Surely these things would never happen to you.Zoe Quinn used to feel the same way. Zoe is a video game developer whose ex-boyfriend published a crazed blog post cobbled together from private information, half-truths, and outright fictions, along with a rallying cry to the online hordes to go after her. The hordes answered in the form of a so-called movement known as #gamergate--they hacked her accounts, stole nude photos of her, harassed her family, friends and colleagues, and threatened to rape and murder her. But instead of shrinking into silence as the online mobs wanted her to, she has raised her voice and speaks out against this vicious online culture and for making the internet a safer place for everyone.In the several years since #Gamergate started, Quinn has helped thousands of people with her advocacy and online abuse crisis resource Crash Override Network. From locking down individuals' personal accounts and information to working with tech companies and lawmakers alike to inform policy, she has firsthand knowledge about every angle of online abuse, what powerful institutions are (and aren't) doing about it, and how we can protect our digital spaces and selves--and now she wants to share that information with you.Crash Override offers an up close look inside the controversy, threats, and social and cultural battles that started in the far corners of the internet and have since permeated our online lives. Quinn uses her story--as target and as activist--to provide an accessible, personal, and human look at the ways the internet impacts our lives and culture. Through anecdotes from the eye of the storm to practical advice for keeping yourself and others safe online, Crash Override combines memoir, manifesto, and map to a better future for our online lives.

    It developed concurrently everywhere, and every region had it's own identity. But it was in San Francisco and L.A. where the most radical behavior in stateside punk rock style and attitude was exhibited. It was anti-hippie, anti-disco, anti-parent and anti-"nice". And it was shockingly new. These photos are ground zero of punk rock style—delirious innovation and a snarling takeover of youth culture still resonating more than 20 years hence.

    Throughout Europe and America, artists and intellectuals banded together to portray women as static and unindividuated beings who functioned solely in a sexual and reproductive capacity, thus formulating many of the anti-feminine platitudes that today still constrain women's potential. Bram Dijkstra's Idols of Perversity explores the nature and development of turn-of-the-century misogyny in the works of hundreds of writers, artists, and scientists, including Zola, Strindberg, Wedekind, Henry James, Rossetti, Renoir, Moreau, Klimt, Darwin, and Spencer. Dijkstra demonstrates that the most prejudicial aspects of Evolutionary Theory helped to justify this wave of anti-feminine sentiment. The theory claimed that the female of the species could not participate in the great evolutionary process that would guide the intellectual male to his ultimate, predestined role as a disembodied spiritual essence. Darwinists argued that women hindered this process by their willingness to lure men back to a sham paradise of erotic materialism. To protect the male's continued evolution, artists and intellectuals produced a flood of pseudo-scientific tracts, novels, and paintings which warned the world's males of the evils lying beneath the surface elegance of woman's tempting skin. Reproducing hundreds of pictures from the period and including in-depth discussions of such key works as Dracula and Venus in Furs, this fascinating book not only exposes the crucial links between misogyny then and now, but also connects it to the racism and anti-semitism that led to catastrophic genocidal delusions in the first half of the twentieth century. Crossing the conventional boundaries of art history, sociology, the history of scientific theory, and literary analysis, Dijkstra unveils a startling view of a grim and largely one-sided war on women still being fought today.

    --Alexander Chee Twenty years in the making, Sarah Schulman's Let the Record Show is the most comprehensive political history ever assembled of ACT UP and American AIDS activism In just six years, ACT UP, New York, a broad and unlikely coalition of activists from all races, genders, sexualities, and backgrounds, changed the world. Armed with rancor, desperation, intelligence, and creativity, it took on the AIDS crisis with an indefatigable, ingenious, and multifaceted attack on the corporations, institutions, governments, and individuals who stood in the way of AIDS treatment for all. They stormed the FDA and NIH in Washington, DC, and started needle exchange programs in New York; they took over Grand Central Terminal and fought to change the legal definition of AIDS to include women; they transformed the American insurance industry, weaponized art and advertising to push their agenda, and battled--and beat--The New York Times, the Catholic Church, and the pharmaceutical industry. Their activism, in its complex and intersectional power, transformed the lives of people with AIDS and the bigoted society that had abandoned them.Based on more than two hundred interviews with ACT UP members and rich with lessons for today's activists, Let the Record Show is a revelatory exploration--and long-overdue reassessment--of the coalition's inner workings, conflicts, achievements, and ultimate fracture. Schulman, one of the most revered queer writers and thinkers of her generation, explores the how and the why, examining, with her characteristic rigor and bite, how a group of desperate outcasts changed America forever, and in the process created a livable future for generations of people across the world.

    He would never have come to power if Germany’s leading politicians had not responded to a spate of populist insurgencies by trying to co-opt him, a strategy that backed them into a corner from which the only way out was to bring the Nazis in. Hett lays bare the misguided confidence of conservative politicians who believed that Hitler and his followers would willingly support them, not recognizing that their efforts to use the Nazis actually played into Hitler’s hands. They had willingly given him the tools to turn Germany into a vicious dictatorship.Benjamin Carter Hett is a leading scholar of twentieth-century Germany and a gifted storyteller whose portraits of these feckless politicians show how fragile democracy can be when those in power do not respect it. He offers a powerful lesson for today, when democracy once again finds itself embattled and the siren song of strongmen sounds ever louder.

    Instead, she created at home small handmade books. When, in her later years, she stopped producing these, she was still writing a great deal, and at her death she left behind many poems, drafts, and letters. It is among the makeshift and fragile manuscripts of Dickinson’s later writings that we find the envelope poems gathered here. These manuscripts on envelopes (recycled by the poet with marked New England thrift) were written with the full powers of her late, most radical period. Intensely alive, these envelope poems are charged with a special poignancy—addressed to no one and everyone at once.Full-color facsimiles are accompanied by Marta L. Werner and Jen Bervin’s pioneering transcriptions of Dickinson’s handwriting. Their transcriptions allow us to read the texts, while the facsimiles let us see exactly what Dickinson wrote (the variant words, crossings-out, dashes, directional fields, spaces, columns, and overlapping planes).

    All five men are primarily homosexual, though they handle their erotic orientation in very different ways. Where Rathenau remains utterly closeted, Kessler feels free to bring his youthful working-class lover to the privileged soirées of the aristocracy, and the roustabout Röhm openly cavorts int he gay bathhouses and bars. Though Prince von Eulenburg, in contrast, is discretion itself, his enemies are hell-bent on his downfall; their intrigues culminate in the notorious trial of 1907 - at which Magnus Hirschfeld gives "expert" witness - that produces worldwide shock and titillation.The drama of these astonishing lives plays out against the rich tapestry of a period in human istory in which the remnants and artifices of a moribund society contend with the rise of revolutionary insurgencies, international antagonisms, and a surge of innovation in the arts, sciences - and self-knowledge.

    Michel Foucault offers an iconoclastic exploration of why we feel compelled to continually analyze and discuss sex, and of the social and mental mechanisms of power that cause us to direct the questions of what we are to what our sexuality is.

    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.

    Misogyny encompasses the Church, witch hunts, sexual theory, Nazism, pro-life campaigners, and finally, today's developing world, where women are increasingly and disproportionately at risk because of radicalized religious beliefs, famine, war, and disease. Extensively researched, highly readable and provocative, this book chronicles an ancient, pervasive and enduring injustice. The questions it poses deal with the fundamentals of human existence — sex, love, violence — that have shaped the lives of humans throughout history, and ultimately limn an abuse of human rights on a nearly unthinkable scale.

    In this age of CNN-mediated war, the lives of those wretched populations of the earth—the refugees; the victims of unjust imprisonment and torture; the immigrants virtually enslaved by their starvation and legal disenfranchisement—are always presented to us as already irretrievable and thereby already lost. We may shake our heads at their wretchedness but then we sacrifice them nonetheless, for they are already forgone.By analyzing the different frames through which we experience war, Butler calls for a reorientation of the Left toward the precarity of those lives. Only by recognizing those lives as precarious lives—lives that are not yet lost but are ever fragile and in need of protection—might the Left stand in unity against the violence perpetrated through arbitrary state power.

    president, and championed equality and justice for all. Why We March presents more than 300 of the most powerful, uplifting, clever, and creative signs from these marches. “Nasty Women Unite.” “Make America Think Again.” “Build Bridges, Not Walls.” “Girls Just Wanna Have Fundamental Rights.” “Love Trumps Hate.” “A Woman’s Place Is in the Resistance.” These images--featuring messages about reproductive rights and cabinet picks, immigration and police violence, climate change and feminism--together paint a striking portrait of resistance, despair, humor, and most of all, hope. This book will serve as a rallying cry for this burgeoning movement, and a valuable and timely encapsulation of an unprecedented moment in political history. All royalties from the sale of this book will be donated to Planned Parenthood.

    It was the launching pad for Hitler's empire, the embodiment of his vision of a world metropolis. Berlin was also the place where Hitler's Reich would ultimately fall. Berlin suffered more air raids than any other German city and endured the full force of a Soviet siege. In Berlin at War, historian Roger Moorhouse uses diaries, memoirs, and interviews to provide a searing first-hand account of life and death in the Nazi capital -- the privations, the hopes and fears, and the nonconformist tradition that saw some Berliners provide underground succor to the city's remaining Jews. Combining comprehensive research with gripping narrative, Berlin at War is the incredible story of the city -- and people -- that saw the whole of World War II.

    She catapulted to fame after winning Motion Picture magazine's 1921 "Fame and Fortune" contest. The greatest box-office draw of her day she once received 45,000 fan letters in a single month, Clara Bow's on screen vitality and allure that beguiled thousands, however, would be her undoing off-camera. David Stenn captures her legendary rise to stardom and fall from grace, her success marred by studio exploitation and sexual scandals.

    Written and presented by Neil MacGregor, it is produced by BBC Radio 4, in partnership with the British Museum.Whilst Germany s past is too often seen through the prism of the two World Wars, this series investigates a wider six hundred-year-old history of the nation through its objects. It examines the key moments that have defined Germany s past its great, world-changing achievements and its devastating tragedies and it explores the profound influence that Germany s history, culture, and inventiveness have had across Europe.The objects featured in the radio series range from large sculptures to small individual artifacts and items that are prosaic, iconic, and symbolic. Each has a story to tell and a memory to invoke."