prisons has increased more than 450%. Despite a crime rate that has been falling steadily for decades, California has led the way in this explosion, with what a state analyst called “the biggest prison building project in the history of the world.” Golden Gulag provides the first detailed explanation for that buildup by looking at how political and economic forces, ranging from global to local, conjoined to produce the prison boom. In an informed and impassioned account, Ruth Wilson Gilmore examines this issue through statewide, rural, and urban perspectives to explain how the expansion developed from surpluses of finance capital, labor, land, and state capacity. Detailing crises that hit California’s economy with particular ferocity, she argues that defeats of radical struggles, weakening of labor, and shifting patterns of capital investment have been key conditions for prison growth. The results—a vast and expensive prison system, a huge number of incarcerated young people of color, and the increase in punitive justice such as the “three strikes” law—pose profound and troubling questions for the future of California, the United States, and the world. Golden Gulag provides a rich context for this complex dilemma, and at the same time challenges many cherished assumptions about who benefits and who suffers from the state’s commitment to prison expansion.

    Davis has put the case for the latest abolition movement in American life: the abolition of the prison. As she quite correctly notes, American life is replete with abolition movements, and when they were engaged in these struggles, their chances of success seemed almost unthinkable. For generations of Americans, the abolition of slavery was sheerest illusion. Similarly,the entrenched system of racial segregation seemed to last forever, and generations lived in the midst of the practice, with few predicting its passage from custom. The brutal, exploitative (dare one say lucrative?) convict-lease system that succeeded formal slavery reaped millions to southern jurisdictions (and untold miseries for tens of thousands of men, and women). Few predicted its passing from the American penal landscape. Davis expertly argues how social movements transformed these social, political and cultural institutions, and made such practices untenable.In Are Prisons Obsolete?, Professor Davis seeks to illustrate that the time for the prison is approaching an end. She argues forthrightly for "decarceration", and argues for the transformation of the society as a whole.

    When people are trapped in a cycle of debt it also can affect their subjectivity and how they temporally inhabit the world by making it difficult for them to imagine and plan for the future. What psychic toll does this have on residents? How does it feel to be routinely dehumanized and exploited by the police?—from Carceral CapitalismIn this collection of essays in Semiotext(e)'s Intervention series, Jackie Wang examines the contemporary incarceration techniques that have emerged since the 1990s. The essays illustrate various aspects of the carceral continuum, including the biopolitics of juvenile delinquency, predatory policing, the political economy of fees and fines, cybernetic governance, and algorithmic policing. Included in this volume is Wang's influential critique of liberal anti-racist politics, “Against Innocence,” as well as essays on RoboCop, techno-policing, and the aesthetic problem of making invisible forms of power legible.Wang shows that the new racial capitalism begins with parasitic governance and predatory lending that extends credit only to dispossess later. Predatory lending has a decidedly spatial character and exists in many forms, including subprime mortgage loans, student loans for sham for-profit colleges, car loans, rent-to-own scams, payday loans, and bail bond loans. Parasitic governance, Wang argues, operates through five primary techniques: financial states of exception, automation, extraction and looting, confinement, and gratuitous violence. While these techniques of governance often involve physical confinement and the state-sanctioned execution of black Americans, new carceral modes have blurred the distinction between the inside and outside of prison. As technologies of control are perfected, carcerality tends to bleed into society.

    His great-grandfather was beaten to death by the Klu Klux Klan for attempting to vote. His grandfather was prevented from voting by Klan intimidation; his father was barred by poll taxes and literacy tests. Today, Cotton cannot vote because he, like many black men in the United States, has been labeled a felon and is currently on parole."As the United States celebrates the nation's "triumph over race" with the election of Barack Obama, the majority of young black men in major American cities are locked behind bars or have been labeled felons for life. Although Jim Crow laws have been wiped off the books, an astounding percentage of the African American community remains trapped in a subordinate status--much like their grandparents before them.In this incisive critique, former litigator-turned-legal-scholar Michelle Alexander provocatively argues that we have not ended racial caste in America: we have simply redesigned it. Alexander shows that, by targeting black men and decimating communities of color, the U.S. criminal justice system functions as a contemporary system of racial control, even as it formally adheres to the principle of color blindness. The New Jim Crow challenges the civil rights community--and all of us--to place mass incarceration at the forefront of a new movement for racial justice in America.

    People are waking up to the seedy history of the world's art collections, and are starting to ask difficult questions about what the future of museums should look like. In The Whole Picture, art historian and Uncomfortable Art Tour guide Alice Procter provides a manual for deconstructing everything you thought you knew about art, and fills in the blanks with the stories that have been left out of the art history canon for centuries. The book is divided into four chronological sections, named after four different kinds of art space:The Palace The Classroom The Memorial The Playground Each section tackles the fascinating and often shocking stories of five different art pieces, including the propaganda painting that the East India Company used to justify its control in India; the Maori mokomokai skulls that were traded and collected by Europeans as 'art objects'; and Kara Walker's controversial contemporary sculpture A Subtlety, which raised questions about 'appropriate' interactions with art. Through these stories, Alice brings out the underlying colonial narrative lurking beneath the art industry today, and suggests different ways of seeing and thinking about art in the modern world.The Whole Picture is a much-needed provocation to look more critically at the accepted narratives about art, and rethink and disrupt the way we interact with the museums and galleries that display it.

    But just what is the role of police in a democracy: to serve the public or to protect the powerful? Tracing the evolution of the modern police force back to the slave patrols, this controversial study observes the police as the armed defender of a violent status quo.Kristian Williams is the author of American Methods: Torture and the Logic of Domination.

    Amid growing awareness of police violence, individual Black men including Michael Brown, Eric Garner, Philando Castile, and Freddie Gray have been the focus of most media-driven narratives. Yet Black women, Indigenous women, and other women of color also face daily police violence. Invisible No More places the individual stories of women and girls such as Sandra Bland, Dajerria Becton, Mya Hall, and Rekia Boyd into broader contexts, centering women of color within conversations around the twin epidemics of police violence and mass incarceration. Invisible No More also documents the evolution of a movement for justice for women of color targeted by police that has been building for decades, largely in the shadows of mainstream campaigns for racial justice and police accountability. Informed by twenty years of research and advocacy by Black lesbian immigrant and police-misconduct attorney Andrea Ritchie, this groundbreaking work demands a sea change in how police violence is understood by mainstream media, policymakers, academics, and the general public, as well as a radical rethinking of our visions of safety and the means we devote to achieving it."

    Derecka Purnell invites us to question why we think we need the police in the first place and imagine a world where the underlying structures that cause violence and harm are dismantled.For more than a century, activists in the United States have tried to reform the police. From community policing initiatives to increasing diversity, none of it has stopped the police from killing about three people a day. Millions of people continue to protest police violence because these "solutions" do not match the problem: the police cannot be reformed. In Becoming Abolitionists, Purnell draws from her experiences as a lawyer, writer, and organizer initially skeptical about police abolition. She saw too much sexual violence and buried too many friends to consider getting rid of police in her hometown of St. Louis, let alone the nation. But the police were a placebo. Calling them felt like something, and something feels like everything when the other option seems like nothing.Purnell details how multi-racial social movements rooted in rebellion, risk-taking, and revolutionary love pushed her and a generation of activists toward abolition. The book travels across geography and time, and offers lessons that activists have learned from Ferguson to South Africa, from Reconstruction to contemporary protests against police shootings. Here, Purnell argues that police can not be reformed and invites readers to envision new systems that work to address the root causes of violence. Becoming Abolitionists shows that abolition is not solely about getting rid of police, but a commitment to create and support different answers to the problem of harm in society, and, most excitingly, an opportunity to reduce and eliminate harm in the first place.

    The authors unpack queer criminal archetypes--like "gleeful gay killers," "lethal lesbians," "disease spreaders," and "deceptive gender benders"--to illustrate the punishment of queer expression, regardless of whether a crime was ever committed. Tracing stories from the streets to the bench to behind prison bars, the authors prove that the policing of sex and gender both bolsters and reinforces racial and gender inequalities. A groundbreaking work that turns a "queer eye" on the criminal legal system, Queer (In)Justice illuminates and challenges the many ways in which queer lives are criminalized, policed, and punished.

    This is How We Survive focuses on concrete alternatives to policing and prisons. From practical tool-kits and personal essays, to supporting people in mental health crises, to community-based murder investigations, this text delves deeply into the “how to” of transformative justice. Along the way, this volume documents the history of this radical movement, creating space for long time organizers to reflect on victories, struggles, mistakes, and transformations.

    It’s time to think this through.“Cancel” or “call-out” culture is a source of much tension and debate in American society. The infamous "Harper’s Letter,” signed by public intellectuals of both the left and right, sought to settle the matter and only caused greater division. Originating as a way for marginalized and disempowered people to address harm and take down powerful abusers, often with the help of social media, call outs are seen by some as having gone too far. But what is “too far” when you’re talking about imbalances of power and patterns of harm? And what happens when people in social justice movements direct their righteous anger inward at one another?In We Will Not Cancel Us, movement mediator Adrienne Maree Brown reframes the discussion for us, in a way that points to possible paths beyond this impasse. Most critiques of cancel culture come from outside the milieus that produce it, sometimes even from from its targets. However, Brown explores the question from a Black, queer, and feminist viewpoint that gently asks, how well does this practice serve us? Does it prefigure the sort of world we want to live in? And, if it doesn’t, how do we seek accountability and redress for harm in ways that reflect our values?

    How did the “land of the free” become the home of the world’s largest prison system? Challenging the belief that America’s prison problem originated with the Reagan administration’s War on Drugs, Elizabeth Hinton traces the rise of mass incarceration to an ironic source: the social welfare programs of Lyndon Johnson’s Great Society at the height of the civil rights era.Johnson’s War on Poverty policies sought to foster equality and economic opportunity. But these initiatives were also rooted in widely shared assumptions about African Americans’ role in urban disorder, which prompted Johnson to call for a simultaneous War on Crime. The 1965 Law Enforcement Assistance Act empowered the national government to take a direct role in militarizing local police. Federal anticrime funding soon incentivized social service providers to ally with police departments, courts, and prisons. Under Richard Nixon and his successors, welfare programs fell by the wayside while investment in policing and punishment expanded. Anticipating future crime, policymakers urged states to build new prisons and introduced law enforcement measures into urban schools and public housing, turning neighborhoods into targets of police surveillance.By the 1980s, crime control and incarceration dominated national responses to poverty and inequality. The initiatives of that decade were less a sharp departure than the full realization of the punitive transformation of urban policy implemented by Republicans and Democrats alike since the 1960s.

    Among activists, journalists and politicians, the conversation about how to respond and improve policing has focused on accountability, diversity, training, and community relations. Unfortunately, these reforms will not produce results, either alone or in combination. The core of the problem must be addressed: the nature of modern policing itself.This book attempts to spark public discussion by revealing the tainted origins of modern policing as a tool of social control. It shows how the expansion of police authority is inconsistent with community empowerment, social justice—even public safety. Drawing on groundbreaking research from across the world, and covering virtually every area in the increasingly broad range of police work, Alex Vitale demonstrates how law enforcement has come to exacerbate the very problems it is supposed to solve.In contrast, there are places where the robust implementation of policing alternatives—such as legalization, restorative justice, and harm reduction—has led to a decrease in crime, spending, and injustice. The best solution to bad policing may be an end to policing.

    First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    Readers have come to expect him not only to fill in their knowledge about art but also to inspire them to think about connections between art and the larger world - which is to say, to think more like an artist. Kimmelman's many years of contemplating and writing about art have brought him to this wise, wide-ranging, and long-awaited book.It explores art as life's great passion, revealing what we can learn of life through pictures and sculptures and the people who make them. It assures us that art - points of contact with the exceptional that are linked straight to the heart - can be found almost anywhere and everywhere if only our eyes are opened enough to recognize it. Kimmelman regards art, like all serious human endeavors, as a passage through which a larger view of life may come more clearly into focus. His book is a kind of adventure or journey.It carries the message that many of us may not yet have learned how to recognize the art in our own lives. To do so is something of an art itself. A few of the characters Kimmelman describes, like Bonnard and Chardin, are great artists. But others are explorers and obscure obsessives, paint-by-numbers enthusiasts, amateur shutterbugs, and collectors of strange odds and ends. Yet others, like Charlotte Solomon, a girl whom no one considered much of an artist but who secretly created a masterpiece about the world before her death in Auschwitz, have reserved spots for themselves in history, or not, with a single work that encapsulates a whole life.Kimmelman reminds us of the Wunderkammer, the cabinet of wonders - the rage in seventeenth-century Europe and a metaphor for the art of life. Each drawer of the cabinet promises something curious and exotic, instructive and beautiful, the cabinet being a kind of ideal, self-contained universe that makes order out of the chaos of the world. The Accidental Masterpiece is a kind of literary Wunderkammer, filled with lively surprises and philosophical musings. It will inspire readers to imagine their own personal cabinet of wonders.