Yet little is known about why for-profits have expanded so quickly and even less about how the power and influence of this big-money industry impact individual lives. Lower Ed, the first book to link the rapid expansion of for-profit degrees to America’s increasing inequality, reveals the story of an industry that exploits the pain, desperation, and aspirations of the most vulnerable and exposes the conditions that allow for-profit education to thrive.Tressie McMillan Cottom draws on her personal experience as a former counselor at two for-profit colleges and dozens of interviews with students, senior executives, and activists to detail how these schools have become so successful and to decipher the benefits, credentials, pitfalls, and real costs of a for-profit education. By humanizing the hard choices about school and survival that millions of Americans face, Lower Ed nimbly parses the larger forces that deliver some of us to Yale and others to For-Profit U in an office park off Interstate 10.

    Across the book’s three sequences, we find the black-girl speaker in the midst of a self-imposed exile, going back in memory to explore her younger self—a mixed-race child being raised by her white supremacist grandfather in the shadow of Churchill Downs, Kentucky’s world-famous horseracing track—before arriving in a state of self-awareness to confront the personal and political landscape of a harshly segregated Louisville. Out of a space that is at once southern and urban, violent and beautiful, racially-charged and working-class, she attempts to transcend her social and economic circumstances. Across the collection, Priest writes a horse that acts as a metaphysical engine of flight, showing us how to throw off the harness and sustain wildness. Unlike the traditional Bildungsroman, Priest presents a non-linear narrative in which the speaker lacks the freedom to come of age naively in the urban South, and must instead, from the beginning, possess the wisdom of “the horses & their restless minds.”    FROM "RODEO"   The four-wheeler is a chariot. Horse-wraiths Kicking up a plume of spirits in the dirt behind us. Her arms kudzu around my middle. Out here,   In the desert, everything is invisible. Only the locusts’ flat buzz gives Them away. Everything native & quieting   Perennial & nighthawk black As we ride through: the cowgirls, The witch & the water sky-mirror-split,   The severity of squall lines. Also, the lips Parting air like lightning & the girl Blowing bubbles—in each one                                                 a rainbow.

    Bold and impassioned, sharp and defiant, Leslie Marmon Silko's essays evoke the spirit and voice of Native Americans. Whether she is exploring the vital importance literature and language play in Native American heritage, illuminating the inseparability of the land and the Native American people, enlivening the ways and wisdom of the old-time people, or exploding in outrage over the government's long-standing, racist treatment of Native Americans, Silko does so with eloquence and power, born from her profound devotion to all that is Native American. Yellow Woman and a Beauty of the Spirit is written with the fire of necessity. Silko's call to be heard is unmistakable—there are stories to remember, injustices to redress, ways of life to preserve. It is a work of major importance, filled with indispensable truths—a work by an author with an original voice and a unique access to both worlds.

    In his debut, Hustle, Martinez offered a kaleidoscopic coming-of-age narrative replete with teen shootings and car-jackings, uncertain forays into sex, and the ongoing violence of colonialism upon Latino communities in San Diego. Emerging from the fray, the poet is left to wonder: Who am I now? In Post Traumatic Hood Disorder, the speaker assembles a bricolage self-portrait from the fractures of the past. Sliding between scholarly diction and slangy vernacular, studded with references to Greek mythology and hip-hop, Martinez's poems showcase a versatility of language and a wild-hearted poetic energy that is thoughtful, vulnerable, and distinctly American.David Tomas Martinez is a recipient of a 2017 NEA fellowship, the Pushcart Prize, the Verlaine Poetry Prize, a CantoMundo fellowship, and the Stanley P. Young Fellowship from Breadloaf. His debut collection of poetry, Hustle (2014, Sarabande Books) received the New England Book Festival's prize in poetry, the Devil's Kitchen Reading Award, and $10,000 as honorable mention from the Antonio Cisneros Del Moral Prize. His work has been published or is forthcoming in Poetry, Ploughshares, Tin House, Boston Review, Los Angeles Review of Books, Oxford American, Prairie Schooner, and elsewhere. Martinez lives in Brooklyn, NY.

    As the former mayor of Boston, Bernard Doyle wants to see his sons in politics, a dream the boys have never shared. But when an argument in a blinding New England snowstorm inadvertently causes an accident that involves a stranger and her child, all Bernard Doyle cares about is his ability to keep his children—all his children—safe.

    Poole's sizzling new novel, three sistahs and three bruthahs are playin'a game of love where the only rule is anything goes . . . Ever since Shonda stole Malik from his fiancée--at the altar, no less--she's believed that marrying him would be her ticket to happiness. But when it finally happens, Shonda is in for a rude awakening. . . Meanwhile, Malik's ex-fiancée, Kim, has had a year to get over the nightmare that was supposed to be her wedding day. She manages to pull it together despite the news that Malik actually married the bitch who spoiled her nuptials. Just as she opens up to the idea of a new love, Kim meets a new man. . .who happens to be white. Is he the one she's been looking for? After two years with her boyfriend Rodney, twenty-five-year-old Nadine Clark wants to see what else is out there. But Nadine soon discovers being single isn't what she'd imagined. Dejected, Nadine takes up with Malik, a man she believes is free. But when his wife, Shonda, confronts Nadine, everything hits the fan. . .and it isn't long before everyone involved comes face-to-face with the crazy consequences of getting what they wished for. . .

    Told in a series of vignettes – sometimes heartbreaking, sometimes deeply joyous–it is the story of a young Latina girl growing up in Chicago, inventing for herself who and what she will become. Few other books in our time have touched so many readers.

    Derived from interviews with a wide range of  people who experienced or observed New York's 1991  Crown Heights racial riots, Fires In The  Mirror is as distinguished a work of  commentary on current Black-White tensions as it is a  work of drama.

    Of her most recent book, Raptus, Carolyn Forché has written that she is “a genuine poet, a born poet, and I am in awe of her achievement.” The poems in Klink’s new collection offer a closely keyed meditation on being alone—on a self fighting its way out of isolation, toward connection with other people and a vanishing world.

    By 1988 she was living at home but was brain dead after a tragic cycle of misunderstanding, over-medication, and culture clash: "What the doctors viewed as clinical efficiency the Hmong viewed as frosty arrogance." The Spirit Catches You and You Fall Down is a tragedy of Shakespearean dimensions, written with the deepest of human feeling. Sherwin Nuland said of the account, "There are no villains in Fadiman's tale, just as there are no heroes. People are presented as she saw them, in their humility and their frailty—and their nobility.

    The wit and wisdom of the West, as documented by Dalton Wilcox, poet laureate of the West.

    SELECTED AND INTRODUCED BY JOYCE CAROL OATESBetween them, our great visionary poets of the American nineteenth century, Emily Dickinson and Walt Whitman, have come to represent the extreme, idiosyncratic poles of the American psyche....Dickinson never shied away from the great subjects of human suffering, loss, death, even madness, but her perspective was intensely private; like Rainer Maria Rilke and Gerard Manley Hopkins, she is the great poet of inwardness, of the indefinable region of the soul in which we are, in a sense, all alone.

    In it, Reed, one of our preeminent African-American authors, mixes portraits of historical figures and fictional characters with sound bites on subjects ranging from ragtime to Greek philosophy. Cited by literary critic Harold Bloom as one of the five hundred most significant books in the Western canon, Mumbo Jumbo is a trenchant and often biting look at black-white relations throughout history, from a keen observer of our culture.

    Now, in Two or Three Things I Know for Sure, she takes a probing look at her family's history to give us a lyrical, complex memoir that explores how the gossip of one generation can become legends for the next.Illustrated with photographs from the author's personal collection, Two or Three Things I Know for Sure tells the story of the Gibson women -- sisters, cousins, daughters, and aunts -- and the men who loved them, often abused them, and, nonetheless, shared their destinies. With luminous clarity, Allison explores how desire surprises and what power feels like to a young girl as she confronts abuse. As always, Dorothy Allison is provocative, confrontational, and brutally honest. Two or Three Things I Know for Sure, steeped in the hard-won wisdom of experience, expresses the strength of her unique vision with beauty and eloquence.

    She is working as a software engineer in an investment bank in USA. She has money ($$$$), she can afford sex outside marriage. She also has opinion on everything. She is dating various marriage prospects, will she get her dream guy?