A bold and wide ranging book which reaorders contemporary contemporary society through a feminist lens.

For more than a century, activists in the United States have tried to reform the police. From community policing initiatives to increasing diversity, none of it has stopped the police from killing about three people a day. Millions of people continue to protest police violence because these "solutions" do not match the problem: the police cannot be reformed. In Becoming Abolitionists, Purnell draws from her experiences as a lawyer, writer, and organizer initially skeptical about police abolition. She saw too much sexual violence and buried too many friends to consider getting rid of police in her hometown of St. Louis, let alone the nation. But the police were a placebo. Calling them felt like something, and something feels like everything when the other option seems like nothing. Purnell details how multi-racial social movements rooted in rebellion, risk-taking, and revolutionary love pushed her and a generation of activists toward abolition. The book travels across geography and time, and offers lessons that activists have learned from Ferguson to South Africa, from Reconstruction to contemporary protests against police shootings. Here, Purnell argues that police can not be reformed and invites readers to envision new systems that work to address the root causes of violence. Becoming Abolitionists shows that abolition is not solely about getting rid of police, but a commitment to create and support different answers to the problem of harm in society, and, most excitingly, an opportunity to reduce and eliminate harm in the first place.

Upper-middle-class white women have long been heralded as “experts” on feminism. They have presided over multinational feminist organizations and written much of what we consider the feminist canon, espousing sexual liberation and satisfaction, LGBTQ inclusion, and racial solidarity, all while branding the language of the movement itself in whiteness and speaking over Black and Brown women in an effort to uphold privilege and perceived cultural superiority. An American Muslim woman, attorney, and political philosopher, Rafia Zakaria champions a reconstruction of feminism in Against White Feminism, centering women of color in this transformative overview and counter-manifesto to white feminism’s global, long-standing affinity with colonial, patriarchal, and white supremacist ideals. Covering such ground as the legacy of the British feminist imperialist savior complex and “the colonial thesis that all reform comes from the West” to the condescension of the white feminist–led “aid industrial complex” and the conflation of sexual liberation as the “sum total of empowerment,” Zakaria follows in the tradition of intersectional feminist forebears Kimberlé Crenshaw, Adrienne Rich, and Audre Lorde. Zakaria ultimately refutes and reimagines the apolitical aspirations of white feminist empowerment in this staggering, radical critique, with Black and Brown feminist thought at the forefront.

The world is witnessing a new surge of interpersonal and institutional violence against women, including new witch hunts. This surge of violence has occurred alongside an expansion of capitalist social relation. In this new work, Silvia Federici examines the root causes of these developments and outlines the consequences for the women affected and their communities. She argues, that this new war on women, a mirror of witch hunts in 16th- and 17th-century Europe and the “New World,” is a structural element of the new forms of capitalist accumulation. These processes are founded on the destruction of people’s most basic means of reproduction. Like at the dawn of capitalism, the factors behind today’s violence against women are processes of enclosure, land dispossession, and the remolding of women’s reproductive activities and subjectivity.

This explosive book of history and cultural criticism argues that white feminism has been a weapon of white supremacy and patriarchy deployed against Black and Indigenous women and all colonized women. It offers a long-overdue validation of the experiences of women of color. Taking us from the slave era—when white women fought in court to keep "ownership" of their slaves—through the centuries of colonialism—when they offered a soft face for brutal tactics—to the modern workplace, White Tears/Brown Scars</i< tells the story of white women's active participation in campaigns of oppression. Examining subjects as varied as The Hunger Games, Alexandria Ocasio-Cortez, the viral BBQ Becky video, and nineteenth-century lynchings of Mexicans in the American Southwest, Ruby Hamad builds a powerful argument about the entrenched systems of white supremacy that we are socialized within, a reality that we must apprehend in order to fight.

Hernan Diaz meets Ottessa Moshfegh in this madcap road trip chronicle; a moving display of human connection in the face of violence and climate destruction from a remarkable new voice in fiction.Beatrice works at Twin Bridge, a chronically underfunded residential treatment center in near-future East Texas, teeming with enraged teenage girls on either too many or not enough drugs. On a normal day, it’s difficult for Beatrice and the other staff—Arda, Carmen, and Linda—to keep their cool. Now, she’s in charge of overseeing the drug trial being conducted most of the girls are on heavy doses of BeZen, which produces wonderfully calming effects on (almost) everybody, except her most difficult charge, Teresa. If the trial goes well, the pharmaceutical company will pay for a swanky new facility far away from dust-blown Askewn. No stranger to the power of a well-placed lie, Beatrice just needs to fudge a few numbers on her BeZen report and all of Twin Bridge will get their ticket out of Texas. Then the lights go out. A heat wave triggers a massive, sustained blackout. In the ensuing chaos and dust storm, a heavily medicated Teresa commits a shocking act of violence. Beatrice keeps this secret as the staff and residents leave town in a stolen van, hoping to reach the new facility in Atlanta. Meanwhile, Beatrice’s thoughts spiral deeper into the chain of events that drove her from Carolina when she herself was a how her parents joined a bizarre new religion, and how their house burned down under mysterious circumstances. Now, facing police brutality, sweltering heat, panicked evacuees, the girls’ mounting withdrawal, and the consequences of her lies, Beatrice, her colleagues, and the strange but handsome handyman Frank must keep the group safe while searching for a route out of the blackout zone. Met with state violence as they try to cross a bridge to Mississippi, the group reroutes to the now-flooded bayous of southern Louisiana, where in the region's neglected margins they find a refuge and the possibility of hope.

A darkly funny debut novel about two estranged sisters who are unknowingly thrown together by their problematic father’s dying wish Mickey and Arlo are half sisters. But they’ve never spoken and never met. Arlo adored her father—but always lived in the shadow of his magnetic personality and burdensome vices. Meanwhile, their father abandoned ​Mickey and her mother years ago, and Mickey has hated him since. When she receives news of her father’s passing, Mickey is shocked to learn that he’s left her his not-inconsiderable fortune. The Mickey must attend a series of therapy sessions before the money can be released. Unbeknownst to either woman, the psychologist Mickey’s father has ensured she meets with is her half sister, Arlo. Having cared for her beloved father on his sickbed, Arlo is devastated to discover he’s cut her out of his will. She resolves to learn where the money went and why. Working together as therapist and patient—with no idea that they’re in fact sisters—Arlo and Mickey soon get under each other’s skin. Arlo, eager to outrun a mistake in her professional past, is keen to redeem herself with her new client. But Mickey is far from the model patient. As Mickey’s personal and professional lives spiral out of control and Arlo uncovers the truth about who her new patient really is, the sisters find themselves on a crash course that will break—or save—them both.

On this final day of his life, Nils takes the boat out for the last time. In fact, he seems to be somewhere in between life and death already as he is reunited with his old dog, Luna. The passengers that come on and get off are all dead, too. They are people he has transported through a long life as a ferryman, and they board the ferry just as they were when he knew them. Gradually we also get Nils' own story, and above all the story of his marriage to a woman he loved very much. She too has been dead for several years, and as the ferryman himself is approaching the end of his own journey, the expectation grows - will he be reunited with her too?Translated by Alison McCullough

For fans of Fernanda Melchor and Tove Ditlevsen, a raw, propulsive novel by an award-winning Afro-Brazillian novelist about a Black mother and daughter who work as live-in maids for a rich family in an unnamed Brazilian city, and the tragedy they unwittingly bear witness to.Mabel has been staying in the Golden Plate—the most expensive building on the block, in an unnamed city in Brazil—for almost her entire life. Yet her presence there is merely she inhabits a miniscule room with her mother, Eunice, who alongside Mabel provides round-the-clock attention and care for the wealthy family who lives there. As Mabel grows up, her dissatisfaction with the forced smallness of her life becomes difficult to bear, and she is driven to work towards new possibilities for herself.Eunice does the best that she can—uneducated, and with a daughter and ailing mother both depending solely on her, her life is a series of limitations. She moves through the rooms of the penthouse suite in silent servitude, and though Mabel is ashamed of this invisibility act they've both perfected, the era of slavery is still fresh in the country'sconsciousness, and Eunice thinks it best not to dwell too hard on such things. But when tragedy strikes, and a little boy dies, Eunice must decide if she can face the indifference and injustices of the ruling class she has spent so long orbiting.Told through direct, agile and evocative prose, Solitaria is a liberation novel of the most rousing order. Through the book's awareness of space and whose presence is permissible, the world of the Golden Plate unfurls, and an unflinching portrait emerges of modern-day Brazil, its legacies of colonial violence haunting rooms across the country, both big and small.

‘A stimulating, elegant yet pugnacious essay’—Observer In this highly acclaimed seminal work, Edward Said surveys the history and nature of Western attitudes towards the East, considering Orientalism as a powerful European ideological creation—a way for writers, philosophers and colonial administrators to deal with the ‘otherness’ of Eastern culture, customs and beliefs. He traces this view through the writings of Homer, Nerval and Flaubert, Disraeli and Kipling, whose imaginative depictions have greatly contributed to the West’s romantic and exotic picture of the Orient. In the Afterword, Said examines the effect of continuing Western imperialism.

The newest edition is here. Another alternate cover can be found here. Emma Woodhouse is one of Austen's most captivating and vivid characters. Beautiful, spoilt, vain and irrepressibly witty, Emma organizes the lives of the inhabitants of her sleepy little village and plays matchmaker with devastating effect.