immigration policy--a process that profoundly shaped ideas and practices about citizenship, race, and state authority in the 20th century.Mae Ngai offers a close reading of the legal regime of restriction that commenced in the 1920s--its statutory architecture, judicial genealogies, administrative enforcement, differential treatment of European and non-European migrants, and long-term effects. In well-drawn historical portraits, Ngai peoples her study with the Filipinos, Mexicans, Japanese, and Chinese who comprised, variously, illegal aliens, alien citizens, colonial subjects, and imported contract workers.She shows that immigration restriction, particularly national-origin and numerical quotas, re-mapped the nation both by creating new categories of racial difference and by emphasizing as never before the nation's contiguous land borders and their patrol. This yielded the illegal alien, a new legal and political subject whose inclusion in the nation was a social reality but a legal impossibility--a subject without rights and excluded from citizenship. Questions of fundamental legal status created new challenges for liberal democratic society and have directly informed the politics of multiculturalism and national belonging in our time.Ngai's analysis is based on extensive archival research, including previously unstudied records of the U.S. Border Patrol and Immigration and Naturalization Service. Contributing to American history, legal history, and ethnic studies, Impossible Subjects is a major reconsideration of U.S. immigration in the 20th century.

    After his death, the contents of his studio, including thousands of glass negatives, were sold off for five dollars. For years the fragile negatives sat forgotten and deteriorating in cardboard boxes in an open carport. How did it happen, then, that the most implausible of events took place? That Disfarmer’s haunting portraits were retrieved from oblivion, that today they sell for upwards of $12,000 each at posh New York art galleries; his photographs proclaimed works of art by prestigious critics and journals and exhibited around the world? The story of Disfarmer’s rise to fame is a colorful, improbable, and ultimately fascinating one that involves an unlikely assortment of individuals. Would any of this have happened if a young New York photographer hadn't been so in love with a pretty model that he was willing to give up his career for her; if a preacher’s son from Arkansas hadn't spent 30 years in the Army Corps of Engineers mapping the U.S. from an airplane; if a magazine editor hadn't felt a strange and powerful connection to the work? The cast of characters includes these, plus a restless and wealthy young Chicago aristocrat and even a grandson of FDR. It’s a compelling story which reveals how these diverse people were part of a chain of events whose far-reaching consequences none of them could have foreseen, least of all the strange and reclusive genius of Heber Springs. Until now, the whole story has not been told.

    28 photographs; 3 maps.

    This genre-busting collection includes fiction young, coming-of-age, multicultural and nonfiction, including articles on popular culture and politics, profiles, humor, satire, even alternative comics.

    But when Ernesto ends up on the wrong side of the region's brutal gangs he is forced to flee the country, and Raul, because he looks just like his brother, follows close behind--away from one danger and toward the great American unknown.In this urgent chronicle of contemporary immigration, journalist Lauren Markham follows the seventeen-year-old Flores twins as they make their harrowing journey across the Rio Grande and the Texas desert, into the hands of immigration authorities, and from there to their estranged older brother's custody in Oakland, CA. Soon these unaccompanied minors are navigating a new school in a new language, working to pay down their mounting coyote debt, and facing their day in immigration court, while also encountering the triumphs and pitfalls of life as American teenagers-girls, grades, Facebook-with only each other for support. With intimate access and breathtaking range, Markham offers a coming of age tale that is also a nuanced portrait of Central America's child exodus, an investigation of U.S. immigration policy, and an unforgettable testament to the migrant experience.

    The journal includes nonfiction, literary horror fiction, poetry, artwork and non-classifiable hybrid pieces.Vol. 1, Issue 1 Contents:• Foreword to Teatro Grottesco essay by Thomas Ligotti•The Nightmare of His Art: The Horrific Power of the Imagination in "The Troubles of Dr. Thoss and "Gas Station Carnivals" essay by W. Silverwood•The Gods in Their Seats, Unblinking short fiction by Kurt Fawver• Affirmation of the Spirit: Consciousness, Transformation, and the Fourth World in Film short fiction by Christopher Slatsky•Try the Veal poem by Robert Beveridge•How to Construct a Gun from Your Own Flesh short fiction by Michael Uhall•Notes on a Horror essay by Dr. Raymond Thoss•"Eccentric to the Healthy Social Order" : Inversions of Family, Community, and Religion in Thomas Ligotti's "The Last Feast of Harlequin" essau by Michael J. Abolafia•Wraiths poem by Wade German•Eraserhead as Antinatalist Allegoryessay by Colby Smith•The Alienation of the Self: Marx, Polanyi, and Ligottian Horroressay by S. L. Edwards•The Theatre of Ovid short fiction by Aaron Worth•Infinite Light, Infinite Darkness short fiction by Martin Rose•Night Walks: The Films of Val Lewton essay by Michael Penkas• Solar Flare short fiction by Paul L. Bates•Strange Bird poem by Ian Mullins•Nervous Wares & Abnormal Staresshort fiction by Devin Goff•My Time at the Drake Clinic short fiction by Jordan Krall•Singing the Song of My Unmaking short fiction by Christopher Ropes•"They say I should kill myself and not try to spoil their enjoyment in being alive": An Interview with Thomas Ligottiinterview by Wojciech Gunia

    Here is Siegmund Warburg, who dropped a client in the heat of a takeover deal because the man wore monogrammed shirt cuffs, as well as the imperious J. P. Morgan, who, when faced with a federal antitrust suit, admonished Theodore Roosevelt to "send your man to my man and they can fix it up." And here are the men who usurped their power, from the go-getters of the 1920s to the masters of the universe of the 1980s. Glittering with perception and anecdote, The Death of the Banker is at once a panorama of twentieth-century finance and a guide to the new era of giant mutual funds on Wall Street."Chernow . . . delivers a sound, accessible account of the forces shaping capital, credit, currency, and securities markets on the eve of a new millennium. " --Kirkus Reviews

    “That way,” Mami told the midwife, “no matter where life takes her, she won’t ever forget where she came from.” Then Mago touched my belly button . . . She said that my umbilical cord was like a ribbon that connected me to Mami. She said, “It doesn’t matter that there’s a distance btween us now. That cord is there forever.” When Reyna Grande’s father leaves his wife and three children behind in a village in Mexico to make the dangerous trek across the border to the United States, he promises he will soon return from “El Otro Lado” (The Other Side) with enough money to build them a dream house where they can all live together. His promises become harder to believe as months turn into years. When he summons his wife to join him, Reyna and her siblings are deposited in the already overburdened household of their stern, unsmiling grandmother. The three siblings are forced to look out for themselves; in childish games they find a way to forget the pain of abandonment and learn to solve very adult problems. When their mother at last returns, the reunion sets the stage for a dramatic new chapter in Reyna’s young life: her own journey to “El Otro Lado” to live with the man who has haunted her imagination for years, her long-absent father. In this extraordinary memoir, award-winning writer Reyna Grande vividly brings to life her tumultuous early years, capturing all the confusion and contradictions of childhood, especially one spent torn between two parents and two countries. Elated when she feels the glow of her father’s love and approval, Reyna knows that at any moment he might turn angry or violent. Only in books and music and her rich imaginary life does she find solace, a momentary refuge from a world in which every place feels like “El Otro Lado.” The Distance Between Us captures one girl’s passage from childhood to adolescence and beyond. A funny, heartbreaking, lyrical story, it reminds us that the joys and sorrows of childhood are always with us, invisible to the eye but imprinted on the heart, forever calling out to us of those places we first called home.