all.The book has a colorful supporting cast from the relatively obscure Dorcas Allen, Moses Parsons, Violet Parsons, Theophilus Parsons, Phoebe Adams, John King, Charles Fenton Mercer, Phillip Doddridge, David Walker, Usher F. Linder, and H. Ford Douglas to Elijah Lovejoy, Francis Scott Key, William Channing, Wendell Phillips, and Rufus King. The cast includes Hannibal Hamlin, Lincoln’s first vice president, and James Buchanan and Andrew Johnson, the two presidents on either side of Lincoln. And it includes Abigail Adams, John Adams, Henry Clay, Stephen A. Douglas, and Frederick Douglass, who hold honored places in the American historical memory.The subject of this book is slavery and racism, the paradox of Lincoln, our greatest president, as an antislavery moralist who believed in an exclusively white America; and Adams, our most brilliant statesman, as an antislavery activist who had no doubt that the United States would become a multiracial nation. It is as much about the present as the past.

    Her celebrity, however, has obscured other mid-century trans narratives—ones lived by African Americans such as Lucy Hicks Anderson and James McHarris. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. In Black on Both Sides, C. Riley Snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence.Drawing on a deep and varied archive of materials—early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films—Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the “father of American gynecology,” to the negation of blackness that makes transnormativity possible.Revealing instances of personal sovereignty among blacks living in the antebellum North that were mapped in terms of “cross dressing” and canonical black literary works that express black men’s access to the “female within,” Black on Both Sides concludes with a reading of the fate of Phillip DeVine, who was murdered alongside Brandon Teena in 1993, a fact omitted from the film Boys Don’t Cry out of narrative convenience. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds.

    His surprising journey illuminates not only our understanding of this immensely troubled, misunderstood, and complicated soul genius but the ways in which our cultural heritage has been shaped by Brown’s legacy.  Kill ’Em and Leave is more than a book about James Brown. Brown’s rough-and-tumble life, through McBride’s lens, is an unsettling metaphor for American life: the tension between North and South, black and white, rich and poor. McBride’s travels take him to forgotten corners of Brown’s never-before-revealed history: the country town where Brown’s family and thousands of others were displaced by America’s largest nuclear power bomb-making facility; a South Carolina field where a long-forgotten cousin recounts, in the dead of night, a fuller history of Brown’s sharecropping childhood, which until now has been a mystery. McBride seeks out the American expatriate in England who co-created the James Brown sound, visits the trusted right-hand manager who worked with Brown for forty-one years, and interviews Brown’s most influential nonmusical creation, his “adopted son,” the Reverend Al Sharpton. He describes the stirring visit of Michael Jackson to the Augusta, Georgia, funeral home where the King of Pop sat up all night with the body of his musical godfather, spends hours talking with Brown’s first wife, and lays bare the Dickensian legal contest over James Brown’s estate, a fight that has consumed careers; prevented any money from reaching the poor schoolchildren in Georgia and South Carolina, as instructed in his will; cost Brown’s estate millions in legal fees; and left James Brown’s body to lie for more than eight years in a gilded coffin in his daughter’s yard in South Carolina.   James McBride is one of the most distinctive and electric literary voices in America today, and part of the pleasure of his narrative is being in his presence, coming to understand Brown through McBride’s own insights as a black musician with Southern roots. Kill ’Em and Leave is a song unearthing and celebrating James Brown’s great legacy: the cultural landscape of America today.Praise for Kill ’Em and Leave “The definitive look at one of the greatest, most important entertainers, The Godfather, Da Number One Soul Brother, Mr. Please, Please Himself—JAMES BROWN.”—Spike Lee “Please, please, please: Can anybody tell us who and what was James Brown? At last, the real deal: James McBride on James Brown is the matchup we’ve been waiting for, a musician who came up hard in Brooklyn with JB hooks lodged in his brain, a monster ear for the truth, and the chops to write it. This is no celeb bio but a compelling personal quest—so very timely, angry, hilarious, and as irresistible as any James Brown beat.”—Gerri Hirshey, author of Nowhere to Run: The Story of Soul Music “An unconventional and fascinating portrait of Soul Brother No. 1 and the significance of his rise and fall in American culture.” —Kirkus Reviews

     But we are fed up with being over-taxed and over-regulated. We are tired of being told how much salt to put on our food, what kind of cars we can drive, what kinds of guns we can own, what kind of prayers we are allowed to say and where we can say them, what we are allowed to do to elect political candidates, what kind of energy we can use, what doctor we can see. What kind of nation are we becoming? I fear it's the very kind the Colonists fought against. But perhaps most of all, we are fed up because deep down we know how great America has always been, how many great things the people do in spite of their government, and how great the nation can be in the future if government will just get out of the way. Our fight is clear. We must step up and retake the reins of our government from a Washington establishment that has abused our trust. We must empower states to fight for our beliefs, elect only leaders who are on our team, set out to remind our fellow Americans why liberty is guaranteed in the Constitution, and take concrete steps to take back our country. The American people have never sat idle when liberty's trumpet sounds the call to battle -- and today that battle is for the soul of America.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    She described how women remained marginalized by the patriarchal culture of Black Power and the ways in which a genuine female subjectivity was blocked by the traditional myths of black womanhood. In 1990 the author added a new introduction examining the debate the book had sparked between intellectuals and political leaders; an extensive bibliography of contemporary black feminist studies was also added. Black Macho raised issues and arguments that framed the terms of current feminist and black theory and continues to be relevant today.

    His goal was ambitious: to transform what would become over a hundred hours of interviews into an unprecedented portrait of Malcolm X, one that would separate fact from fiction.The result is this historic biography that conjures a never-before-seen world of its protagonist, a work whose title is inspired by a phrase Malcolm X used when he saw his Hartford followers stir with purpose, as if the dead were truly arising, to overcome the obstacles of racism. Setting Malcolm’s life not only within the Nation of Islam but against the larger backdrop of American history, the book traces the life of one of the twentieth century’s most politically relevant figures “from street criminal to devoted moralist and revolutionary.”In tracing Malcolm X’s life from his Nebraska birth in 1925 to his Harlem assassination in 1965, Payne provides searing vignettes culled from Malcolm’s Depression-era youth, describing the influence of his Garveyite parents: his father, Earl, a circuit-riding preacher who was run over by a street car in Lansing, Michigan, in 1929, and his mother, Louise, who continued to instill black pride in her children after Earl’s death. Filling each chapter with resonant drama, Payne follows Malcolm’s exploits as a petty criminal in Boston and Harlem in the 1930s and early 1940s to his religious awakening and conversion to the Nation of Islam in a Massachusetts penitentiary.With a biographer’s unwavering determination, Payne corrects the historical record and delivers extraordinary revelations—from the unmasking of the mysterious NOI founder “Fard Muhammad,” who preceded Elijah Muhammad; to a hair-rising scene, conveyed in cinematic detail, of Malcolm and Minister Jeremiah X Shabazz’s 1961 clandestine meeting with the KKK; to a minute-by-minute account of Malcolm X’s murder at the Audubon Ballroom.Introduced by Payne’s daughter and primary researcher, Tamara Payne, who, following her father’s death, heroically completed the biography, The Dead Are Arising is a penetrating and riveting work that affirms the centrality of Malcolm X to the African American freedom struggle.

    How did a movement that was defined by its belief in limited government, individual liberty, free markets, traditional values, and civility find itself embracing bigotry, political intransigence, demagoguery, and outright falsehood? How the Right Lost its Mind addresses: *Why are so many voters so credulous and immune to factual information reported by responsible media?*Why did conservatives decide to overlook, even embrace, so many of Trump's outrages, gaffes, conspiracy theories, falsehoods, and smears?*Can conservatives govern? Or are they content merely to rage?*How can the right recover its traditional values and persuade a new generation of their worth?