In The Location of Culture, he uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. Speaking in a voice that combines intellectual ease with the belief that theory itself can contribute to practical political change, Bhabha has become one of the leading post-colonial theorists of this era.

    An indispensable work of science fiction criticism revised and expanded

    But not the good kind. With his rude, cold demeanor, Nazariah is immediately put off. But even with his bad boy persona, Nazariah is still strangely intrigued and attracted to him. Soon good sparks fly. The kind of sparks that bring a female weak to her knees wanting one person so bad. And a male unable to think straight without thinking about that one girl, that managed to grab his attention from a single glance alone. Hassan Knight is the epitome of handsome. With his fine looks, his undeniable swag and his rude but charming personality, Nazariah is immediately turned on. Both on vacation and both just looking to have some fun, the pair never would have imagined becoming so attracted to one another and falling in love. What was just supposed to be a one night stand on vacation, quickly turns into a one week stand where the two can’t just get enough of each other. Nazariah soon finds out more and more about the mysterious man she can’t stop messing with only to find out his role as the infamous street King of Miami and his status as a taken, married man. But Ms. Jordan isn’t the only one with a few secrets of her own and when reality quickly hits them both, they come to the realization that their lives are connected in more ways than they think. Loving A Miami Boss wasn’t something that Nazariah had ever planned or predicted to happen but now that it is... Is she willing to step up to the plate to love a man laced with danger and trouble at every corner? Let’s not forget, he’s married to someone completely different that isn’t her. Maybe happy endings aren’t truly for everyone...

    In The New York Times Book Review, Sam Tanenhaus proclaimed it "a masterpiece of American fiction" and lauded its illumination, "through the steady radiance of its author's profound moral intelligence, [of] the world we thought we knew."In Farther Away, which gathers together essays and speeches written mostly in the past five years, Franzen returns with renewed vigor to the themes, both human and literary, that have long preoccupied him. Whether recounting his violent encounter with bird poachers in Cyprus, examining his mixed feelings about the suicide of his friend and rival David Foster Wallace, or offering a moving and witty take on the ways that technology has changed how people express their love, these pieces deliver on Franzen's implicit promise to conceal nothing. On a trip to China to see first-hand the environmental devastation there, he doesn't omit mention of his excitement and awe at the pace of China's economic development; the trip becomes a journey out of his own prejudice and moral condemnation. Taken together, these essays trace the progress of unique and mature mind wrestling with itself, with literature, and with some of the most important issues of our day. Farther Away is remarkable, provocative, and necessary.

    Until one night she meets Ghost a bad boy rapper with a play boy image. A one night stand with him changes her life forever. Kevin (Ghost) Jackson is a bad boy rapper who loves the party lifestyle and dealing with different women. He never thought he would settle down, until he gets Angel pregnant and is forced to slow down. Everyone disapproves of his relationship with Angel including his mother who makes him choose. Embark on the journey with Angel and Ghost as all the odds are against them to find true love. Will they become a family? Or will they allow people to get in the way of their true happiness?

    Culture and Imperialism, by Edward Said, is a collection of thematically related essays that trace the connection between imperialism and culture throughout the 18th, 19th, and 20th centuries.

    In an effort to understand desire, beauty, and love as transient anodynes to metaphysical loneliness, he invokes Constantine Cavafy, Pablo Neruda, Anna Akhmatova, and Dante Rossetti.from “Jewel-Tongued”   The stillness of a lover’s mouth   assaulted me. I never wearied of anecdotes   on the Commons, gesturing until I scattered   myself into a luminance, shining over a city   of women. Was I less human or more? I hear still   my breathing echoing off their pillows. So many   eyes like crushed flowers. Our fingers splayed   over a bed’s edge. We were blown away.

    She’s well known throughout Miami, but most know her as Giovonni “Trip's” girlfriend and baby mama. They have a ghetto love story. The two of them had been together for almost twenty years. They have a love that most people would ask Jashae just how the hell does she do it? Not because love is hard, but because Trip is in prison serving a life long sentence, for a murder that he committed years ago. Then, you have Toddrick King, known in the streets as “Miami.” Women will pretty much sell their souls to be with a man like Miami. Not only is he a well-known retired boxer, but he’s handsome, rich, and he knows how to treat a woman. Two things are stopping Miami and Jashae from being together, and that’s Jashae’s love for Trip and because Miami and Trip were once friends. Then, we have Mahogany, Jashae's best friend. Such a beautiful woman, with such an ugly soul. Mahogany can literally have any man in the world that she wants, but she’s not too fond of falling in love. Well, that’s until she meets Miami’s cousin, Jabari. Will Jabari be able to change Mahogany’s outlook on love? Does Jabari even want love himself to change Mahogany’s mind on such a thing? Although this is a love story, it’s deep; it’s sad; it’s dark, it’ll make you question why certain things happen in life. For Jashae, one would think that losing her boyfriend to the system was the worst thing that could happen to her, but who would have ever thought that something else would happen in her life that would make that situation seem minor?

    Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text.Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television."We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect.The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance.These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination.In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

    Born to slaves in Davidson County, Tennessee, the newly freed Love struck out for Kansas after the war. He was fifteen and already endowed with a reckless and romantic readiness. In wide-open Dodge City he joined up with an outfit from the Texas Panhandle to begin a career riding the range and fighting Indians, outlaws, and the elements. Years later he would say, “I had an unusually adventurous life.” That was rare understatement. More characteristic was Love’s claim: “I carry the marks of fourteen bullet wounds on different parts of my body, most any one of which would be sufficient to kill an ordinary man, but I am not even crippled.” In 1876 a virtuoso rodeo performance in Deadwood, Dakota Territory, won him the moniker of Deadwood Dick. He became known as DD all over the West, entering into dime novels as a mysteriously dark and heroic presence. This vivid autobiography includes encounters with Bat Masterson and Billy the Kid, a soon-after view of the Custer battlefield, and a successful courtship. Love left the range in 1890, the year of the official closing of the frontier. Then, as a Pullman train conductor he traveled his old trails, and those good times bring his story to a satisfying end.

    Franklin Frazier’s Black Bourgeoisie was simultaneously reviled and revered—revered for its skillful dissection of one of America’s most complex communities, reviled for daring to cast a critical eye on a section of black society that had achieved the trappings of the white, bourgeois ideal. The author traces the evolution of this enigmatic class from the segregated South to the post-war boom in the integrated North, showing how, along the road to what seemed like prosperity and progress, middle-class blacks actually lost their roots to the traditional black world while never achieving acknowledgment from the white sector. The result, concluded Frazier, is an anomalous bourgeois class with no identity, built on self-sustaining myths of black business and society, silently undermined by a collective, debilitating inferiority complex.

    "Important and innovative."--Feminist Bookstore News

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    Focusing especially on the incompatible philosophical systems of Hegel and Heidegger within the space of negativity, Giorgio Agamben offers a rigorous reading of numerous philosophical and poetic works to examine how these issues have been traditionally explored. Agamben argues that the human being is not just “speaking” and “mortal” but irreducibly “social” and “ethical.” Giorgio Agamben teaches philosophy at the Collège International de Philosophie in Paris and at the University of Macerata in Italy. He is the author of Means without End (2000), Stanzas (1993), and The Coming Community (1993), all published by the University of Minnesota Press. Karen E. Pinkus is professor of French and Italian at the University of Southern California. Michael Hardt is professor of literature and romance studies at Duke University.

    Black women "shift" by altering the expectations they have for themselves or their outer appearance. They modify their speech. They shift "White" as they head to work in the morning and "Black" as they come back home each night. They shift inward, internalizing the searing pain of the negative stereotypes that they encounter daily. And sometimes they shift by fighting back.With deeply moving interviews, poignantly revealed on each page, Shifting is a much-needed, clear, and comprehensive portrait of the reality of African American women's lives today.