What is race and why does it matter? What motivates the human tendency to construct Others? Why does the presence of Others make us so afraid?Drawing on her Norton Lectures, Toni Morrison takes up these and other vital questions bearing on identity in The Origin of Others. In her search for answers, the novelist considers her own memories as well as history, politics, and especially literature. Harriet Beecher Stowe, Ernest Hemingway, William Faulkner, Flannery O'Connor, and Camara Laye are among the authors she examines. Readers of Morrison's fiction will welcome her discussions of some of her most celebrated books--Beloved, Paradise, and A Mercy.If we learn racism by example, then literature plays an important part in the history of race in America, both negatively and positively. Morrison writes about nineteenth-century literary efforts to romance slavery, contrasting them with the scientific racism of Samuel Cartwright and the banal diaries of the plantation overseer and slaveholder Thomas Thistlewood. She looks at configurations of blackness, notions of racial purity, and the ways in which literature employs skin color to reveal character or drive narrative. Expanding the scope of her concern, she also addresses globalization and the mass movement of peoples in this century. National Book Award winner Ta-Nehisi Coates provides a foreword to Morrison's most personal work of nonfiction to date.

    With mordant wit, she surveys an anti-rationalist landscape extending from pop culture to a pseudo-intellectual universe of "junk thought." Disdain for logic and evidence defines a pervasive malaise fostered by the mass media, triumphalist religious fundamentalism, mediocre public education, a dearth of fair-minded public intellectuals on the right and the left, and, above all, a lazy and credulous public.Jacoby offers an unsparing indictment of the American addiction to infotainment—from television to the Web—and cites this toxic dependency as the major element distinguishing our current age of unreason from earlier outbreaks of American anti-intellectualism and anti-rationalism. With reading on the decline and scientific and historical illiteracy on the rise, an increasingly ignorant public square is dominated by debased media-driven language and received opinion.At this critical political juncture, nothing could be more important than recognizing the "overarching crisis of memory and knowledge" described in this impassioned, tough-minded book, which challenges Americans to face the painful truth about what the flights from reason has cost us as individuals and as a nation.

    Longtime skateboard artist Sean Cliver put together this staggering survey of over 1,000 skateboard graphics from the last 30 years, creating an indispensable insiders' history as he did so.Alongside his own history, Sean has assembled a wealth of recollections and stories from prominent artists and skateboarders such as: Andy Howell, Barry McGee, Ed Templeton, Steve Caballero, and Tony Hawk.The end result is a fascinating historical account of art in the skateboard subculture, as told by those directly involved with shaping its legendary creative face.

    Even as the country divides itself at every turn, the meritocratic ideal - that social and economic rewards should follow achievement rather than breeding - reigns supreme. Both Democrats and Republicans insistently repeat meritocratic notions. Meritocracy cuts to the heart of who we are. It sustains the American dream.But what if, both up and down the social ladder, meritocracy is a sham? Today, meritocracy has become exactly what it was conceived to resist: a mechanism for the concentration and dynastic transmission of wealth and privilege across generations. Upward mobility has become a fantasy, and the embattled middle classes are now more likely to sink into the working poor than to rise into the professional elite. At the same time, meritocracy now ensnares even those who manage to claw their way to the top, requiring rich adults to work with crushing intensity, exploiting their expensive educations in order to extract a return. All this is not the result of deviations or retreats from meritocracy but rather stems directly from meritocracy's successes.This is the radical argument that Daniel Markovits prosecutes with rare force. Markovits is well placed to expose the sham of meritocracy. Having spent his life at elite universities, he knows from the inside the corrosive system we are trapped within. Markovits also knows that, if we understand that meritocratic inequality produces near-universal harm, we can cure it. When The Meritocracy Trap reveals the inner workings of the meritocratic machine, it also illuminates the first steps outward, towards a new world that might once again afford dignity and prosperity to the American people.

    But the city's worst crisis yet (and that's saying something) has managed to do the unthinkable: turn the end of days into a laboratory for the future. Urban planners, land speculators, neo-pastoral agriculturalists, and utopian environmentalists—all have been drawn to Detroit's baroquely decaying, nothing-left-to-lose frontier. With an eye for both the darkly absurd and the radically new, Detroit-area native and Rolling Stone writer Mark Binelli has chronicled this convergence. Throughout the city's "museum of neglect"—its swaths of abandoned buildings, its miles of urban prairie—he tracks the signs of blight repurposed, from the school for pregnant teenagers to the killer ex-con turned street patroller, from the organic farming on empty lots to GM's wager on the Volt electric car and the mayor's realignment plan (the most ambitious on record) to move residents of half-empty neighborhoods into a viable, new urban center.Sharp and impassioned, Detroit City Is the Place to Be is alive with the sense of possibility that comes when a city hits rock bottom. Beyond the usual portrait of crime, poverty, and ruin, we glimpse a future Detroit that is smaller, less segregated, greener, economically diverse, and better functioning—what might just be the first post-industrial city of our new century.

    The new edition maintains the authors' innovative solutions to two central problems of the course: first, the text continues to focus on about 80 sites, giving students less encyclopedic detail but essential coverage of the discoveries that have produced the major insights into prehistory; second, it continues to be organized into essays on sites and concepts, allowing professors complete flexibility in organizing their courses.

    She should be heard." —The New York TimesAngela Davis provides a powerful history of the social and political influence of whiteness and elitism in feminism, from abolitionist days to the present, and demonstrates how the racist and classist biases of its leaders inevitably hampered any collective ambitions. While Black women were aided by some activists like Sarah and Angelina Grimke and the suffrage cause found unwavering support in Frederick Douglass, many women played on the fears of white supremacists for political gain rather than take an intersectional approach to liberation. Here, Davis not only contextualizes the legacy and pitfalls of civil and women's rights activists, but also discusses Communist women, the murder of Emmitt Till, and Margaret Sanger's racism. Davis shows readers how the inequalities between Black and white women influence the contemporary issues of rape, reproductive freedom, housework and child care in this bold and indispensable work.

    In Coming Apart, Charles Murray explores the formation of American classes that are different in kind from anything we have ever known, focusing on whites as a way of driving home the fact that the trends he describes do not break along lines of race or ethnicity. Drawing on five decades of statistics and research, Coming Apart demonstrates that a new upper class and a new lower class have diverged so far in core behaviors and values that they barely recognize their underlying American kinship—divergence that has nothing to do with income inequality and that has grown during good economic times and bad. The top and bottom of white America increasingly live in different cultures, Murray argues, with the powerful upper class living in enclaves surrounded by their own kind, ignorant about life in mainstream America, and the lower class suffering from erosions of family and community life that strike at the heart of the pursuit of happiness. That divergence puts the success of the American project at risk. The evidence in Coming Apart is about white America. Its message is about all of America.

    And yet all is not well, Richard Florida argues in The New Urban Crisis. Florida, one of the first scholars to anticipate this back-to-the-city movement in his groundbreaking The Rise of the Creative Class, demonstrates how the same forces that power the growth of the world's superstar cities also generate their vexing challenges: gentrification, unaffordability, segregation, and inequality. Meanwhile, many more cities still stagnate, and middle-class neighborhoods everywhere are disappearing. Our winner-take-all cities are just one manifestation of a profound crisis in today's urbanized knowledge economy. A bracingly original work of research and analysis, The New Urban Crisis offers a compelling diagnosis of our economic ills and a bold prescription for more inclusive cities capable of ensuring growth and prosperity for all.

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    He then jets forward to the nineteenth century, where systems we can easily recognize as modern bureaucracies come into being. In some areas of life—like with the modern postal systems of Germany and France—these bureaucracies have brought tremendous efficiencies to modern life. But Graeber argues that there is a much darker side to modern bureaucracy that is rarely ever discussed. Indeed, in our own “utopia of rules,” freedom and technological innovation are often the casualties of systems that we only faintly understand.Provocative and timely, the book is a powerful look and history of bureaucracy over the ages and its power in shaping the world of ideas.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Professor and civil liberties lawyer Alan Dershowitz looks at history through the prism of the trial, because a trial presents a snapshot of what is going on at a particular point in time in the nation's history.

    Turning her acute observational powers on the media, popular culture, and political life, Faludi unearths a barely acknowledged but bedrock societal drama shot through with baffling contradictions. Why, she asks, did our culture respond to an assault against American global dominance with a frenzied summons to restore "traditional" manhood, marriage, and maternity? Why did we react as if the hijackers had targeted not a commercial and military edifice but the family home and nursery? Why did an attack fueled by hatred of Western emancipation lead us to a regressive fixation on Doris Day womanhood and John Wayne masculinity, with trembling "security moms," swaggering presidential gunslingers, and the "rescue" of a female soldier cast as a "helpless little girl"? The answer, Faludi finds, lies in a historical anomaly unique to the American experience: the nation that in recent memory has been least vulnerable to domestic attack was forged in traumatizing assaults by nonwhite "barbarians" on town and village. That humiliation lies concealed under a myth of cowboy bluster and feminine frailty, which is reanimated whenever threat and shame looms. Brilliant and important, The Terror Dream shows what 9/11 revealed about us--and offers the opportunity to look at ourselves anew.

    He wanted to be a person, unlike his father, who knew how to work and get things done. He found himself in the oil fields of North Dakota during the Bakken fracking boom of 2013, where he spent a year as a swamper, assisting the truck drivers who hauled oil rigs from one site to another.The Good Hand is a saga of fear, danger, exhaustion, suffering, loneliness, and grit that explores the struggles and rewards of one of the most difficult jobs on the planet. In doing so, the story delves into the internal struggles of people who seem naturally drawn to hard work and hard luck--the rough-hewn, castoff, disposable men who populate boomtowns. As an oil field greenhorn, Smith finds the job is a continual battle; men are mocked and clobbered by equipment. But he comes to love the intensity and camaraderie, forming close bonds with a number of fellow workers, including Huck, an aw-shucks friendly young giant of a man who is constantly getting into trouble with the law, and "The Wildebeest," a truck driver in his fifties who initially torments Smith but later becomes instrumental in helping him to become "a good hand." Smith also examines his troubled relationship with his father--a trait that most of his coworkers seem to share--and draws fascinating parallels between his labor as an oil field hand and his previous careers in theatre and folk music.The Good Hand is ultimately a book about transformation--a classic American story about submitting to something elemental and larger than oneself. Smith discovers that the communities forged by hard work can awaken both the heart and the hands.