But in the last twenty years, schools have dramatically increased standardized testing, sacrificing hours of classroom time. What is the cost to students, teachers, and families? How do we preserve space for self-directed learning and development—especially when we still want all children to hit the mark?The Test explores all sides of this problem—where these tests came from, their limitations and flaws, and ultimately what parents, teachers, and concerned citizens can do. It recounts the shocking history and tempestuous politics of testing and borrows strategies from fields as diverse as games, neuroscience, and ancient philosophy to help children cope. It presents the stories of families, teachers, and schools maneuvering within and beyond the existing educational system, playing and winning the testing game. And it offers a glimpse into a future of better tests. With an expert’s depth, a writer’s flair, and a hacker’s creativity, Anya Kamenetz has written an essential book for any parent who has wondered: what do I do about all these tests?

    Strawson also shares with Montaigne a particular fascination with the elastic and elusive nature of the self and of consciousness. Of the essays collected here, "A Fallacy of Our Age" (an inspiration for Vendela Vida's novel Let the Northern Lights Erase Your Name) takes issue with the commencement-address cliche that life is a story. Strawson questions whether it is desirable or even meaningful to think about life that way. "The Sense of Self" offers an alternative account, in part personal, of how a distinct sense of self is not at all incompatible with a sense of the self as discontinuous, leading Strawson to a position that he sees as in some ways Buddhist. "Real Naturalism" argues that a fully naturalist account of consciousness supports a belief in the immanence of consciousness in nature as a whole (also known as panpsychism), while in the final essay Strawson offers a vivid account of coming of age in the 1960s. Drawing on literature and life as much as on philosophy, this is a book that prompts both argument and wonder.

    from "The House on the Hill" . . . from out of the fog, a large, welcoming house would emerge made out of invention and surprise. No things without ideas! you'd shout, and the doors would open, and the echoes would cascade down to the valleys and the faraway towns.

    Introducing Feminism surveys the major developments that have affected women's lives from the seventeenth century to the present day."Readers who have forgotten the struggles of women who came generations—and centuries—before will appreciate this handsome little guide introducing the basics of feminist theory. Although far from an academic study, the cartoon-drawing format and merry black-and-white illustrations will render the book popular among younger groups in need of a rapid overview of the movement. From Mary Wollstonecraft to Betty Friedan, the diminutive volume offers a chronological history of feminism in its nascent roots in colonial times, to the 1960s Women's Movement and its modern form today. Most notable, the book places a large emphasis on the struggles of African-American women, highlighting the lives and careers of such activists as Sojourner Truth, Harriet Tubman, bell hooks and Audre Lorde. Another standout section covers Germaine Greer, a proponent of the idea that 'heterosexuality is a form of oppression, conditioning women to conform to their society's expectations of femininity and encouraging them to believe that their value depends on their appeal to men.'"— Kirkus Reviews

    John Carey--one of Britain's most respected literary critics--here cuts through the cant surrounding the fine arts, debunking claims that the arts make us better people or that judgments about art are anything more than personal opinion. But Carey does argue strongly for the value of art as an activity and for the superiority of one art in particular: literature. Literature, he contends, is the only art capable of reasoning, and the only art that can criticize. Literature has the ability to inspire the mind and the heart towards practical ends far better than any work of conceptual art. Here then is a lively and stimulating invitation to debate the value of art, a provocative book that anyone seriously interested in the arts should read (Michael Dirda, The Washington Post).

    Offering bold new ways of conceiving the present, Lauren Berlant describes the cruel optimism that has prevailed since the 1980s, as the social-democratic promise of the postwar period in the United States and Europe has retracted. People have remained attached to unachievable fantasies of the good life—with its promises of upward mobility, job security, political and social equality, and durable intimacy—despite evidence that liberal-capitalist societies can no longer be counted on to provide opportunities for individuals to make their lives “add up to something.”Arguing that the historical present is perceived affectively before it is understood in any other way, Berlant traces affective and aesthetic responses to the dramas of adjustment that unfold amid talk of precarity, contingency, and crisis. She suggests that our stretched-out present is characterized by new modes of temporality, and she explains why trauma theory—with its focus on reactions to the exceptional event that shatters the ordinary—is not useful for understanding the ways that people adjust over time, once crisis itself has become ordinary. Cruel Optimism is a remarkable affective history of the present.

    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.

    India is a nation of 1.2 billion, but the country’s 100 richest people own assets equivalent to one-fourth of India’s gross domestic product.Capitalism: A Ghost Story examines the dark side of democracy in contemporary India, and shows how the demands of globalized capitalism has subjugated billions of people to the highest and most intense forms of racism and exploitation.

    Harking back to the beloved novels of his youth and ranging through the work of such writers as Tolstoy, Dostoevsky, Stendhal, Flaubert, Proust, Mann, and Naipaul, he explores the oscillation between the naive and the reflective, and the search for an equilibrium, that lie at the center of the novelist's craft. He ponders the novel's visual and sensual power--its ability to conjure landscapes so vivid they can make the here-and-now fade away. In the course of this exploration, he considers the elements of character, plot, time, and setting that compose the "sweet illusion" of the fictional world.Anyone who has known the pleasure of becoming immersed in a novel will enjoy, and learn from, this perceptive book by one of the modern masters of the art.

    No book could be more important." --George A. Akerlof, Nobel Laureate in EconomicsCritics of contemporary economics complain that belief in free markets--among economists as well as many ordinary citizens--is a form of religion. And, it turns out, that in a deeper, more historically grounded sense there is something to that idea.Contrary to the conventional historical view of economics as an entirely secular product of the Enlightenment, Benjamin M. Friedman demonstrates that religion exerted a powerful influence from the outset. Friedman makes clear how the foundational transition in thinking about what we now call economics, beginning in the eighteenth century, was decisively shaped by the hotly contended lines of religious thought within the English-speaking Protestant world. Beliefs about God-given human character, about the after-life, and about the purpose of our existence, were all under scrutiny in the world in which Adam Smith and his contemporaries lived.Friedman explores how those debates go far in explaining the puzzling behavior of so many of our fellow citizens whose views about economic policies--and whose voting behavior--seems sharply at odds with what would be to their own economic benefit. Illuminating the origins of the relationship between religious thinking and economic thinking, together with its ongoing consequences, Friedman provides invaluable insights into our current economic policy debates and demonstrates ways to shape more functional policies for all citizens.

    In the summer of 1977, seventeen-year-old Mona Manoliu falls in love with Mihai, a mysterious, green-eyed boy who lives in Brasov, the romantic mountain city where she spends her summers. She can think of nothing, and no one, else. But life under the dictatorship of Nicolae Ceausescu is difficult. Hunger and paranoia infect everyone; fear, too. And one day, Mona sees Mihai wearing the black leather jacket favored by the secret police. Could he be one of them?As food shortages worsen, as more and more of her loved ones disappear in “accidents,” Mona comes to understand that she must leave Romania. She escapes in secret—narrowly avoiding the police—through Yugoslavia to Italy, and then to Chicago, a city she calls “fit for my hunger.” But she leaves without saying a final good-bye to Mihai. And though she struggles to bury her longing for the past—she becomes a doctoral student, marries, has children—she finds herself compelled to return to her country, determined to learn the truth about her one great love.Seductive, suspenseful, intensely evocative, and told in an astonishingly original, poetic voice, Train to Trieste is a force of language and emotion, as acutely observed as it is impossible to put down.

    In Democracy Matters, West returns to the analysis of the arrested development of democracy, both in America and in the crisis-ridden Middle East.In a strikingly original diagnosis, he argues that if America is to become a better steward of democratization around the world, we must first wake up to the long history of imperialist corruption that has plagued our own democracy. Both our failure to foster peace in the Israeli-Palestinian conflict and the crisis of Islamist anti-Americanism stem largely from hypocrisies in our dealings with the world.Racism and imperial expansionism have gone hand in hand in our country's inexorable drive toward hegemony, and our current militarism is only the latest expression of that drive. Even as we are shocked by Islamic fundamentalism, our own brand of fundamentalism, which West dubs Constantinian Christianity, has joined forces with imperialist corporate and political elites in an unholy alliance, and four decades after the murder of Dr. Martin Luther King, Jr., insidious racism still inflicts debilitating psychic pain on so many of our citizens.But there is a deep democratic tradition in America of impassioned commitment to the fight against imperialist corruptions---the last great expression of which was the civil rights movement led by Dr. King---and West brings forth the powerful voices of that great democratizing tradition in a brilliant and deeply moving call for the revival of our better democratic nature. His impassioned and provocative argument for the revitalization of America's democracy will reshape the terms of the raging national debate about America's role in today's troubled world.

    She called it "disaster capitalism." Covering Sri Lanka in the wake of the tsunami, and New Orleans post-Katrina, she witnessed something remarkably similar. People still reeling from catastrophe were being hit again, this time with economic "shock treatment" losing their land and homes to rapid-fire corporate makeovers. The Shock Doctrine retells the story of the most dominant ideology of our time, Milton Friedman's free market economic revolution. In contrast to the popular myth of this movement's peaceful global victory, Klein shows how it has exploited moments of shock and extreme violence in order to implement its economic policies in so many parts of the world from Latin America and Eastern Europe to South Africa, Russia, and Iraq. At the core of disaster capitalism is the use of cataclysmic events to advance radical privatization combined with the privatization of the disaster response itself. By capitalizing on crises, created by nature or war, Klein argues that the disaster capitalism complex now exists as a booming new economy, and is the violent culmination of a radical economic project that has been incubating for fifty years.

    What is misogyny, exactly? Who deserves to be called a misogynist? How does misogyny contrast with sexism, and why is it prone to persist--or increase--even when sexist gender roles are waning? This book is an exploration of misogyny in public life and politics, by the moral philosopher and writer Kate Manne. It argues that misogyny should not be understood primarily in terms of the hatred or hostility some men feel toward women generally. Rather, it's primarily about controlling, policing, punishing, and exiling the "bad" women who challenge male dominance. And it's compatible with rewarding "the good ones," and singling out other women to serve as warnings to those who are out of order. It's also common for women to serve as scapegoats, be burned as witches, and treated as pariahs.Manne examines recent and current events such as the Isla Vista killings by Elliot Rodger, the case of the convicted serial rapist Daniel Holtzclaw, who preyed on African-American women as a police officer in Oklahoma City, Rush Limbaugh's diatribe against Sandra Fluke, and the "misogyny speech" of Julia Gillard, then Prime Minister of Australia, which went viral on YouTube. The book shows how these events, among others, set the stage for the 2016 U.S. presidential election. Not only was the misogyny leveled against Hillary Clinton predictable in both quantity and quality, Manne argues it was predictable that many people would be prepared to forgive and forget Donald Trump's history of sexual assault and harassment. For this, Manne argues, is misogyny's oft-overlooked and equally pernicious underbelly: exonerating or showing "himpathy" for the comparatively privileged men who dominate, threaten, and silence women.

    On his travels he ponders Thoreau's eager seclusion in Walden Woods; the reason Rimbaud walked in a fury, while Nerval rambled to cure his melancholy. He shows us how Rousseau walked in order to think, while Nietzsche wandered the mountainside to write. In contrast, Kant marched through his hometown every day, exactly at the same hour, to escape the compulsion of thought. Brilliant and erudite, A Philosophy of Walking is an entertaining and insightful manifesto for putting one foot in front of the other.