Search results for ""author morris"

Ever wondered which goal Frank Lampard is proudest of, who Jürgen Klopp thinks will manage Liverpool in the future, what Rio Ferdinand thinks of Man United in the post-Ferguson years or exactly how many grey cashmere jumpers Pep Guardiola owns? In this collection of frank and funny conversations between footballers and their biggest fans, these vital questions (and many more) are finally addressed. A Game of Two Halves shows a different side to some of the biggest names in football, reminding us of the common ground we all share. This project is published in partnership with UNHCR, the UN Refugee Agency, with the goal of raising both funds for and awareness of their work with child refugees.Featuring forewords by Raheem Sterling and Gary Lineker and interviews betweenJürgen Klopp & John BishopPep Guardiola & Johnny MarrLucy Bronze & Clare BaldingFrank Lampard & Omid Djalili Rio Ferdinand & Rachel Riley Ian Wright & Wretch 32Héctor Bellerin & Romesh RanganathanSteven Gerrard & David MorrisseyGary Lineker & Fahd SalehEric Dier & David LammyJohn McGlynn & Val McDermid Vivianne Miedema & Amy Raphael

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‘One of my favourite living writers: intelligent, lucid and, most impressive of all, funny’ - Jonathan CoeIf we’re talking agoraphobia, we’re talking books. I slip between their covers, lose myself in the turn of one page, re-discover myself on the next. Reading is a game of hide-and-seek. Narrative and neurosis, uneasy bedfellows sleeping top to toe.On Agoraphobia is a fascinating, entertaining and sometimes painfully acute look at what it means to go through life with an anxiety disorder that evades easy definition.When Graham Caveney was in his early twenties he began to suffer from what was eventually diagnosed as agoraphobia. What followed were decades of managing his condition and learning to live within the narrow limits it imposed on his life: no motorways, no dual carriageways, no shopping centres, limited time outdoors.Graham’s quest to understand his illness brought him back to his first love: books. From Harper Lee’s Boo Radley, Ford Madox Ford, Emily Dickinson, and Shirley Jackson: the literary world is replete with examples of agoraphobics – once you go looking for them.‘Intellectually curious, emotionally bracing and immensely erudite’ - Blake Morrison, The Guardian‘Captivating’ Richard Beard

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WINNER OF THE WRITERS' GUILD FIRST NOVEL AWARD 2020ELLE ONES TO WATCH 2019'Not since Holden Caulfield have I been so captivated by a first-person voice as the one Season Butler creates in Cygnet' Blake Morrison'A bright new voice in literature' Bernardine Evaristo'Terribly moving' China Miéville'A beautiful book, a meander through the fluid anxiety of youth' Uzodinma Iweala'[A] potent debut . . . A strange, promising beginning' Observer The Kid doesn't know where her parents are. They left with a promise to come back months ago, and now their seventeen-year-old daughter is stranded on Swan Island. Swan isn't just any island; it's home to an eccentric old age separatist community who have shunned life on the mainland for a haven which is rapidly sinking into the ocean. The Kid's arrival threatens to burst the idyllic bubble that the elderly residents have so carefully constructed - an unwelcome reminder of the life they left behind, and one they want rid of.Cygnet is the story of a young woman battling against the thrashing waves of loneliness and depression, and how she learns to find hope, laughter and her own voice in a world that's crumbling around her.

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Conceived by Ivory Serra for Drago's 36 Chambers series, The Serra Effect is an immersive tracking shot of the characters and idols of neo-pop culture portrayed in their most natural environment: the spectacle society. In the words of Peter Beard, the images presented in this book are "absolutely classic and strangely unique." The icons immortalised by Serra include Umberto Eco, Elisabeth Hurley, Tony Alva, Andy Warhol, Tommy Guerrero, Tony Hawk, Aaron Rose, Mark Gonzales, Harold Hunter, James Taylor, Richard Serra, Jonas Mekas, Colin McKay, Phil Frost, Alanis Morrissette, Peter Gabriel, David Bowie, Moby, Stacey Peralta, Rodney Torres, Barry McGee, Tom Sachs, Robert Plants, Philip Glass, Wu Tang, Moorcheeba, Avril Lavigne and Lenny Kravitz. The artist chooses to present each of these lively, iconic portraits adjacent to images of arbitrary and still objects in a stunning display of Serra's inimitable style.

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El cuerpo de un amigo destrozado por la metralla, la voz de un hombre que pide clemencia, la mano de una niña que asoma escarbando entre la basura para encontrar algo de comer...Hay imágenes que vuelven una y otra vez a la mente de Frank Money, un veterano de la guerra de Corea que ahora vuelve a Estados Unidos en busca de olvido y afecto.Corren los años cincuenta del siglo pasado y las heridas de Frank no son solo físicas: su patria es racista, su familia ha acumulado mucho odio, y el regreso parece más un camino hacia el infierno que una vuelta al hogar. Su destino es Georgia porque Frank quiere rescatar y devolver a casa a su hermana Cee, casada con un chulo que la abandonó a los pocos días de la boda, y empleada en casa de un médico sin escrúpulos.Es la determinación por salvar a esa mujer frágil lo que llevará a Frank a asumir sus culpas y saldar cuentas con lo que fue su vida. Ahí, en ese ir y venir de emociones hondas , brilla el talento de Toni Morrison, una mujer que lle

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The House on Mango Street is one of the most cherished novels of the last fiftyyears. Readers from all walks of life have fallen for the voice of EsperanzaCordero, growing up in Chicago and inventing for herself who and what she willbecome. In English my name means hope, she says. In Spanish it means toomany letters. It means sadness, it means waiting.Told in a series of vignettessometimes heart breaking, sometimesjoyousCisneros's masterpiece is a classic story of childhood andself-discovery. It is also one of the greatest neighbourhood novels of all time.Like Sinclair Lewis' Main Street or Toni Morrison's Sula, it makes a worldthrough people and their voices, and it does so in language that is poetic anddirect. Acclaimed by critics, a staple in schools, translated into dozens oflanguages, this gorgeous coming-of-age novel is a celebration of the power oftelling one's story and of being proud of where you come

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This uniquely interdisciplinary study of Black cultural critics Armond White and Paul Gilroy spans continents and decades of rebellion and revolution. Drawing on an eclectic mix of archival research, politics, film theory, and pop culture, Daniel McNeil examines two of the most celebrated and controversial Black thinkers working today. Thinking While Black takes us on a transatlantic journey through the radical movements that rocked against racism in 1970s Detroit and Birmingham, the rhythms of everyday life in 1980s London and New York, and the hype and hostility generated by Oscar-winning films like 12 Years a Slave. The lives and careers of White and Gilroy—along with creative contemporaries of the post–civil rights era such as Bob Marley, Toni Morrison, Stuart Hall, and Pauline Kael—should matter to anyone who craves deeper and fresher thinking about cultural industries, racism, nationalism, belonging, and identity.

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At the age of thirteen, Danny Sugerman- the already wayward product of Beverley Hills wealth and privilege- went to his first Doors concert. He never looked back. He became Jim Morrison's protégé and- still in his teens- manager of the Doors and then Iggy Pop. He also plunged gleefully into the glamorous underworld of the rock 'n' roll scene, diving headfirst into booze, sex and drugs: every conceivable kind of drug, ever day, in every possible permutation. By the age of twenty-one he had an idyllic home, a beautiful girlfriend, the best car in the world, two kinds of hepatitis, a diseased heart, a $500 a day heroin habit and only a week to live. He lived.This is his tale. Excessive, scandalous, comic, cautionary and horrifying, it chronicles the 60s dream gone to rot and the early life of a Hollywood Wild Child who was just brilliant at being bad.

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Lori Emerson examines how interfaces—from today’s multitouch devices to yesterday’s desktops, from typewriters to Emily Dickinson’s self-bound fascicle volumes—mediate between writer and text as well as between writer and reader. Following the threads of experimental writing from the present into the past, she shows how writers have long tested and transgressed technological boundaries. Reading the means of production as well as the creative works they produce, Emerson demonstrates that technologies are more than mere tools and that the interface is not a neutral border between writer and machine but is in fact a collaborative creative space. Reading Writing Interfaces begins with digital literature’s defiance of the alleged invisibility of ubiquitous computing and multitouch in the early twenty-first century and then looks back at the ideology of the user-friendly graphical user interface that emerged along with the Apple Macintosh computer of the 1980s. She considers poetic experiments with and against the strictures of the typewriter in the 1960s and 1970s and takes a fresh look at Emily Dickinson’s self-printing projects as a challenge to the coherence of the book. Through archival research, Emerson offers examples of how literary engagements with screen-based and print-based technologies have transformed reading and writing. She reveals the ways in which writers—from Emily Dickinson to Jason Nelson and Judd Morrissey—work with and against media interfaces to undermine the assumed transparency of conventional literary practice.

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Contemporary fiction has never been less contemporary. Midcentury writers tended to set their works in their own moment, but for the last several decades critical acclaim and attention have fixated on historical fiction. This shift is particularly dramatic for writers of color. Even as the literary canon has become more diverse, cultural institutions have celebrated Black, Asian American, Latinx, and Indigenous novelists almost exclusively for their historical fiction.Writing Backwards explores what the dominance of historical fiction in the contemporary canon reveals about American literary culture. Alexander Manshel investigates the most celebrated historical genres—contemporary narratives of slavery, the World War II novel, the multigenerational family saga, immigrant fiction, and the novel of recent history—alongside the literary and academic institutions that have elevated them. He examines novels by writers including Toni Morrison, Viet Thanh Nguyen, Colson Whitehead, Julia Alvarez, Leslie Marmon Silko, Michael Chabon, Julie Otsuka, Yaa Gyasi, Ben Lerner, and Tommy Orange in the context of MFA programs, literary prizes, university syllabi, book clubs, and the National Endowment for the Arts. Manshel studies how historical fiction has evolved over the last half century, documenting the formation of the newly inclusive literary canon as well as who and what it still excludes. Offering new insight into how institutions shape literature and the limits of historical memory, Writing Backwards also considers recent challenges to the historical turn in American fiction.

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Black lives matter. That message would be self-evident in a just world, but in this world and this America, all children need to hear it again and again, and not just to hear it but to feel and know it. This book affirms the message repeatedly, tenderly, with cumulative power and shared pride. Celebrating Black accomplishments in music, art, literature, journalism, politics, law, science, medicine, entertainment and sports, Shani King summons a magnificent historical and contemporary context for honouring the fortitude of Black role models, women and men, who have achieved greatness despite the grinding political and social constraints on Black life. Frederick Douglass, Toni Morrison, Sojourner Truth, John Lewis, Langston Hughes, Louis Armstrong, Maya Angelou, Aretha Franklin and many more pass through these pages. An America without their struggles, aspirations and contributions would be a shadow of the country we know. A hundred life sketches augment the narrative, opening a hundred doors to lives and thinking that aren’t included in many history books. James Baldwin’s challenge is here: “We are responsible for the world in which we find ourselves, if only because we are the only sentient force which can change it". Actress Viola Davis’s words are here too: “When I was younger, I did not exert my voice because I did not feel worthy of having a voice. I was taught so many things that didn’t include me. Where was I? What were people like me doing?” This book tells children what people like Viola were and are doing, and it assures Black children that they are, indisputably, worthy of having a voice. Have I Ever Told You Black Lives Matter? is a book for this time and always. It is time for all children to live and breathe the certainty that Black lives matter.

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"Mark Twain," William Faulkner once observed, "was the first truly American writer, and all of us since are his heirs." In this unique collection scores of these literary legatees from the U.S. and around the world take the measure of Twain and his genius, among them: José Martí, Rudyard Kipling, Theodor Herzl, George Bernard Shaw, H. L. Mencken, Helen Keller, Jorge Luis Borges, Sterling Brown, George Orwell, T. S. Eliot, Richard Wright, W. H. Auden, Ralph Ellison, Kenzaburo Oe, Robert Penn Warren, Ursula Le Guin, Norman Mailer, Erica Jong, Gore Vidal, David Bradley, Kurt Vonnegut, Toni Morrison, Min Jin Lee, Roy Blount, Jr., and many others (including actor Hal Holbrook, philosopher Friedrich Nietzsche, stand-up comedians Dick Gregory and Will Rogers, and presidents Theodore Roosevelt, Franklin D. Roosevelt, Harry Truman, and Barack Obama). Included are essays originally published in Chinese, Danish, French, German, Italian, Japanese, Russian, Spanish, and Yiddish that have not previously been available in English, as well as the work of several visual artists, such as James Montgomery Flagg (creator of the "Uncle Sam Wants You" poster), French playwright and artist Jean Cocteau, and Chuck Jones (of Bugs Bunny fame). Published to mark the centennial of Twain's death, this collection testifies to the enduring and continuing legacy of the man William Dean Howells called "the Lincoln of our literature."

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"The Feminine Sublime" provides a new and startling insight into the modes and devices employed in the creation of women's fiction since the eighteenth century. Barbara Claire Freeman argues that traditional theorizations of the sublime depend upon unexamined assumptions about femininity and sexual difference, and that the sublime could not exist without misogynistic constructions of 'the feminine.' Taking this as her starting point, Freeman suggests that the 'other sublime' that comes into view from this new perspective not only offers a crucial way to approach representations of excess in women's fiction, but allows us to envision other modes of writing the sublime. Freeman reconsiders Longinus, Burke, Kant, Weiskel, Hertz, and Derrida while also engaging a wide range of women's fiction, including novels by Chopin, Morrison, Rhys, Shelley, and Wharton. Addressing the coincident rise of the novel and concept of the sublime in eighteenth-century European culture, Freeman allies the articulation of sublime experience with questions of agency and passion in modern and contemporary women's fiction. Arguments that have seemed merely to explain the sublime also functioned to evaluate, domesticate, and ultimately exclude an otherness that is almost always gendered as feminine. Freeman explores the ways in which fiction by American and British women, mainly of the twentieth century, responds to and redefines what the tradition has called 'the sublime.'

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Exploring the forces that keep black people vulnerable even amid economically privileged lives At a moment in U.S. history with repeated reminders of the vulnerability of African Americans to state and extralegal violence, Black Bourgeois is the first book to consider the contradiction of privileged, presumably protected black bodies that nonetheless remain racially vulnerable. Examining disruptions around race and class status in literary texts, Candice M. Jenkins reminds us that the conflicted relation of the black subject to privilege is not, solely, a recent phenomenon.Focusing on works by Toni Morrison, Spike Lee, Danzy Senna, Rebecca Walker, Reginald McKnight, Percival Everett, Colson Whitehead, and Michael Thomas, Jenkins shows that the seemingly abrupt discursive shift from post–Civil Rights to Black Lives Matter, from an emphasis on privilege and progress to an emphasis on vulnerability and precariousness, suggests a pendulum swing between two interrelated positions still in tension. By analyzing how these narratives stage the fraught interaction between the black and the bourgeois, Jenkins offers renewed attention to class as a framework for the study of black life—a necessary shift in an age of rapidly increasing income inequality and societal stratification.Black Bourgeois thus challenges the assumed link between blackness and poverty that has become so ingrained in the United States, reminding us that privileged subjects, too, are “classed.” This book offers, finally, a rigorous and nuanced grasp of how African Americans live within complex, intersecting identities.

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Simone C. Drake spent the first several decades of her life learning how to love and protect herself, a black woman, from the systems designed to facilitate her harm and marginalization. But when she gave birth to the first of her three sons, she quickly learned that black boys would need protection from these very same systems systems dead set on the static, homogenous representations of black masculinity perpetuated in the media and our cultural discourse. In When We Imagine Grace, Drake borrows from Toni Morrison's Beloved to bring imagination to the center of black masculinity studies allowing individual black men to exempt themselves and their fates from a hateful, ignorant society and open themselves up as active agents at the center of their own stories. Against a backdrop of crisis, Drake brings forth the narratives of black men who have imagined grace for themselves. We meet African American cowboy, Nat Love, and Drake's own grandfather, who served in the first black military unit to fight in World War II. Synthesizing black feminist and black masculinity studies, Drake analyzes black fathers and daughters, the valorization of black criminals, the denigration and celebration of gay men, Cornelius Eady, Antoine Dodson, and Kehinde Wiley. With a powerful command of its subjects and a passionate dedication to hope, When We Imagine Grace gives us a new way of seeing and knowing black masculinity sophisticated in concept and bracingly vivid in telling.

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A who’s who of American popular music fills this lively memoir, in which Ray Benson recalls how a Philadelphia Jewish hippie and his bandmates in Asleep at the Wheel turned on generations of rock and country fans to Bob Wills–style Western swing. A six-foot-seven-inch Jewish hippie from Philadelphia starts a Western swing band in 1970, when country fans hate hippies and Western swing. It sounds like a joke but—more than forty years, twenty-five albums, and ten Grammy Awards later—Asleep at the Wheel is still drawing crowds around the world. The roster of musicians who’ve shared a stage with the Wheel is a who’s who of American popular music—Van Morrison, Willie Nelson, Dolly Parton, Emmylou Harris, George Strait, Vince Gill, Lyle Lovett, and so many more. And the bandleader who’s brought them all together is the hippie that claimed Bob Wills’s boots: Ray Benson. In this hugely entertaining memoir, Benson looks back over his life and wild ride with Asleep at the Wheel from the band’s beginning in Paw Paw, West Virginia, through its many years as a Texas institution. He vividly recalls spending decades in a touring band, with all the inevitable ups and downs and changes in personnel, and describes the making of classic albums such as Willie and the Wheel and Tribute to the Music of Bob Wills and the Texas Playboys. The ultimate music industry insider, Benson explains better than anyone else how the Wheel got rock hipsters and die-hard country fans to love groovy new-old Western swing. Decades later, they still do.

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The complete ninth series of BBC Radio 4's award-winning sketch show'One of our best sketch writers' ObserverJohn Finnemore returns with his multi-award-winning sketch show, but this series is very different to the previous eight. There are still sketches and songs, and it's still written and performed by him and his usual fantastic ensemble cast - but with no live studio audience, John has taken the opportunity to try something new.Each episode in this series of Souvenir Programme consists of scenes from one person's life, played in reverse order. There's no narrative as such - it's still a sketch show - but as we follow the characters back in time, from lockdown Zoom calls to childhood birthdays and funerals, the individual sketches link up to form an overall picture, portraying the sprawling history of an entire multi-generational family.And, as if that wasn't enough, there are also some terrific tall tales, a paean of praise, and a truly unforgettable earworm...Clever, complex, hilarious and poignant, these Souvenir Programmes with a twist star Lawry Lewin as Russ, Margaret Cabourn-Smith as Deborah, Simon Kane as Jerry, Carrie Quinlan as Vanessa and John Finnemore as Newt.Cast and creditsWritten and performed by John FinnemoreEnsemble cast: Margaret Cabourn-Smith, Simon Kane, Lawry Lewin, Carrie QuinlanOriginal music composed by Susannah Pearse and Sally Stares, and arranged by Susannah Pearse and Tim SuttonRecorded and edited by Rich Evans at Syncbox PostProduction coordinator: Beverly TaggProducer: Ed MorrishA BBC Studios production© 2021 BBC Studios Distribution Ltd(p) 2021 BBC Studios Distribution Ltd

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Christian Moraru's new book on postmodernism zeroes in on postmodern representation, which the critic seizes as a literary and cultural memory receptacle - as 'memorious discourse'. He argues that, counter to the orthodoxies that have taken hold in postmodern studies, postmodernism is not ahistorical, without cultural memory, or politically apathetic. With a wink at Borges's short story 'Funes the Memorious', he contends that this kind of representation cannot but operate digressively, and conspicuously so, through other representations, and is a picture that must latch onto other pictures to bring its object to life. While other types of discourse cover up, gloss over, or play down what they have borrowed - and therefore owe - the postmodern eagerly acknowledges its textual and cultural debt. Moreover, it turns this indebtedness into an unexpected source of creativity and originality . In his wide-ranging discussion of contemporary writers and theorists, Moraru notes that postmodernism characteristically re-presents. That is, it actively 'remembers' and, to use a musical term, 'reprises' former representations. These need not be infinite in number, as in Borges, but must be and usually are retrieved with sufficient obviousness. Memorious Discourse is organized into a largely theoretical prologue, five chapters, and an epilogue. The chapters mark off as many areas in recent Continental and American theory and narrative where the discourse apparatus, workings, and individualizing problems of postmodern representation come to light and lend themselves to rethinking through the Borgesian-inspired critical metaphor. To gauge the scope of memorious discourse, Moraru examines theoretical and narrative models developed by such writers and critics as Vladimir Nabokov, Thomas Pynchon, Don DeLillo, Joseph McElroy, Paul Auster, Kathy Acker, Toni Morrison, Philip Roth, William Gibson, Mark Leyner, David Antin, Emmanuel Levinas, Jean-Francois Lyotard, Jean Baudrillard, Michel Foucault, Jean-Luc Nancy, Philippe

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Winner, 2021 AERA Outstanding Book Award Winner, 2021 AERA Division F New Scholar's Book Award Winner, 2020 Mary Kelley Book Prize, given by the Society for Historians of the Early American Republic Winner, 2020 Outstanding Book Award, given by the History of Education Society Uncovers the hidden role of girls and women in the desegregation of American education The story of school desegregation in the United States often begins in the mid-twentieth-century South. Drawing on archival sources and genealogical records, Kabria Baumgartner uncovers the story’s origins in the nineteenth-century Northeast and identifies a previously overlooked group of activists: African American girls and women. In their quest for education, African American girls and women faced numerous obstacles—from threats and harassment to violence. For them, education was a daring undertaking that put them in harm’s way. Yet bold and brave young women such as Sarah Harris, Sarah Parker Remond, Rosetta Morrison, Susan Paul, and Sarah Mapps Douglass persisted. In Pursuit of Knowledge argues that African American girls and women strategized, organized, wrote, and protested for equal school rights—not just for themselves, but for all. Their activism gave rise to a new vision of womanhood: the purposeful woman, who was learned, active, resilient, and forward-thinking. Moreover, these young women set in motion equal-school-rights victories at the local and state level, and laid the groundwork for further action to democratize schools in twentieth-century America. In this thought-provoking book, Baumgartner demonstrates that the confluence of race and gender has shaped the long history of school desegregation in the United States right up to the present.

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A foundational reckoning with how Black Americans have used the written word to define and redefine themselves over the course of the country''s history.Distilled over many years from Henry Louis Gates Jr''s legendary Harvard course in African American Studies, The Black Box: Writing the Race is the story of Black self-definition in America through the prism of the writers who have led the way. From Phillis Wheatley and Frederick Douglass, W. E. B. Du Bois and Booker T. Washington, to Zora Neale Hurston and Richard Wright, James Baldwin and Toni Morrison, these writers used words to create a liveable world a home for Black people destined to live in a bitterly racist society.This is a community that defined and transformed itself in defiance of oppression and lies; a collective act of resistance and transcendence that is at the heart of its self-definition. Out of that contested ground has flowered a resilient, creative, powerful, diverse culture formed b

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Political Black Girl Magic explores black women’s experiences as mayors in American cities. The editor and contributors to this comprehensive volume examine black female mayoral campaigns and elections where race and gender are a factor—and where deracialized campaigns have garnered candidate support from white as well as Hispanic and Asian American voters. Chapters also consider how Black female mayors govern, from discussions of their pursuit of economic growth and how they use their power to enact positive reforms to the challenges they face that inhibit their abilities to cater to neglected communities. Case studies in this interdisciplinary volume include female mayors in Atlanta, Baltimore, Charlotte, Chicago, Compton, and Washington, DC, among other cities, along with discussion of each official’s political context. Covering mayors from the 1960s to the present, Political Black Girl Magic identifies the most significant obstacles black women have faced as mayors and mayoral candidates, and seeks to understand how race, gender, or the combination of both affected them. Contributors: Andrea Benjamin, Nadia E. Brown, Pearl K. Dowe, Christina Greer, Precious Hall, Valerie C. Johnson, Yolanda Jones, Lauren King, Angela K. Lewis-Maddox, Minion K.C. Morrison, Marcella Mulholland, Stephanie A. Pink-Harper, Kelly Briana Richardson, Emmitt Y. Riley, III, Ashley Robertson Preston, Taisha Saintil, Jamil Scott, Fatemeh Shafiei, James Lance Taylor, LaRaven Temoney, Linda Trautman, and the editor

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From a suspiciously cheap Hell’s Kitchen walk-up, Nigerian editor and winner of a Toni Morrison Publishing Fellowship Ekong Udousoro is about to begin the opportunity of a lifetime: to learn the ins and outs of the publishing industry from its incandescent epicenter. While his sophisticated colleagues meet him with kindness and hospitality, he is soon exposed to a colder, ruthlessly commercial underbelly—callous agents, greedy landlords, boorish and hostile neighbors, and, beneath a superficial cosmopolitanism, a bedrock of white cultural superiority and racist assumptions about Africa, its peoples, and worst of all, its food. Reckoning, at the same time, with the recent history of the devastating and brutal Biafran War, in which Ekong’s people were a minority of a minority caught up in the mutual slaughter of majority tribes, Ekong’s life in New York becomes a saga of unanticipated strife. The great apartment deal wrangled by his editor turns out to be an illegal sublet crawling with bedbugs. The lights of Times Square slide off the hardened veneer of New Yorkers plowing past the tourists. A collective antagonism toward the “other” consumes Ekong’s daily life. Yet in overcoming misunderstandings with his neighbors, Chinese and Latino and African American, and in bonding with his true allies at work and advocating for healing back home, Ekong proves that there is still hope in sharing our stories. Akpan’s prose melds humor, tenderness, and pain to explore the myriad ways that tribalisms define life everywhere, from the villages of Nigeria to the villages within New York City. New York, My Village is a triumph of storytelling and a testament to the life-sustaining power of community across borders and across boroughs.

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Russ Castronovo underscores the inherent contradictions between America's founding principles of freedom and the reality of slavery in a book that probes mid-nineteenth-century representations of the founding fathers. He finds that rather than being coherent and consensual, narratives of nationhood are inconsistent, ambivalent, and ironic. He examines competing expressions of national memory in a wide range of mid-nineteenth-century artifacts: slave autobiography, classic American fiction, monumental architecture, myths of the Revolution, proslavery writing, and landscape painting. Castronovo theorizes a new American cultural studies which takes into consideration what Toni Morrison calls the "Africanist presence" that permeates American literature. He presents a genealogy that recovers those members of the national family whose status challenges the body politic and its history. The forgotten orphans in Melville's Moby-Dick and Israel Potter, the rebellious slaves in the work of Frederick Douglass and William Wells Brown, the citizens afflicted with amnesia in Lincoln's speeches, and the dispossessed sons in slave narratives all provide dissenting voices that provoke insurrectionary plots and counter-memories. Viewed here as a miscegenation of stories, the narrative of "America" resists being told of an intelligible story of uncontested descent. National identity rests not on rituals of consensus but on repressed legacies of parricide and rebellion. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1995.

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Part memoir, part social history, Revolutionary Spirit is the poignant, often hilarious story of a cult Liverpool musician s scenic route to fame and artistic validation. If Morrissey was the Oscar Wilde of the 1980s indie scene, Simpson was its William Blake, a self-destructive genius so lost in mystical visions of a new arcadia that he couldn t meet the rent. Simpson s career begins alongside fellow Liverpool luminaries Julian Cope, Ian McCulloch, Bill Drummond, Ian Broudie, Will Sergeant, Pete Wylie, Pete Burns, and Pete de Freitas at the infamous Eric s club, where, in 1976, he finds himself at the birth of the city s second great musical explosion. Along the way, he co-founds and christens the neo-psychedelic pop group The Teardrop Explodes, shares a flat with a teenage Courtney Love, and forms The Wild Swans, the indie band of choice for literary-minded teens in the early 1980s, who burn bright and brief, in the process recording one of the all-time great cult hit singles, Revolutionary Spirit . Marriage, fatherhood, and tropical illness follow, interspersed with artistic collaborations with Bill Drummond and members of The Brian Jonestown Massacre, among others. Following an onstage reunion with Cope at the Royal Festival Hall, Simpson discovers that seven thousand miles away, in the Philippines, he is considered a musical god. Presidential suites, armed guards, police escorts . . . you couldn t make it up, and, incredibly, he doesn t need to. Revolutionary Spirit marks the arrival of an original literary voice. It is the story of a musician driven by an unerring belief that artistic integrity will bring its own rewards, and an elliptical elegy to the ways it does.

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Home is a powerful metaphor guiding the literature of African Americans throughout the twentieth century. While scholars have given considerable attention to the Great Migration and the role of the northern city as well as to the place of the South in African American literature, few have given specific notice to the site of "home." And in the twenty years since Houston A. Baker Jr.'s Blues, Ideology, and Afro-American Literature appeared, no one has offered a substantial challenge to his reading of the blues matrix. Burnin' Down the House creates new and sophisticated possibilities for a critical engagement with African American literature by presenting both a meaningful critique of the blues matrix and a careful examination of the place of home in five classic novels: Native Son by Richard Wright, Invisible Man by Ralph Ellison, The Bluest Eye and Song of Solomon by Toni Morrison, and Corregidora by Gayl Jones.

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The classic three volumes of Hebridean Folksongs, reissued simultaneously for the first time since their original publication (1969, 1977, 1981), contain 135 songs connected with the waulking of homespun tweed cloth in the Hebridean isles. Volume 1 is based on waulking songs collected by Donald MacCormick in South Uist in 1893. Volumes 2 and 3 are based on John Lorne Campbell's recordings of songs made between 1938 and 1965 in Barra, South Uist, Eriskay and Benbecula. The translations for all the songs in Volumes 2 and 3 and many of those in Volume 1 are by John Lorne Campbell, who also wrote detailed notes discussing the songs. Multiple versions of the same song are compared with each other and with versions drawn from unpublished manuscript sources. Francis Collinson's meticulous musical transcriptions of the songs, and musicological analyses, are invaluable. The songs are from the repertoires of some well-known singers of their generation, including Miss Annie Johnson, her brother Calum and Miss Mary Morrison, all of Barra, Mrs Neil Campbell of South Uist, and Miss Nan MacKinnon of Vatersay.

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The classic three volumes of Hebridean Folksongs, reissued simultaneously for the first time since their original publication (1969, 1977, 1981), contain 135 songs connected with the waulking of homespun tweed cloth in the Hebridean isles. Volume 1 is based on waulking songs collected by Donald MacCormick in South Uist in 1893. Volumes 2 and 3 are based on John Lorne Campbell's recordings of songs made between 1938 and 1965 in Barra, South Uist, Eriskay and Benbecula. The translations for all the songs in Volumes 2 and 3 and many of those in Volume 1 are by John Lorne Campbell, who also wrote detailed notes discussing the songs. Multiple versions of the same song are compared with each other and with versions drawn from unpublished manuscript sources. Francis Collinson's meticulous musical transcriptions of the songs, and musicological analyses, are invaluable. The songs are from the repertoires of some well-known singers of their generation, including Miss Annie Johnson, her brother Calum and Miss Mary Morrison, all of Barra, Mrs Neil Campbell of South Uist, and Miss Nan MacKinnon of Vatersay.

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The classic three volumes of Hebridean Folksongs, reissued simultaneously for the first time since their original publication (1969, 1977, 1981), contain 135 songs connected with the waulking of homespun tweed cloth in the Hebridean isles. Volume 1 is based on waulking songs collected by Donald MacCormick in South Uist in 1893. Volumes 2 and 3 are based on John Lorne Campbell's recordings of songs made between 1938 and 1965 in Barra, South Uist, Eriskay and Benbecula. The translations for all the songs in Volumes 2 and 3 and many of those in Volume 1 are by John Lorne Campbell, who also wrote detailed notes discussing the songs. Multiple versions of the same song are compared with each other and with versions drawn from unpublished manuscript sources. Francis Collinson's meticulous musical transcriptions of the songs, and musicological analyses, are invaluable. The songs are from the repertoires of some well-known singers of their generation, including Miss Annie Johnson, her brother Calum and Miss Mary Morrison, all of Barra, Mrs Neil Campbell of South Uist, and Miss Nan MacKinnon of Vatersay.

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Wildlife management specialists and landscape ecologists offer a new perspective on the important intersection of these fields in the twenty-first century.It's been clear for decades that landscape-level patterns and processes, along with the tenets and tools of landscape ecology, are vitally important in understanding wildlife-habitat relationships and sustaining wildlife populations. Today, significant shifts in the spatial scale of extractive, agricultural, ranching, and urban land uses are upon us, making it more important than ever before to connect wildlife management and landscape ecology. Landscape ecologists must understand the constraints that wildlife managers face and be able to use that knowledge to translate their work into more practical applications. Wildlife managers, for their part, can benefit greatly from becoming comfortable with the vocabulary, conceptual processes, and perspectives of landscape ecologists.In Wildlife Management and Landscapes, the foremost landscape ecology experts and wildlife management specialists come together to discuss the emerging role of landscape concepts in habitat management. Their contributions• make the case that a landscape perspective is necessary to address management questions• translate concepts in landscape ecology to wildlife management• explain why studying some important habitat-wildlife relationships is still inherently difficult• explore the dynamic and heterogeneous structure of natural systems• reveal why factors such as soil, hydrology, fire, grazing, and timber harvest lead to uncertainty in management decisions• explain matching scale between population processes and management• discuss limitations to management across jurisdictional boundaries and balancing objectives of private landowners and management agencies• offer practical ideas for improving communication between professionals• outline the impediments that limit a full union of landscape ecology and wildlife managementUsing concrete examples of modern conservation challenges that range from oil and gas development to agriculture and urbanization, the volume posits that shifts in conservation funding from a hunter constituent base to other sources will bring a dramatic change in the way we manage wildlife. Explicating the foundational similarity of wildlife management and landscape ecology, Wildlife and Landscapes builds crucial bridges between theoretical and practical applications.Contributors: Jocelyn L. Aycrigg, Guillaume Bastille-Rousseau, Jon P. Beckmann, Joseph R. Bennett, William M. Block, Todd R. Bogenschutz, Teresa C. Cohn, John W. Connelly, Courtney J. Conway, Bridgett E. Costanzo, David D. Diamond, Karl A. Didier, Lee F. Elliott, Michael E. Estey, Lenore Fahrig, Cameron J. Fiss, Jacqueline L. Frair, Elsa M. Haubold, Fidel Hernández, Jodi A. Hilty, Joseph D. Holbrook, Cynthia A. Jacobson, Kevin M. Johnson, Jeffrey K. Keller, Jeffery L. Larkin, Kimberly A. Lisgo, Casey A. Lott, Amanda E. Martin, James A. Martin, Darin J. McNeil, Michael L. Morrison, Betsy E. Neely, Neal D. Niemuth, Chad J. Parent, Humberto L. Perotto-Baldivieso, Ronald D. Pritchert, Fiona K. A. Schmiegelow, Amanda L. Sesser, Gregory J. Soulliere, Leona K. Svancara, Stephen C. Torbit, Joseph A. Veech, Kerri T. Vierling, Greg Wathen, David M. Williams, Mark J. Witecha, John M. Yeiser

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In Animate Literacies Nathan Snaza proposes a new theory of literature and literacy in which he outlines how literacy is both constitutive of the social and used as a means to define the human. Weaving new materialism with feminist, queer, and decolonial thought, Snaza theorizes literacy as a contact zone in which humans, nonhuman animals, and nonvital objects such as chairs and paper all become active participants. In readings of classic literature by Kate Chopin, Frederick Douglass, James Joyce, Toni Morrison, Mary Shelley, and others, Snaza emphasizes the key roles that affect and sensory experiences play in literacy. Snaza upends common conceptions of literacy and its relation to print media, showing instead how such understandings reinforce dehumanizations linked to dominant imperialist, heterosexist, and capitalist definitions of the human. The path toward disrupting such exclusionary, humanist frameworks, Snaza contends, lies in formulating alternative practices of literacy and literary study that escape disciplined knowledge production.

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Refiguring in Black is a meditation on black life, and a meditation on the questions and concerns with which black life is confronted. It takes the form of a critical engagement with the thought of Frederick Douglass, Toni Morrison, Hortense Spillers, and Charles Mingus – key figures in the black radical tradition. Sithole does not reduce these thinkers to biographical subjects but examines them as figures of black thought in ways that are creative and generative. Erudite and passionate, this book is a statement of and testimony to refiguring as a form of critical practice by those who are engaged in a radical refusal, and thus part of the long arc of the black radical tradition. As a way of understanding the contemporary moment and unmasking antiblackness in all its forms and guises, Sithole’s work brings the annals of black thought into being in order to think differently and necessitate rupture, refusing to concede to the order of things and refusing to be complicit in the dehumanization that has marked the black condition.

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This book examines tragedy and tragic philosophy from the Greeks through Shakespeare to the present day. It explores key themes in the links between suffering and ethics through postcolonial literature. Ato Quayson reconceives how we think of World literature under the singular and fertile rubric of tragedy. He draws from many key works – Oedipus Rex, Philoctetes, Medea, Hamlet, Macbeth, and King Lear – to establish the main contours of tragedy. Quayson uses Shakespeare's Othello, Chinua Achebe, Wole Soyinka, Tayeb Salih, Arundhati Roy, Toni Morrison, Samuel Beckett and J.M. Coetzee to qualify and expand the purview and terms by which Western tragedy has long been understood. Drawing on key texts such as The Poetics and The Nicomachean Ethics, and augmenting them with Frantz Fanon and the Akan concept of musuo (taboo), Quayson formulates a supple, insightful new theory of ethical choice and the impediments against it. This is a major book from a leading critic in literary studies.

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An award-winning collection from one of America's most beloved twentieth-century poets'The love readers feel for Lucille Clifton - both the woman and her poetry - is constant and deeply felt' Toni MorrisonLucille Clifton was one of the most distinguished American poets of the twentieth century. This award-winning collection of her poems showcases the simplicity and song-like grace with which she addressed the whole of human experience: birth, death, children, dreams, spirituality, womanhood, illness, sexuality and racial injustice.'Physically small poems with enormous and profound inner worlds' Elizabeth Alexander, New Yorker'Clifton's earliest poems could have been written yesterday, and her later works could have been written decades ago' Reginald Dwayne Betts, The New York Times'A poetry so pared down that its spaces take on substance, become a shaping presence as much as the words themselves' Peggy Rosenthal

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'A must read...!!!' will.i.am'Each encounter is framed and presented with enormous literary skill and grace' David OlusogaWITH A FOREWORD FROM BERNARDINE EVARISTOConversations with some of the most extraordinary Black minds of our age, discussing race, decolonisation, systemic inequalities and the climate crisis.In a series of incisive and intimate encounters, Sarah Ladipo Manyika introduces some of the most distinguished Black thinkers of our times, including Nobel Laureates Toni Morrison and Wole Soyinka, and civic leaders first lady Michelle Obama and Senator Cory Booker.She searches for truth with poet Claudia Rankine and historian Henry Louis Gates, Jr. She discusses race and gender with South African filmmaker Xoliswa Sithole and American actor and playwright Anna Deavere Smith. She interrogates the world around us with pioneering publisher Margaret Busby, parliamentarian Lord Michael Hastings and civil rights activist Pastor Evan Mawarire - who dared to take on President Robert Mugabe and has lived to tell the tale. We also meet the living embodiment of the many threads, ideas and histories in this book through the profile of her fabulous 102-year-old friend, Mrs Willard Harris.In journeys that book-end the collection, Sarah Ladipo Manyika reflects on her own experience of being seen as 'oyinbo' in Nigeria, African in England, Arab in France, coloured in Southern Africa and Black in America, while feeling the least Black and most human among her fellow travellers, explorers all, against the sharp white relief of the South Pole.

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For a generation of contemporary Anglo-American novelists, the question "Why write?" has been answered with a renewed will to believe in the ethical value of literature. Dissatisfied with postmodernist parody and pastiche, a broad array of novelist-critics—including J.M. Coetzee, Toni Morrison, Zadie Smith, Gish Jen, Ian McEwan, and Jonathan Franzen—champion the novel as the literary genre most qualified to illuminate individual ethical action and decision-making within complex and diverse social worlds. Key to this contemporary vision of the novel's ethical power is the task of knowing and being responsible to people different from oneself, and so thoroughly have contemporary novelists devoted themselves to the ethics of otherness, that this ethics frequently sets the terms for plot, characterization, and theme. In The Novel and the New Ethics, literary critic Dorothy J. Hale investigates how the contemporary emphasis on literature's social relevance sparks a new ethical description of the novel's social value that is in fact rooted in the modernist notion of narrative form. This "new" ethics of the contemporary moment has its origin in the "new" idea of novelistic form that Henry James inaugurated and which was consolidated through the modernist narrative experiments and was developed over the course of the twentieth century. In Hale's reading, the art of the novel becomes defined with increasing explicitness as an aesthetics of alterity made visible as a formalist ethics. In fact, it is this commitment to otherness as a narrative act which has conferred on the genre an artistic intensity and richness that extends to the novel's every word.

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For a generation of contemporary Anglo-American novelists, the question "Why write?" has been answered with a renewed will to believe in the ethical value of literature. Dissatisfied with postmodernist parody and pastiche, a broad array of novelist-critics—including J.M. Coetzee, Toni Morrison, Zadie Smith, Gish Jen, Ian McEwan, and Jonathan Franzen—champion the novel as the literary genre most qualified to illuminate individual ethical action and decision-making within complex and diverse social worlds. Key to this contemporary vision of the novel's ethical power is the task of knowing and being responsible to people different from oneself, and so thoroughly have contemporary novelists devoted themselves to the ethics of otherness, that this ethics frequently sets the terms for plot, characterization, and theme. In The Novel and the New Ethics, literary critic Dorothy J. Hale investigates how the contemporary emphasis on literature's social relevance sparks a new ethical description of the novel's social value that is in fact rooted in the modernist notion of narrative form. This "new" ethics of the contemporary moment has its origin in the "new" idea of novelistic form that Henry James inaugurated and which was consolidated through the modernist narrative experiments and was developed over the course of the twentieth century. In Hale's reading, the art of the novel becomes defined with increasing explicitness as an aesthetics of alterity made visible as a formalist ethics. In fact, it is this commitment to otherness as a narrative act which has conferred on the genre an artistic intensity and richness that extends to the novel's every word.

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In late August 1776, a badly defeated Continental Army retreated from Long Island to Manhattan. By the end of September, George Washington’s inexperienced army had been forced out of New York into New Jersey and, by the end of the year, into Pennsylvania. During this dark night of the American Revolution—“the times that try men’s souls”—Washington began developing the strategy that would win the war. In this illuminating account, Arthur Lefkowitz reveals how George Washington turned defeat into victory.During his retreat across New Jersey, Washington reconceived the war: keep the army mobile, target small parts of the British Army, rely on surprise and deception, form guerrilla units, and avoid large-scale battles. This new strategy first bore fruit in the crossing of the Delaware on Christmas night 1776 and the attack on the British at Trenton and Princeton. From there, Washington took up winter quarters at Morristown, New Jersey, and moved into the mountains, an ideal position from which to check British movements toward Philadelphia or north up the Hudson. The British tried and failed several times to coax Washington into a decisive battle. Stymied, the British were forced to attack Philadelphia by sea, and they would not be able to seize Philadelphia in time to support the British invasion of upstate New York which ended in defeat at Saratoga.Lefkowitz relies on a lifetime of deep research on the Revolutionary War and close knowledge of New Jersey to tell this exciting, important story whose impact rippled throughout the rest of the war.

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“...to be revisited again and again…The candy-colored pages and straightforward stories are hard to resist…” –The New York Times “Gorgeously illustrated...vibrant and comprehensive...will be brought down from the bookshelf again and again" –Evening Standard“Glorious celebration of 52 black heroes...big and bold...this is what young people of all races need to see." –The Independent“An essential book for inspiring even the tiniest children to face the world with boldness and self-belief.” –The Observer Meet 52 icons of colour from the past and present in this celebration of inspirational achievement – a collection of stories about changemakers to encourage, inspire and empower the next generation of changemakers. Jamia Wilson has carefully curated this range of black icons and the book is stylishly brought together by Andrea Pippins’ colourful and celebratory illustrations. Written in the spirit of Nina Simone’s song “To Be Young, Gifted, and Black,” this vibrant book is a perfect introduction to both historic and present-day icons and heroes. Meet figureheads, leaders and pioneers such as Martin Luther King Jr., Nelson Mandela and Rosa Parks, as well as cultural trailblazers and athletes like Stevie Wonder, Oprah Winfrey and Serena Williams. All children deserve to see themselves represented positively in the books they read. Highlighting the talent and contributions of black leaders and changemakers from around the world, readers of all backgrounds will be empowered to discover what they too can achieve. Strong, courageous, talented and diverse, these extraordinary men and women's achievements will inspire a new generation to chase their dream… whatever it may be. The 52 icons: Mary Seacole, Matthew Henson, Ava Duvernay, Bessie Coleman, Barack Obama, Michelle Obama, Chimamanda Ngozi Adichie, Cathy Freeman, George Washington Carver, Malorie Blackman, Harriet Tubman, Mo Farah, Jean-Michel Basquiat, Jesse Owens, Beyonce Knowles, Solange Knowles, Katherine Johnson, Josephine Baker, Kofi Annan, Langston Hughes, Toni Morrison, Brian Lara, Madam C.J. Walker, Yannick Noah, Maurice Ashley, Alexandre Duma, Martin Luther King, Jr., Maya Angelou, Nina Simone, Simone Biles, Stevie Wonder, Esperanza Spalding, Sidney Poitier, Oprah Winfrey, Pele, Nelson Mandela, Louis Armstrong, Rosa Parks, Naomi Campbell, Samuel Coleridge-Taylor, Muhammad Ali, Shirley Chisholm, Steve McQueen, Zadie Smith, Usain Bolt, Wangari Maathai, Mae Jemison, W.E.B. Du Bois, Nicola Adams, Serena Williams, Venus Williams, and Misty Copeland. If you like this book, check out Young, Gifted and Black Too, for 52 more inspiring icons! For younger readers, Baby Young Gifted and Black is perfect to introduce litte ones to these trailblazers who changed the world.

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In Millennial Style, Aliyyah I. Abdur-Rahman looks at recent experiments in black expressive culture that begin in the place of ruin. By ruin, Abdur-Rahman means the political terror and social abjection that constitute the ongoing peril of black lives. Whereas earlier black writers and artists have employed realist modes of expression to represent racial harm and to imaginatively remediate it, the black avant-garde of today displays more experimental methods. Abdur-Rahman outlines four widely employed modes in contemporary African diasporic cultural production: Black Grotesquerie, Hollowed Blackness, Black Cacophony, and the Black Ecstatic. Mobilizing black feminist and black radical thought, she considers work by such cultural practitioners as Wangechi Mutu, Marci Blackman, Alexandria Smith, Colson Whitehead, Toni Morrison, Harmony Holiday, and Essex Hemphill. Writerly and experimental, Millennial Style theorizes contemporary black art as the holding (or hoarding) of black mortal and material resources against the injuries of social death, as the fashioning of relational ethics, and as exuberant black world-building in ruinous times.

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In Hope Draped in Black Joseph R. Winters responds to the enduring belief that America follows a constant trajectory of racial progress. Such notions—like those that suggested the passage into a postracial era following Barack Obama's election—gloss over the history of racial violence and oppression to create an imaginary and self-congratulatory world where painful memories are conveniently forgotten. In place of these narratives, Winters advocates for an idea of hope that is predicated on a continuous engagement with loss and melancholy. Signaling a heightened sensitivity to the suffering of others, melancholy disconcerts us and allows us to cut against dominant narratives and identities. Winters identifies a black literary and aesthetic tradition in the work of intellectuals, writers, and artists such as W. E. B. Du Bois, Ralph Ellison, Toni Morrison, and Charles Burnett that often underscores melancholy, remembrance, loss, and tragedy in ways that gesture toward such a conception of hope. Winters also draws on Walter Benjamin and Theodor Adorno to highlight how remembering and mourning the uncomfortable dimensions of American social life can provide alternate sources for hope and imagination that might lead to building a better world.

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LONGLISTED FOR THE BOOKER PRIZE 2020A BARACK OBAMA BOOK OF THE YEAR 2020America. In the twilight of the Gold Rush, two siblings cross a landscape with a gun in their hands and the body of their father on their backs . . . Ba dies in the night, Ma is already gone. Lucy and Sam, twelve and eleven, are suddenly alone and on the run. With their father's body on their backs, they roam an unforgiving landscape dotted with giant buffalo bones and tiger paw prints, searching for a place to give him a proper burial.How Much of These Hills is Gold is a sweeping adventure tale, an unforgettable sibling story and a remarkable novel about a family bound and divided by its memories.'A daring and haunting epic' SUNDAY TIMES'A unique reimagining of the American West adventure' THE TIMES'A fierce, feminist Western' DAILY MAIL'Remarkable' HARPER'S BAZAAR'Reminiscent of both Cormac McCarthy and Toni Morrison' IRISH TIMES'C Pam Zhang's arresting, beautiful first novel is filled with myths of her own making as well as sorrows and joys' NEW YORK TIMESA GWYNETH PALTROW BOOK CLUB PICK

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Transport economics and policy analysis is a field which has seen major advances in methodology in recent decades. The transport sector has many unique characteristics - non-storability, economies of scale and scope, indivisibilities and the extensive production of positive and negative externalities that need careful consideration in any analysis. The aim of this Handbook is to provide an overview of the essential research methods with illustrations of how they are applied in practice.The book is divided into six sections - transport costs, externalities, transport demand, pricing and investment, deregulation and privatisation, and transport policy impacts. Each section comprises several chapters, divided by mode of transport or other relevant factor.Some of the unique features include: a comprehensive overview of methods used in transport economics and policy analysis from leading researchers in the field up-to-date methodology for analyzing transport costs and demand examples of how to value the full range of externalities of transport, including both costs and benefits guidance on how to assess the impact of privatisation and (de)regulation, with examples from local public transport, rail and air identification of the relevant factors involved in transport pricing, including roads, public transport, ports and airports an analysis of the neglected topic of equity in transport. This illustrative overview of research methods will be essential to researchers, students and practitioners in academia, government and business.Contributors: J. Bates, O. Betancor, B. de Borger, T. Fowkes, J. Holmgren, J. Owen Jansson, G. de Jong, G. Lindberg, H. Link, R. Liu, A. Ljungberg, A.D. May, H. Meersman, S. Morrison, C. Nash, J.-E. Nilsson, J. de Dios Ortuzar, J. Preston, S. Proost, L.I. Rizzi, W. Rothengatter, G. de Rus, S. Shepherd, A. Smith, J. Stanley, J. Stanley, S. Pettersen Strandenes, D. Van de Velde, E. Van de Voorde, R. Vickerman, P. Wheat, M. Wolanski

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Life and death are commonly seen as representing the starkest of binaries: Death is the ultimate adversary of all that lives. Beatrice Marovich argues that such understandings of mortality have been deeply influenced by a strain of Christian political theology that has left its mark on both religious and secular narratives. Adapting the figure of “Sister Death” from Saint Francis of Assisi, she calls for recognizing that life and death are family.Drawing on a wide range of sources—from Toni Morrison to Jacques Derrida, psychoanalysis to grassroots “death positive” movements—Marovich critiques a racialized political theology that pits life and death against each other in a state of endless war. In a time of extinctions, it is necessary to disrupt this dominant story in order to apprehend death as a collective, multispecies event. Sister Death proposes an alternative view in which life and death are not mortal enemies destined for mutual destruction. Instead, they are engaged in a contested, tense, and sometimes mutually empowering form of connection—a sisterhood.Eloquent and approachable, this book deftly integrates the insights of a number of disciplines to provide a profound reconsideration of the relations between life and death. Sister Death also features a series of original works by the artist Krista Dragomer that stage an ongoing conceptual conversation with the text.

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As Diana Morrison laid the table for six at her elegant Central Park apartment, she had no warning of what was to come. Spending New Year's Eve together was a tradition for Diana, her husband Eric, and their best friends Pascale and John Donnally and Anne and Robert Smith, and as the friends sipped champagne, they talked of renting a villa together in the South of France the following summer. But life had other plans...Just two weeks after New Year, tragedy strikes at the heart of their close circle as Robert suffers a sudden, tragic loss. Diana and Eric, Pascale and John, united in their love and shared grief, rally to his side and urge him to join them on the Riviera in August. But the ramshackle old mansion is far from the exquisite villa they had imagined, and Robert surprises them all by inviting a lovely, much-younger film actress with mile-long legs and a million-dollar smile. Diana and Pascale hate her on sight, but the men are dazzled, and amidst the crumbling furniture and glorious sunsets more surprises are in store. Old wounds are healed, new love discovered, and miracles unfold... all beneath the dazzling sun of St Tropez.

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'An attempt to retell an oft-told tale, this time informed by a desire to suck the hot air out of the more inflated earlier versions . . . this late-arriving history is perhaps the most reliable, and certainly the most entertaining, of all' GuardianFew bands are as shrouded in the murky haze of rock mythology as The Doors, and parsing fact from fiction has been a virtually impossible task. But now, after fifty years, The Doors' notoriously quiet guitarist is finally breaking his silence to set the record straight. Through a series of vignettes, Robby takes readers back to where it all happened: the pawn shop where he bought his first guitar; the jail cell he was tossed into after a teenage drug bust; his parents' living room where his first songwriting sessions with Jim Morrison took place; and the many concert venues that erupted into historic riots. Both a time capsule of the 1960s counterculture and a moving reflection on what it means to find oneself as a musician, Set the Night on Fire is a must-read for Doors fans and an essential volume of American pop.'The very best . . . A well-told classic tale' Mojo'Eschewing mythologising for unvarnished, often amusing memories, this is a book that Doors fans will love madly' Classic Rock Magazine

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In The Afterlife of Reproductive Slavery Alys Eve Weinbaum investigates the continuing resonances of Atlantic slavery in the cultures and politics of human reproduction that characterize contemporary biocapitalism. As a form of racial capitalism that relies on the commodification of the human reproductive body, biocapitalism is dependent upon what Weinbaum calls the slave episteme—the racial logic that drove four centuries of slave breeding in the Americas and Caribbean. Weinbaum outlines how the slave episteme shapes the practice of reproduction today, especially through use of biotechnology and surrogacy. Engaging with a broad set of texts, from Toni Morrison's Beloved and Octavia Butler's dystopian speculative fiction to black Marxism, histories of slavery, and legal cases involving surrogacy, Weinbaum shows how black feminist contributions from the 1970s, 1980s, and 1990s constitute a powerful philosophy of history—one that provides the means through which to understand how reproductive slavery haunts the present.

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The literature of Adrienne Rich, Toni Morrison, Ana Castillo, and Chimamanda Ngozi Adichie teaches a risky, self-giving way of reading (and being) that brings home the dangers and the possibilities of suffering as an ethical good. Working the thought of feminist theologians and philosophers into an analysis of these women's writings, Cynthia R. Wallace crafts a literary ethics attentive to the paradoxes of critique and re-vision, universality and particularity, and reads in suffering a redemptive or redeemable reality. Wallace's approach recognizes the generative interplay between ethical form and content in literature, which helps isolate more distinctly the gendered and religious echoes of suffering and sacrifice in Western culture. By refracting these resonances through the work of feminists and theologians of color, her book also shows the value of broad-ranging ethical explorations into literature, with their power to redefine theories of reading and the nature of our responsibility to art and each other.

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How Black women’s reproduction became integral to white supremacy, capitalism, and heteropatriarchy—and remains key to their dismantling In the United States, slavery relied on the reproduction and other labors of unfree Black women. Nearly four centuries later, Black reproductivity remains a vital technology for the creation, negotiation, and transformation of sexualized and gendered racial categories. Yet even as Black reproduction has been deployed to resolve the conflicting demands of white supremacy, capitalism, and heteropatriarchy, Sara Clarke Kaplan argues that it also holds the potential to destabilize the oppressive systems it is supposed to maintain.The Black Reproductive convenes Black literary and cultural studies with feminist and queer theory to read twentieth- and twenty-first-century texts and images alongside their pre-emancipation counterparts. These provocative, unexpected couplings include how Toni Morrison’s depiction of infanticide regenders Orlando Patterson’s theory of social death, and how Mary Prince’s eighteenth-century fugitive slave narrative is resignified through the representational paradoxes of Gayl Jones’s blues novel Corregidora. Throughout, Kaplan offers new perspectives on Black motherhood and gendered labor, from debates over the relationship between President Thomas Jefferson and Sally Hemings, to the demise of racist icon Aunt Jemima, to discussions of Black reproductive freedom and abortion. The Black Reproductive gives vital insight into the historic and ongoing conditions of Black unfreedom, and points to the possibilities for a Black feminist practice of individual and collective freedom.

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