The business operates out of an empty office in the Empire State Building; Mitchell is employee number two. He is asked to calculate worst-case scenarios in the most intricate detail, and his schemes are sold to corporations to indemnify them against any future disasters. This is the cutting edge of corporate irresponsibility, and business is booming.     As Mitchell immerses himself in the mathematics of catastrophe—ecological collapse, war games, natural disasters—he becomes obsessed by a culture’s fears. Yet he also loses touch with his last connection to reality: Elsa Bruner, a friend with her own apocalyptic secret, who has started a commune in Maine. Then, just as Mitchell’s predictions reach a nightmarish crescendo, an actual worst-case scenario overtakes Manhattan. Mitchell realizes he is uniquely prepared to profit. But at what cost?     At once an all-too-plausible literary thriller, an unexpected love story, and a philosophically searching inquiry into the nature of fear, Nathaniel Rich’s Odds Against Tomorrow poses the ultimate questions of imagination and civilization. The future is not quite what it used to be.

    Here, an indigenous researcher issues a clarion call for the decolonization of research methods.The book is divided into two parts. In the first, the author critically examines the historical and philosophical base of Western research. Extending the work of Foucault, she explores the intersections of imperialism, knowledge and research, and the different ways in which imperialism is embedded in disciplines of knowledge and methodologies as 'regimes of truth'. Providing a history of knowledge from the Enlightenment to Postcoloniality, she also discusses the fate of concepts such as 'discovery, 'claiming' and 'naming' through which the west has incorporated and continues to incorporate the indigenous world within its own web.The second part of the book meets the urgent need for people who are carrying out their own research projects, for literature which validates their frustrations in dealing with various western paradigms, academic traditions and methodologies, which continue to position the indigenous as 'Other'. In setting an agenda for planning and implementing indigenous research, the author shows how such programmes are part of the wider project of reclaiming control over indigenous ways of knowing and being.Exploring the broad range of issues which have confronted, and continue to confront, indigenous peoples, in their encounters with western knowledge, this book also sets a standard for truly emancipatory research. It brilliantly demonstrates that "when indigenous peoples become the researchers and not merely the researched, the activity of research is transformed."

    Life with Hazel's father is strained at best, but it's got to be better than her marriage to dominating tech billionaire, Byron Gogol. For over a decade, Hazel has been quarantining in Byron's family compound, her every movement and vital sign tracked. So when Byron demands to wirelessly connect the two of them via brain chips, turning Hazel into a human guinea pig, she makes a run for it. Will Hazel be able to free herself from Byron's virtual clutches before he finds her?

    She leaves her animated, affectionate family in South Bend, Indiana, at least in part because of the boarding school’s glossy brochure, in which boys in sweaters chat in front of old brick buildings, girls in kilts hold lacrosse sticks on pristinely mown athletic fields, and everyone sings hymns in chapel. As Lee soon learns, Ault is a cloistered world of jaded, attractive teenagers who spend summers on Nantucket and speak in their own clever shorthand. Both intimidated and fascinated by her classmates, Lee becomes a shrewd observer of–and, ultimately, a participant in–their rituals and mores. As a scholarship student, she constantly feels like an outsider and is both drawn to and repelled by other loners. By the time she’s a senior, Lee has created a hard-won place for herself at Ault. But when her behavior takes a self-destructive and highly public turn, her carefully crafted identity within the community is shattered.Ultimately, Lee’s experiences–complicated relationships with teachers; intense friendships with other girls; an all-consuming preoccupation with a classmate who is less than a boyfriend and more than a crush; conflicts with her parents, from whom Lee feels increasingly distant, coalesce into a singular portrait of the painful and thrilling adolescence universal to us all.From the Hardcover edition.

    For the first time, an anthropologist had managed to gain the trust and long-term friendship of street-level drug dealers in one of the roughest ghetto neighborhoods--East Harlem. This new edition adds a prologue describing the major dynamics that have altered life on the streets of East Harlem in the seven years since the first edition. In a new epilogue Bourgois brings up to date the stories of the people--Primo, Caesat, Luis, Tony, Candy--who readers come to know in this remarkable window onto the world of the inner city drug trade. Philippe Bourgois is Professor and Chair of the Department of Anthropology, History and Social Medicine at the University of California, San Francisco. He has conducted fieldwork in Central America on ethnicity and social unrest and is the author of Ethnicity at Work: Divided Labor on a Central American Banana Plantation (Johns Hopkins University Press, 1989). He is writing a book on homeless heroin addicts in San Francisco. 1/e hb ISBN (1996) 0-521-43518-8 1/e pb ISBN (1996) 0-521-57460-9

    This social transformation didn't happen by accident. We’ve built a country where we can all choose the neighborhood -- and religion and news show -- most compatible with our lifestyle and beliefs. And we are living with the consequences of this way-of-life segregation. Our country has become so polarized, so ideologically inbred, that people don’t know and can’t understand those who live just a few miles away. The reason for this situation, and the dire implications for our country, is the subject of this groundbreaking work.In 2004, the journalist Bill Bishop, armed with original and startling demographic data, made national news in a series of articles showing how Americans have been sorting themselves over the past three decades into alarmingly homogeneous communities -- not by region or by red state or blue state, but by city and even neighborhood. In The Big Sort, Bishop deepens his analysis in a brilliantly reported book that makes its case from the ground up, starting with stories about how we live today and then drawing on history, economics, and our changing political landscape to create one of the most compelling big-picture accounts of America in recent memory.The Big Sort will draw comparisons to Robert Putnam's Bowling Alone and Richard Florida's The Rise of the Creative Class and will redefine the way Americans think about themselves for decades to come.

    Although Bennie and Sasha never discover each other’s pasts, the reader does, in intimate detail, along with the secret lives of a host of other characters whose paths intersect with theirs, over many years, in locales as varied as New York, San Francisco, Naples, and Africa.We first meet Sasha in her mid-thirties, on her therapist’s couch in New York City, confronting her long-standing compulsion to steal. Later, we learn the genesis of her turmoil when we see her as the child of a violent marriage, then as a runaway living in Naples, then as a college student trying to avert the suicidal impulses of her best friend. We plunge into the hidden yearnings and disappointments of her uncle, an art historian stuck in a dead marriage, who travels to Naples to extract Sasha from the city’s demimonde and experiences an epiphany of his own while staring at a sculpture of Orpheus and Eurydice in the Museo Nazionale. We meet Bennie Salazar at the melancholy nadir of his adult life—divorced, struggling to connect with his nine-year-old son, listening to a washed-up band in the basement of a suburban house—and then revisit him in 1979, at the height of his youth, shy and tender, reveling in San Francisco’s punk scene as he discovers his ardor for rock and roll and his gift for spotting talent. We learn what became of his high school gang—who thrived and who faltered—and we encounter Lou Kline, Bennie’s catastrophically careless mentor, along with the lovers and children left behind in the wake of Lou’s far-flung sexual conquests and meteoric rise and fall. A Visit from the Goon Squad is a book about the interplay of time and music, about survival, about the stirrings and transformations set inexorably in motion by even the most passing conjunction of our fates. In a breathtaking array of styles and tones ranging from tragedy to satire to PowerPoint, Egan captures the undertow of self-destruction that we all must either master or succumb to; the basic human hunger for redemption; and the universal tendency to reach for both—and escape the merciless progress of time—in the transporting realms of art and music. Sly, startling, exhilarating work from one of our boldest writers.

    has discovered what he and others believe may be the first novel written by an African-American woman -- a discovery made even more monumental by the fact that it was found in its original manuscript form, completely unedited. Extensive scientific testing has been completed to authenticate the manuscript and ascertain its origins, and experts agree that it was written between 1853 and 1859, by an African-American woman who had previously been enslaved. Gates has painstakingly sought to identify the author, Hannah Crafts, through historical research, and although he has been unsuccessful in determining her true identity, he has found that many of the places, dates, and characters in the novel can be linked reliably to real events and people.A riveting story about a young slave woman on a Southern plantation, The Bondwoman's Narrative follows the title character as she escapes and makes her way to freedom. As a novel, it possesses all the charms and devices of popular mid-19th-century fiction, and the influences of gothic and romantic writers popular in the day are apparent throughout the text. But Crafts accomplishes more than mere mimicry in her book, adding her own voice to established traditions to create a unique style.Throughout the 19th century, many slave narratives -- most notably The Narrative of the Life of Frederick Douglass -- detailed the daily horrors of slavery. In choosing to write a novel rather than an autobiographical narrative, however, Crafts expresses the complete psychological and emotional breadth of the experience, transcending personal, private tortures to illuminate the inhumanity of "the peculiar institution." Her characters reflect upon and feel the experience of enslavement -- and because they are wholly rounded and fully developed, they also express the intellect and insight present in the best writings of Dickens, Poe, or Thoreau.Discovered dallying in her master's portrait gallery by a white housekeeper, who comments that she is "[l]ooking at the pictures...as if such an ignorant thing as you would know any thing about them," the title character poignantly counters to herself, "Ignorance, forsooth. Can ignorance quench the immortal mind or prevent its feeling at times the indications of its heavenly origins? Can it destroy that deep abiding appreciation of the beautiful that seems inherent to the human soul? Can it seal up the fountains of truth and all intuitive perception of life, death, and eternity? I think not. Those to whom man teaches little, nature like a wise and prudent mother teaches much."Regardless of its historical importance -- and the unavoidable questions and controversies about its authenticity -- the literary merits of The Bondwoman's Narrative are clear. A deeply engaging novel told with the clarity of a woman who has endured slavery's sorrows and the creativity of one who, at her core, was a gifted artist, it is a powerful story that leaves the reader simultaneously bereft and exhilarated, one that bears witness to the transcendent power of art. (Ann Kashickey)

    Three plays from Pulitzer-Prize winning playwright August Wilson: Ma Rainey's Black Bottom, Fences, and Joe Turner's Come and Gone.

    When fourteen children from the small town of Sam Dent are lost in a tragic accident, its citizens are confronted with one of life’s most difficult and disturbing questions: When the worst happens, whom do you blame, and how do you cope? Masterfully written, it is a large-hearted novel that brings to life a cast of unforgettable small-town characters and illuminates the mysteries and realities of love as well as grief.

    Their experiences with the underbelly of globalization here in our own backyard, and the legal battles they wage against their traffickers with their immigration attorney, Lily, are told in their own voices, and hers, in vivid and compelling detail.

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

    In the original edition, Steiner provided readers with the first systematic investigation since the eighteenth century of the phenomenologyand processes of translation both inside and between languages. Taking issue with the principal emphasis of modern linguistics, he finds the root of the Babel problem in our deep instinct for privacy and territory, noting that every people has in its language a unique body of shared secrecy. Withthis provocative thesis he analyzes every aspect of translation from fundamental conditions of interpretation to the most intricate of linguistic constructions. For the long-awaited second edition, Steiner entirely revised the text, added new and expanded notes, and wrote a new preface setting the work in the present context of hermeneutics, poetics, and translation studies. This new edition brings the bibliography up to the present with substantiallyupdated references, including much Russian and Eastern European material. Like the towering figures of Derrida, Lacan, and Foucault, Steiner's work is central to current literary thought. After Babel, Third Edition is essential reading for anyone hoping to understand the debates raging in theacademy today.

    With A Raisin in the Sun, Hansberry gave this country its most movingly authentic portrayal of black family life in the inner city. Barely five years later, with The Sign in Sidney Brustein's Window, Hansberry gave us an unforgettable portrait of a man struggling with his individual fate in an age of racial and social injustice. These two plays remain milestones in the American theater, remarkable not only for their historical value but for their continued ability to engage the imagination and the heart.With an Introduction by Robert Nemiroff

    Thassadit Amzwar's blissful exuberance both entrances and puzzles the melancholic Russell. How can this refugee from perpetual terror be so happy? Won't someone so open and alive come to serious harm? Wondering how to protect her, Russell researches her war-torn country and skims through popular happiness manuals. Might her condition be hyperthymia? Hypomania? Russell's amateur inquiries lead him to college counselor Candace Weld, who also falls under Thassa's spell. Dubbed Miss Generosity by her classmates, Thassa's joyful personality comes to the attention of the notorious geneticist and advocate for genomic enhancement, Thomas Kurton, whose research leads him to announce the genotype for happiness.Russell and Candace, now lovers, fail to protect Thassa from the growing media circus. Thassa's congenital optimism is soon severely tested. Devoured by the public as a living prophecy, her genetic secret will transform both Russell and Kurton, as well as the country at large.What will happen to life when science identifies the genetic basis of happiness? Who will own the patent? Do we dare revise our own temperaments? Funny, fast, and finally magical, Generosity celebrates both science and the freed imagination. In his most exuberant book yet, Richard Powers asks us to consider the big questions facing humankind as we begin to rewrite our own existence.