Delving into topics ranging from the clash between ecological time and our culture of “perpetual now,” to the soaring history of humans changing and evolving rapidly in the face of grave threats, to rising white supremacy and fortressed borders as a form of “climate barbarism,” this is a rousing call to action for a planet on the brink. An expansive, far-ranging exploration that sees the battle for a greener world as indistinguishable from the fight for our lives, On Fire captures the burning urgency of the climate crisis, as well as the fiery energy of a rising political movement demanding a catalytic Green New Deal. “Naomi Klein’s work has always moved and guided me. She is the great chronicler of our age of climate emergency, an inspirer of generations.” —Greta Thunberg, climate activist "If I were a rich man, I’d buy 245 million copies of Naomi Klein’s 'On Fire' and hand-deliver them to every eligible voter in America…Klein is a skilled writer." —Jeff Goodell, The New York Times

    The turbulent political weather of the twenty-first century generates anxiety and makes it difficult to know how to react. Olivia Laing makes a brilliant, inspiring case for why art matters more than ever, as a force of both resistance and repair. Art, she argues, changes how we see the world. It gives us X-ray vision. It reveals inequalities and offers fertile new ways of living.Funny Weather brings together a career’s worth of Laing’s writing about art and culture, and their role in our political and emotional lives. She profiles Jean-Michel Basquiat and Georgia O’Keeffe, interviews Hilary Mantel and Ali Smith, writes love letters to David Bowie and Wolfgang Tillmans, and explores loneliness and technology, women and alcohol, sex and the body. With characteristic originality and compassion, Funny Weather celebrates art as an antidote to a terrifying political moment.

    Disruptive tactics have failed to halt the rise of Donald Trump in the upcoming US presidential election. Movements ranging from Black Lives Matter to environmentalism are leaving activists frustrated. Meanwhile, recent years have witnessed the largest protests in human history. Yet these mass mobilizations no longer change society. Now activism is at a crossroads: innovation or irrelevance. In The End of Protest Micah White heralds the future of activism. Drawing on his unique experience with Occupy Wall Street, a contagious protest that spread to eighty-two countries, White articulates a unified theory of revolution and eight principles of tactical innovation that are destined to catalyze the next generation of social movements. Despite global challenges—catastrophic climate change, economic collapse and the decline of democracy—White finds reason for optimism: the end of protest inaugurates a new era of social change. On the horizon are increasingly sophisticated movements that will emerge in a bid to challenge elections, govern cities and reorient the way we live. Activists will reshape society by forming a global political party capable of winning elections worldwide. In this provocative playbook, White offers three bold, revolutionary scenarios for harnessing the creativity of people from across the political spectrum. He also shows how social movements are created and how they spread, how materialism limits contemporary activism, and why we must re-conceive protest in timelines of centuries, not days. Rigorous, original and compelling, The End of Protest is an exhilarating vision of an all-encompassing revolution of revolution.

    Specifically, this was in direct response to a campaign that had been brewing for years in policy circles and "citizen" groups, culminating in California state's Proposition 187. The initiative proposed to bar undocumented children from public schools and turn away undocumented students from state colleges and universities. It also proposed to deny the undocumented an array of public benefits and social services, including prenatal and preventive care such as immunizations.While the overt purpose of this voter initiative was to curtail immigration, ostensibly by restricting the use of public benefits and social services by undocumented immigrants, the real agenda behind it was to criminalize immigrants for presumably entering the country "illegally" and stealing resources from "true" United States citizens. More to the point, Proposition 187 came out of and was aimed at perpetuating the myth that all immigrants are "illegal" at worst and, at best, the cause of our society's and economy's ills.Throughout US history, immigration has been viewed and intentionally constructed as plague, infection or infestation and immigrants as disease (social and physical), varmints or invaders. If we look at contemporary popular films, few themes seem to tap the fears or thrill the American imagination more than that of the timeless space alien invading the United States, and statespeople have snatched up this popular image to rouse public support for

    It gives moral legitimacy to the state. It makes limited forms of dissent and incremental change possible. The liberal class posits itself as the conscience of the nation. It permits us, through its appeal to public virtues and the public good, to define ourselves as a good and noble people. Most importantly, on behalf of the power elite the liberal class serves as bulwarks against radical movements by offering a safety valve for popular frustrations and discontentment by discrediting those who talk of profound structural change. Once this class loses its social and political role then the delicate fabric of a democracy breaks down and the liberal class, along with the values it espouses, becomes an object of ridicule and hatred. The door that has been opened to proto-fascists has been opened by a bankrupt liberalism The Death of the Liberal Class examines the failure of the liberal class to confront the rise of the corporate state and the consequences of a liberalism that has become profoundly bankrupted. Hedges argues there are five pillars of the liberal establishment – the press, liberal religious institutions, labor unions, universities and the Democratic Party— and that each of these institutions, more concerned with status and privilege than justice and progress, sold out the constituents they represented. In doing so, the liberal class has become irrelevant to society at large and ultimately the corporate power elite they once served.

    We have to see that the economy is itself the crisis. It's not that there's not enough work, it's that there is too much of it. The Coming Insurrection is an eloquent call to arms arising from the recent waves of social contestation in France and Europe. Written by the anonymous Invisible Committee in the vein of Guy Debord—and with comparable elegance—it has been proclaimed a manual for terrorism by the French government (who recently arrested its alleged authors). One of its members more adequately described the group as “the name given to a collective voice bent on denouncing contemporary cynicism and reality.” The Coming Insurrection is a strategic prescription for an emergent war-machine capable of “spreading anarchy and live communism.” Written in the wake of the riots that erupted throughout the Paris suburbs in the fall of 2005 and presaging more recent riots and general strikes in France and Greece, The Coming Insurrection articulates a rejection of the official Left and its reformist agenda, aligning itself instead with the younger, wilder forms of resistance that have emerged in Europe around recent struggles against immigration control and the “war on terror.” Hot-wired to the movement of '77 in Italy, its preferred historical reference point, The Coming Insurrection formulates an ethics that takes as its starting point theft, sabotage, the refusal to work, and the elaboration of collective, self-organized life forms. It is a philosophical statement that addresses the growing number of those—in France, in the United States, and elsewhere—who refuse the idea that theory, politics, and life are separate realms.

    J. Polychroniou, Chomsky discusses his views on the “war on terror” and the rise of neoliberalism, the refugee crisis and cracks in the European Union, prospects for a just peace in Israel/Palestine, the rise of the Black Lives Matter movement, the dysfunctional US electoral system, the grave danger posed to humanity by the climate crisis, and the hopes, prospects, and challenges of building a movement for radical change.Noam Chomsky is Institute Professor (Emeritus) in the Department of Linguistics and Philosophy at MIT. His work is widely credited with having revolutionized the field of modern linguistics. He is the author of numerous best-selling political works, which have been translated into scores of languages worldwide.C. J. Polychroniou is a regular contributor to Truthout as well as a member of Truthout's Public Intellectual Project. He has published several books and his articles have appeared in a variety of journals, magazines, newspapers, and popular news websites.

    Against the claim that art making has become so heterogeneous as to defy historical analysis, Foster argues that the critic must still articulate a clear account of the contemporary in all its complexity. To that end, he offers several paradigms for the art of recent years, which he terms “abject,” “archival,” “mimetic,” and “precarious.”From the Hardcover edition.

    He embraced the Civil Rights Movement, endured political violence, survived a lynching, and spent seven years in prison on a chain gang. Years later, seeking a fresh start at the age of 52, he discovered his gift and vision as an artist, and using leather tooling skills he learned in prison, started etching and painting scenes from his youth.Rembert's work has been exhibited at museums and galleries across the country, profiled in the New York Times and more, and honored by Bryan Stevenson's Equal Justice Initiative. In Chasing Me to My Grave, he relates his life in prose and paintings—vivid, confrontational, revelatory, complex scenes from the cotton fields and chain gangs of the segregated south to the churches and night clubs of the urban north. This is also the story of finding epic love, and with it the courage to revisit a past that begs to remain buried, as told to Tufts philosopher Erin I. Kelly.

    Is this self-segregation a problem to address or a coping strategy? Beverly Daniel Tatum, a renowned authority on the psychology of racism, argues that straight talk about our racial identities is essential if we are serious about enabling communication across racial and ethnic divides. These topics have only become more urgent as the national conversation about race is increasingly acrimonious. This fully revised edition is essential reading for anyone seeking to understand the dynamics of race in America.

    Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. The Story of Art, one of the most famous and popular books on art ever written, has been a world bestseller for over four decades. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject.For the first time in many years the book has been completely redesigned. The illustrations, now in colour throughout, have all been improved and reoriginated, and include six fold-outs. The text has been revised and updated where appropriate, and a number of significant new artists have been incorporated. The bibliographies have been expanded and updated, and the maps and charts redrawn. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur. The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. In these respects the new edition is true to its much-loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them. In its new edition, this classic work continues its triumphant progress tirelessly for yet another generation, to remain the title of first choice for any newcomer to art or the connoisseur.

    Many realize that attaining the standard of living their parents managed has become impossible.Alissa Quart, executive editor of the Economic Hardship Reporting Project, examines the lives of many middle-class Americans who can now barely afford to raise children. Through gripping firsthand storytelling, Quart shows how our country has failed its families. Her subjects—from professors to lawyers to caregivers to nurses—have been wrung out by a system that doesn’t support them, and enriches only a tiny elite.Interlacing her own experience with close-up reporting on families that are just getting by, Quart reveals parenthood itself to be financially overwhelming, except for the wealthiest. She offers real solutions to these problems, including outlining necessary policy shifts, as well as detailing the DIY tactics some families are already putting into motion, and argues for the cultural reevaluation of parenthood and caregiving.Written in the spirit of Barbara Ehrenreich and Jennifer Senior, Squeezed is an eye-opening page-turner. Powerfully argued, deeply reported, and ultimately hopeful, it casts a bright, clarifying light on families struggling to thrive in an economy that holds too few options. It will make readers think differently about their lives and those of their neighbors.

    Content is the first collection of Doctorow’s infamous articles, essays, and polemics.Here’s why Microsoft should stop treating its customers as criminals (through relentless digital-rights management); how America chose copyright and Happy Meal toys over jobs; why Facebook is taking a faceplant; how Wikipedia is a poor cousin of The Hitchhiker’s Guide to the Galaxy; and, of course, why free e-books kick ass.Accessible to geeks and noobs (if you’re not sure what that means, it’s you) alike, Content is a must-have compilation from Cory Doctorow, who will be glad to take you along for the ride as he effortlessly surfs the zeitgeist.

    It also makes a compelling and provocative argument against calling the police.Contributions cover a broad range of issues including the killing by police of black men and women, police violence against Latino and indigenous communities, law enforcement's treatment of pregnant people and those with mental illness, and the impact of racist police violence on parenting, as well as specific stories such as a Detroit police conspiracy to slap murder convictions on young black men using police informant and the failure of Chicago's much-touted Independent Police Review Authority, the body supposedly responsible for investigating police misconduct. The title Who Do You Serve, Who Do You Protect? is no mere provocation: the book also explores alternatives for keeping communities safe.Contributors include William C. Anderson, Candice Bernd, Aaron Cantú, Thandi Chimurenga, Ejeris Dixon, Adam Hudson, Victoria Law, Mike Ludwig, Sarah Macaraeg, and Roberto Rodriguez.

    They argue that from the middle of the 1970s onwards, capitalism abandoned the hierarchical Fordist work structure and developed a new network-based form of organization which was founded on employee initiative and autonomy in the workplace – a ‘freedom’ that came at the cost of material and psychological security.The authors connect this new spirit with the children of the libertarian and romantic currents of the late 1960s (as epitomised by dressed-down. cool capitalists such as Bill Gates and ‘Ben and Jerry’) arguing that they practice a more successful and subtle form of exploitation.In a work that is already a classic in Europe, Boltanski and Chiapello show how the new spirit triumphed thanks to a remarkable recuperation of the Left’s critique of the alienation of everyday life – a recuperation that simultaneously undermined the power of its social critique.