As an editor of New Orleans’ daily newspaper, the Pulitzer Prize—winning Times-Picayune, Jed Horne has had a front-row seat to the unfolding drama of the city’s collapse into chaos and its continuing struggle to survive.As the Big One bore down, New Orleanians rich and poor, black and white, lurched from giddy revelry to mandatory evacuation. The thousands who couldn’t or wouldn’t leave initially congratulated themselves on once again riding out the storm. But then the unimaginable happened: Within a day 80 percent of the city was under water. The rising tides chased horrified men and women into snake-filled attics and onto the roofs of their houses. Heroes in swamp boats and helicopters braved wind and storm surge to bring survivors to dry ground. Mansions and shacks alike were swept away, and then a tidal wave of lawlessness inundated the Big Easy. Screams and gunshots echoed through the blacked-out Superdome. Police threw away their badges and joined in the looting. Corpses drifted in the streets for days, and buildings marinated for weeks in a witches’ brew of toxic chemicals that, when the floodwaters finally were pumped out, had turned vast reaches of the city into a ghost town.Horne takes readers into the private worlds and inner thoughts of storm victims from all walks of life to weave a tapestry as intricate and vivid as the city itself. Politicians, thieves, nurses, urban visionaries, grieving mothers, entrepreneurs with an eye for quick profit at public expense–all of these lives collide in a chronicle that is harrowing, angry, and often slyly ironic.Even before stranded survivors had been plucked from their roofs, government officials embarked on a vicious blame game that further snarled the relief operation and bedeviled scientists striving to understand the massive levee failures and build New Orleans a foolproof flood defense. As Horne makes clear, this shameless politicization set the tone for the ongoing reconstruction effort, which has been haunted by racial and class tensions from the start.Katrina was a catastrophe deeply rooted in the politics and culture of the city that care forgot and of a nation that forgot to care. In Breach of Faith, Jed Horne has created a spellbinding epic of one of the worst disasters of our time.From the Hardcover edition.

    Lila Abu-Lughod boldly challenges this conclusion. An anthropologist who has been writing about Arab women for thirty years, she delves into the predicaments of Muslim women today, questioning whether generalizations about Islamic culture can explain the hardships these women face and asking what motivates particular individuals and institutions to promote their rights.In recent years Abu-Lughod has struggled to reconcile the popular image of women victimized by Islam with the complex women she has known through her research in various communities in the Muslim world. Here, she renders that divide vivid by presenting detailed vignettes of the lives of ordinary Muslim women, and showing that the problem of gender inequality cannot be laid at the feet of religion alone. Poverty and authoritarianism--conditions not unique to the Islamic world, and produced out of global interconnections that implicate the West--are often more decisive. The standard Western vocabulary of oppression, choice, and freedom is too blunt to describe these women's lives.Do Muslim Women Need Saving? is an indictment of a mindset that has justified all manner of foreign interference, including military invasion, in the name of rescuing women from Islam--as well as a moving portrait of women's actual experiences, and of the contingencies with which they live.

    They saw their father, who was born into slavery, become America's first black Episcopal bishop. They saw their mother--a woman of mixed racial parentage who was born free--give birth to ten children, all of whom would become college-educated, successful professionals in a time when blacks could scarcely expect to receive a high school diploma. They saw the post-Reconstruction South, the Jim Crow laws, Harlem's Golden Age, and the Civil Rights movement--and, in their own feisty, wise, inimitable way, they've got a lot to say about it.More than a firsthand account of black American history, "Having Our Say" teaches us about surviving, thriving, and embracing life, no matter what obstacles are in our way.

    In 1980, anger brewed over a show at New York's Artists Space entitled Nigger Drawings. In 1968, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest.Whitewalling: Art, Race, & Protest in 3 Acts reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world--no less than the country at large--has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. Whitewalling takes a critical and intimate look at these three "acts" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?Aruna D'Souza writes about modern and contemporary art, food and culture; intersectional feminisms and other forms of politics; how museums shape our views of each other and the world; and books. Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, as well as in publications including the Wall Street Journal, ARTnews, Garage, Bookforum, Momus and Art Practical. D'Souza is the editor of the forthcoming Making it Modern: A Linda Nochlin Reader.

    If you're Black in the US, this is not new. As Colorlines editors Akiba Solomon and Kenrya Rankin show, Black Americans subvert and resist life-threatening forces as a matter of course. In these pages, leading organizers, artists, journalists, comedians, athletes, and filmmakers offer wisdom on how they fight White supremacy. It's a must-read for anyone new to resistance work, and for the next generation of leaders building a better future.Featuring contributions from:Ta-Nehisi CoatesTarana BurkeHarry Belafonteadrienne maree brownAlicia GarzaPatrisse Khan-CullorsReverend Dr. Valerie BridgemanKiese LaymonJamilah LemieuxRobin DG KelleyDamon YoungMichael Arceneaux

    The stakes—then and now—could not be higher: a child or teenager is killed by gunfire every three hours—and homicide is the leading cause of death for African American males between the ages of fifteen and thirty-four.   In Jumped In, Leap brings us stories that reach behind the statistics and sensational media images to the real lives of those stuck in—and trying to escape— "la vida loca.” With the eye of an anthropologist and a heart full of compassion, this small, tough woman from UCLA travels some of the most violent and poverty-stricken neighborhoods, riding along in police cruisers and helicopters, and talking with murderers and drug dealers, victims and grieving mothers.   Through oral histories, personal interviews, and eyewitness accounts of current and former gang members, as well as the people who love and work alongside them, readers come to understand both the people pulled into gangs and those trying mightily to forge alternatives and help their community. In delving into the personal lives of current and former gang members, Leap aims not only to find out what leads them to crime and how to deal most effectively with gang activity, but also to hear the voices of those most often left out of the political conversation and to learn from leaders who offer a different kind of hope, through community outreach and jobs programs.   As she forges lasting friendships in this community and becomes immersed in others’ triumphs and tragedies, Leap’s personal and professional lives intersect in sometimes incendiary ways. With a husband in the Los Angeles Police Department and a daughter in adolescence, she faces plenty of family dilemmas herself. Ultimately, Jumped In is a chronicle of the unexpected lessons gang members taught her while she was busily studying them, and how they changed her forever.

    This volume features photographs from the 1960s and from today, as well as jacket art from The Problem We All Live With, the 1964 painting by Norman Rockwell depicting Ruby’s walk to school.

    Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion -- imageability -- and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.