This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless . . . . In our brief mortal lives, we are grinders of these lenses."This brooding, provocative, and almost unbearably lovely book displays one of the great writers of our time at his freest and most direct, addressing the themes that run beneath the surface of all his work, from Ways of Seeing to his Into Their Labours trilogy.In an extraordinary distillation of his gifts as a novelist, poet, art critic, and social historian, John Berger reveals the ties between love and absence, the ways poetry endows language with the assurance of prayer, and the tensions between the forward movement of sexuality and the steady backward tug of time. He re-creates the mysterious forces at work in a Rembrandt painting, transcribes the sensorial experience of viewing lilacs at dusk, and explores the meaning of home to early man and to the hundreds of thousands of displaced people in our cities today.A work of unclassifiable innovation and consummate beauty, And Our Faces, My Heart, Brief as Photos reminds us of Nabokov and Auden, Brecht and Lawrence, in its seamless fusion of the political and the personal.

    Two years later, his predictions were borne out by the rise to power of a series of political outsiders whose economic nationalism and authoritarian tendencies threatened to destabilize the entire international order. These populist nationalists seek direct charismatic connection to "the people," who are usually defined in narrow identity terms that offer an irresistible call to an in-group and exclude large parts of the population as a whole.Demand for recognition of one's identity is a master concept that unifies much of what is going on in world politics today. The universal recognition on which liberal democracy is based has been increasingly challenged by narrower forms of recognition based on nation, religion, sect, race, ethnicity, or gender, which have resulted in anti-immigrant populism, the upsurge of politicized Islam, the fractious "identity liberalism" of college campuses, and the emergence of white nationalism. Populist nationalism, said to be rooted in economic motivation, actually springs from the demand for recognition and therefore cannot simply be satisfied by economic means. The demand for identity cannot be transcended; we must begin to shape identity in a way that supports rather than undermines democracy.Identity is an urgent and necessary book--a sharp warning that unless we forge a universal understanding of human dignity, we will doom ourselves to continuing conflict.

    The suffragists endured hunger strikes, forced feedings, and jail terms. First written in 1920 by Doris Stevens, this version was edited by Carol O’Hare. Includes an introduction by Smithsonian curator Edith Mayo, along with appendices, an index, historic photos, and illustrations.

    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.

    Traveling extensively—to refugee camps in Lebanon, to religious schools in Pakistan, to prisons in Amman, Asqelon, and Pensacola—she discovered that the Islamic jihadi in the mountains of Pakistan and the Christian fundamentalist bomber in Oklahoma have much in common.Based on her vast research, Stern lucidly explains how terrorist organizations are formed by opportunistic leaders who—using religion as both motivation and justification—recruit the disenfranchised. She depicts how moral fervor is transformed into sophisticated organizations that strive for money, power, and attention.Jessica Stern's extensive interaction with the faces behind the terror provide unprecedented insight into acts of inexplicable horror, and enable her to suggest how terrorism can most effectively be countered.A crucial book on terrorism, Terror in the Name of God is a brilliant and thought-provoking work.

    NO dissects 45 deceptive affairs including Rebellion, The Sexes, Individuality, Equality, Peace, The Nazis, and Keeping It Real, all brought to light in a fashion that only Boyd Rice can. If past written collections of his work serve as time-capsuled history, let NO be the words of the future.Debossed paperback.

    It’s often hard to notice, though—the Western focus on governance and foreign aid obscures the individual dynamism and informal social adaptation driving the past decade of African development. Dayo Olopade set out across sub-Saharan Africa to find out how ordinary people are dealing with the challenges they face every day. She discovered an unexpected Africa: resilient, joyful, and innovative, a continent of DIY changemakers and impassioned community leaders.Everywhere Olopade went, she witnessed the specific creativity born from African difficulty—a trait she began calling kanju. It’s embodied by bootstrapping innovators like Kenneth Nnebue, who turned his low-budget, straight-to-VHS movies into a multimillion-dollar film industry known as Nollywood. Or Soyapi Mumba, who helped transform cast-off American computers into touchscreen databases that allow hospitals across Malawi to process patients in seconds. Or Ushahidi, the Kenyan technology collective that crowdsources citizen activism and disaster relief. The Bright Continent calls for a necessary shift in our thinking about Africa. Olopade shows us that the increasingly globalized challenges Africa faces can and must be addressed with the tools Africans are already using to solve these problems themselves. Africa’s ability to do more with less—to transform bad government and bad aid into an opportunity to innovate—is a clear ray of hope amidst the dire headlines and a powerful model for the rest of the world.

    They are widely considered the most prestigious award in science fiction.Between 2010 and 2013, Jo Walton wrote a series of posts for Tor.com, surveying the Hugo finalists and winners from the award’s inception up to the year 2000. Her contention was that each year’s full set of finalists generally tells a meaningful story about the state of science fiction at that time.Walton’s cheerfully opinionated and vastly well-informed posts provoked valuable conversation among the field’s historians. Now these posts, lightly revised, have been gathered into this book, along with a small selection of the comments posted by SF luminaries such as Rich Horton, Gardner Dozois, and the late David G. Hartwell.Engaged, passionate, and consistently entertaining, this is a book for the many who enjoyed Walton’s previous collection of writing from Tor.com, the Locus Award-winning What Makes This Book So Great.

    Borges's writings are models of succinct power; by temperament and by artistic ambition, he was a minimalist, given to working his wonders on the smallest scale possible. A master of fiction, Borges never published a novel -- or even, it seems, felt the lure of attempting one. He professed a heartfelt conservative piety for the older literary forms, for the saga and epic, the lyric and tale, but he made radically inventive uses of the traditional forms in his own literary labors.Borges possessed an uncommon complement of gifts. He was capable of launching startling, even unnerving flights of cerebral fantasy or metaphor but owned a first-rate mind and a critical intelligence entirely at ease with the metaphysical abstractions of the philosophers and theologians. All the same, in his intellectual bearing Borges was a skeptic, critical of but not disparaging or cynical toward the truth claims of systematic philosophical or religious thought. He was at once a genuine artist and a judicious, sympathetic critic.The posthumous publication of This Craft of Verse, Borges's 1967 Norton Lectures, reacquaints us with his splendid critical faculties. The volume is a welcome gift, too, reminding us of Borges's generous insistence on identifying with his fellow readers, who are ever ready to be transported by their love for literature. (Harvard University Press scheduled release of the remastered recordings for the fall of 2000.) Enough cause, then, to celebrate the recent discovery of these long-stored and forgotten tape recordings of lectures delivered at Cambridge more than three decades ago. By the late 1960s, Borges was quite blind and incapable of consulting notes when delivering an address. The lectures transcribed and collected here -- with their frequent quotations from the European languages, both ancient and modern -- were delivered extemporaneously, performances made possible by Borges's own powers of recollection (which were, it need hardly be said, formidable).In life and in literary manner Borges was a cosmopolitan, his range of reference almost inexhaustibly wide. His reading embraced Homer and Virgil, the Icelandic sagas and Beowulf, Chaucer and Milton, Rabelais and Cervantes, Kafka and Joyce. This Craft of Verse addresses issues central to the art of poetry: essential metaphors, epic poetry, the origins of verse, and poetic meaning. The lectures conclude with a statement of Borges's own "poetic creed." This slim but profound volume, however, ranges much farther afield. Borges serves up intriguing asides on the novel, on literary criticism and history, and on theories of translation. Ultimately, his comments touch on the largest questions raised by literature and language and the thornier puzzles of human communication.The lectures convey Borges's evident delight in English and his eloquence and ease in the language, even when facing a distinguished audience of native English speakers. But perhaps that is not so surprising, after all, for Borges carried on a lifelong love affair with the English language and the literatures of the British Isles and North America. His parents, who were fluent in English, introduced Borges to the language when he was a young boy, and Borges was allowed the run of his father's extensive library of English classics. Among the bookshelves of his father's study he first encountered authors he would admiringly cite over a long literary life: Wells and Kipling and Chesterton and Shaw, to name only a few. And the study of Old English became a hobby to which Borges remained passionately devoted until his death. The English language he counted as his second (and perhaps even preferred) home.Since the 1960s, when the then relatively obscure Buenos Aires writer was first introduced to English-speaking readers in translations of the classic Ficciones and the anthology Labyrinths, it has been apparent that Borges survives the ordeal of translation without obvious loss. His power remains intact on the page. This he owes to the virtues of his prose style, to the elegant simplicity and naturalness that, as the transcribed Norton Lectures demonstrate, were indistinguishable from the man. Borges's style is classical: concise, understated, cleanly cadenced, strict in its devotion to the old-fashioned values of clarity and logical order. Whether in his native Spanish or in his adopted English, Borges is a writer and lecturer who impresses us with his singular intellectual wit, charm, and refinement.This Craft of Verse makes an exquisite addition to a distinguished series and offers, moreover, invaluable insights into the mind and work of a true modern master. Between its covers, this small book holds the pleasures of the modest, warm voice of a writer who stands unquestionably with the strongest literary talents of the 20th century.--Gregory Tietjen, Academic & Scholarly Editor

    What effects has this “capitalist realism” had on work, culture, education and mental health? Is it possible to imagine an alternative to capitalism that is not some throwback to discredited models of state control?

    He writes with conversational ease and emotional insight, drawing on contemporary politics, literature, film, and his knowledge of American history.

    . . from Plymouth Rock to Pearl Harbor-the history of America in bite-size chunks How did the conquistadors first stumble across America-and what were the Spanish looking for anyway? What was the Dred Scott Supreme Court case and how did it affect the Civil War? And while some of us may indeed remember the Alamo, why were we once urged to "Remember the Maine"? Here, in chronological order, is a rollicking tour of American history from Columbus's arrival through Nixon's resignation, including details about the early colonists, Manifest Destiny, the Civil War-from Southern secession to the surrender at Appomattox-and the nation's plunge into World War I and the end of U.S. isolationism. It's the perfect refresher for all the things we learned in school but may have forgotten since. In concise, highly readable chapters, Remember the Alamo!""tells the most exciting story in the world: the story of America-home of Ben Franklin and Al Capone, Abe Lincoln and Rosa Parks, a nation with a passion and a gift for making history to this day.

    This has created a peculiar situation in which liberalism’s proponents tend to forget that it is an ideology and not the natural end-state of human political evolution. As Patrick Deneen argues in this provocative book, liberalism is built on a foundation of contradictions: it trumpets equal rights while fostering incomparable material inequality; its legitimacy rests on consent, yet it discourages civic commitments in favor of privatism; and in its pursuit of individual autonomy, it has given rise to the most far-reaching, comprehensive state system in human history. Here, Deneen offers an astringent warning that the centripetal forces now at work on our political culture are not superficial flaws but inherent features of a system whose success is generating its own failure.

    Franz Hessel was an observer par excellence of the increasingly hectic metropolis that was Berlin in the late 1920s. In Walking in Berlin, originally published in Germany in 1929, he captures the rhythm of Weimar-era Berlin, recording evidence of the seismic shifts shaking German culture at the time.Nearly all of the pieces take the form of a walk or outing, focusing either on a theme or part of the city, and many end at a theatre, cinema, or club. Hessel effortlessly weaves historical information into his observations, displaying his extensive knowledge of the city. Today, many years after the Nazi era and the postwar reconstruction that followed, the areas he visited are all still prominent and interesting. From the Alexanderplatz to Kreuzberg, his record of them has become priceless. Superbly written, and as fresh today as when it first appeared, this is a book to be savoured.

    The resulting explosion leveled the four-year-old structure and resulted in a death toll of more than three hundred—most of them children. To this day, it is the worst school disaster in the history of the United States. The tragedy and its aftermath were the first big stories covered by Walter Cronkite, then a young wire service reporter stationed in Dallas. He would later say that no war story he ever covered—during World War II or Vietnam—was as heart-wrenching.In the weeks following the tragedy, a fact-finding committee sought to determine who was to blame. It soon became apparent that the New London school district had, along with almost all local businesses and residents, tapped into pipelines carrying unrefined gas from the plentiful oil fields of the area. It was technically illegal, but natural gas was in abundance in the “Oil Patch.” The jerry-rigged conduits leaked the odorless “green” gas that would destroy the school.A long-term effect of the disaster was the shared guilt experienced—for the rest of their lives—by most of the survivors. There is, perhaps, no better example than Bill Thompson, who was in his fifth grade English class and “in the mood to flirt” with Billie Sue Hall, who was sitting two seats away. Thompson asked another girl to trade seats with him. She agreed—and was killed in the explosion, while Thompson and Hall both survived and lived long lives, never quite coming to terms with their good fortune.My Boys and Girls Are in There: The 1937 New London School Explosion is a meticulous, candid account by veteran educator and experienced author Ron Rozelle. Unfolding with the narrative pace of a novel, the story woven by Rozelle—beginning with the title—combines the anguished words of eyewitnesses with telling details from the historical and legal record. Released to coincide with the seventy-fifth anniversary of the New London School disaster, My Boys and Girls Are in There paints an intensely human portrait of this horrific event.