Is there an alternative to the neoliberal globalization that is ravaging our planet? Collected here are three classic works by Che Guevara, including his essay, "Socialism and Man in Cuba." (Also available in Spanish as Justicia Global ISBN 1-876175-46-X)

    Liddel HartFor two thousand years, Sun-tzu's The Art of Warfare was the indispensable volume of warcraft. Although his work is the first known analysis of war and warfare, Sun-tzu struck upon a thoroughly modern concept: "The supreme art of war is to subdue the enemy without fighting."        Karl von Clausewitz, the canny military theorist who famously declared that war is a continuation of politics by other means, also claims paternity of the notion "total war."   His is the magnum opus of the era of the French Revolution and the Napoleonic vars.Now these two great military minds are made to share the same tent, metaphorically speaking, in The Book of War. What a bivouac it is, and what a conversation into the night.Military writer Ralph Peters has written a new Introduction for this Modern Library edition.

    "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.

    In 'The Big Questions: Ethics' Julian Baggini, one of Britain's best-known philosophers, condenses complex, contemporary issues of right and wrong into 20 key questions. He examines how we can start to answer them, what they might mean to us and how they influence the way we choose to live our lives. Among the ideas debated are: What is free will? Can it ever be right to kill? Is terrorism ever justified? Should euthanasia be legal? Are some people superior to others? Do animals have rights?

    As listeners have grown increasingly eclectic and adventurous in their tastes, The Wire has emerged as the most authoritative source on modern music.In Undercurrents some of the best music writers of our time uncover the hidden wiring of the past century's most influential music. Ian Penman discusses how the microphone transformed the human voice and made phantom presences of great singers such as Billie Holiday, Robert Johnson, and Brian Wilson. Christoph Cox demonstrates how the pioneers of live electronic music, the West Coast ensemble Sonic Arts Union, redefined virtuosity for the electronic age. Philip Smith and Peter Shapiro examine Harry Smith's Smithsonian Anthology of American Folk Music, which led to a massive reappraisal of musical values that went far beyond the folk music revival.Music explored in Undercurrents ranges through avant rock, jazz, hiphop, electronica, global music, and contemporary "classical."

    Michael Ryan's comprehensive textbook on the practice of literary theory demonstrates how the full panoply of theoretical approaches can be used to read the same texts.

    It introduces an unusually wide range of theoretical approaches and highlights how useful they are in tackling key issues - from trade, production and finance to social divisions, development and the environment. The second edition has been revised and updated throughout with the addition of additional chapters on gender, on ideas, and on key current issues and debates.

    Users hold the crypto keys to their own money and transact directly with each other, with the help of a P2P network to check for double-spending.https://bitcoin.org/bitcoin.pdf

    Using a historical and comparative perspective, it demonstrates that there is more than one business model of human trafficking and that there are enormous variations in human trafficking in different regions of the world. Drawing on a wide body of academic research - actual prosecuted cases, diverse reports, and field work and interviews conducted by the author over the last sixteen years in Asia, Latin America, Africa, Europe, and the former socialist countries - Louise Shelley concludes that human trafficking will grow in the twenty-first century as a result of economic and demographic inequalities in the world, the rise of conflicts, and possibly global climate change. Coordinated efforts of government, civil society, the business community, multilateral organizations, and the media are needed to stem its growth.

    So when Covid-19 and lockdown struck, it made little difference to life at La Grande Cour, the centuries-old Normandy farmhouse where Hockney set up a studio a year earlier, in time to paint the arrival of spring. In fact, he relished the enforced isolation as an opportunity for even greater devotion to his art.Spring Cannot Be Cancelled is an uplifting manifesto that affirms art’s capacity to divert and inspire. It is based on a wealth of new conversations and correspondence between Hockney and art critic Martin Gayford, his long-time friend and collaborator. Their exchanges are illustrated by a selection of Hockney’s new Normandy drawings and paintings alongside works by Van Gogh, Monet, Bruegel, and others. We see how Hockney is propelled ever forward by his infectious enthusiasms and sense of wonder. A lifelong contrarian, he has been in the public eye for sixty years, yet remains entirely unconcerned by the view of critics or even history. He is utterly absorbed by his four acres of northern France and by the themes that have fascinated him for decades: light, color, space, perception, water, trees. He has much to teach us, not only about how to see . . . but about how to live.

    That day, the German army used a chlorine gas meant to exterminate indiscriminately. Until then, war, as described by Clausewitz and practiced by Napoleon, involved attacking the adversary’s vital function first. Using poison gas signaled the passage from classical war to terrorism. This terror from the air inaugurated an era in which the main idea was no longer to target the enemy’s body, but their environment. From then on, what would be attacked in wartime as well as in peacetime would be the very conditions necessary for life.This kind of terrorism became the matrix of modern and postmodern war, from World War I’s toxic gas to the Nazi Zyklon B used in Auschwitz, from the bombing of Dresden to the attack on the World Trade Center. Sloterdijk goes on to describe the offensive of modern aesthetics, aesthetic terrorism from Surrealism to Malevich--an “atmo-terrorism” in the arts that parallels the assault on environment that had originated in warfare.

    They give greater emphasis to the systemic perspective, in which grammaticalization is understoodin the context of an overall model of language. Their description of grammar is grounded in a comprehensive theory, but it is a theory which evolves in the process of being applied.

    Perloff traces the poet's development through his early years at Harvard and his interest in French Dadaism and Surrealism to his later poems that fuse literary influence with elements from Abstract Expressionist painting, atonal music, and contemporary film. This edition contains a new Introduction addressing O'Hara's homosexuality, his attitudes toward racism, and changes in poetic climate cover the past few decades. "A groundbreaking study. [This book] is a genuine work of criticism. . . . Through Marjorie Perloff's book we see an O'Hara perhaps only his closer associates saw before: a poet fully aware of the traditions and techniques of his craft who, in a life tragically foreshortened, produced an adventurous if somewhat erratic body of American verse."—David Lenson, Chronicle of Higher Education"Perloff is a reliable, well-informed, discreet, sensitive . . . guide. . . . She is impressive in the way she deals with O'Hara's relationship to painters and paintings, and she does give first-rate readings of four major poems."—Jonathan Cott, New York Times Book Review

    Eye-opening even for experienced faculty and administrators, this book reveals how the traditional college culture can actually pose obstacles to students' success, and suggests strategies for effectively explaining academic expectations.

    The price might have upset the union chief, convicted gangster, and major-league James Joyce book collector Dennis Silverman, who had sold his copy, signed and inscribed by the author, for a mere 135,000 ten years earlier. Great books attract all kinds and come to fascinating destinies of their own, as Nabokov's Butterfly amply demonstrates. Here, noted author and rare book dealer Rick Gekoski — whose vocation led to the BBC radio series titled Rare Books, Rare People, — profiles twenty editions of major books that have passed through his hands and made publishing history, as they have become the legends of rare book collectors. Sued by J. D. Salinger, harassed by Harold Pinter, berated by Ted Hughes who unloaded his personal and passionately inscribed copy of Sylvia Plath's The Colossus, Gekoski is a convivial participant in these histories, including his sale of Mr. Tolkien's college gown. He recalls one day purchasing from Graham Greene his first edition of Lolita, with Nabokov's signature drawing of a butterfly inside, and on the next day he sold it to Elton John's lyricist at a 10,000 profit.