A groundbreaking work of feminist history and theory analyzing the complex relations between various forms of oppression. Ain't I a Woman examines the impact of sexism on black women during slavery, the historic devaluation of black womanhood, black male sexism, racism within the recent women's movement, and black women's involvement with feminism.

Presenting the essential writings of black lesbian poet and feminist writer Audre Lorde, Sister Outsider celebrates an influential voice in twentieth-century literature. In this charged collection of fifteen essays and speeches, Lorde takes on sexism, racism, ageism, homophobia, and class, and propounds social difference as a vehicle for action and change. Her prose is incisive, unflinching, and lyrical, reflecting struggle but ultimately offering messages of hope. This commemorative edition includes a new foreword by Lorde scholar and poet Cheryl Clarke, who celebrates the ways in which Lorde's philosophies resonate more than twenty years after they were first published. These landmark writings are, in Lorde's own words, a call to "never close our eyes to the terror, to the chaos which is Black which is creative which is female which is dark which is rejected which is messy which is . . . "

In this pathbreaking work, Edward S. Herman and Noam Chomsky show that, contrary to the usual image of the news media as cantankerous, obstinate, and ubiquitous in their search for truth and defense of justice, in their actual practice they defend the economic, social, and political agendas of the privileged groups that dominate domestic society, the state, and the global order. Based on a series of case studies—including the media’s dichotomous treatment of “worthy” versus “unworthy” victims, “legitimizing” and “meaningless” Third World elections, and devastating critiques of media coverage of the U.S. wars against Indochina—Herman and Chomsky draw on decades of criticism and research to propose a Propaganda Model to explain the media’s behavior and performance. Their new introduction updates the Propaganda Model and the earlier case studies, and it discusses several other applications. These include the manner in which the media covered the passage of the North American Free Trade Agreement and subsequent Mexican financial meltdown of 1994-1995, the media’s handling of the protests against the World Trade Organization, World Bank, and International Monetary Fund in 1999 and 2000, and the media’s treatment of the chemical industry and its regulation. What emerges from this work is a powerful assessment of how propagandistic the U.S. mass media are, how they systematically fail to live up to their self-image as providers of the kind of information that people need to make sense of the world, and how we can understand their function in a radically new way.

A deeply reported look at how polarization and compounding crises, including the war in Gaza and threats to democracy, have reshaped American politicsFascism or Genocide is New York Times Magazine writer Ross Barkan’s sweeping report on the 2024 US election and the decade of political upheaval leading up to it.As in 2020, Joe Biden campaigned on a platform to save democracy, but fewer voters were persuaded this time. During the Democratic primary season, more than half a million Americans cast votes for “Uncommitted” ballot options to send Biden a message about the urgent need to end the killing in Gaza, with some tagging him “Genocide Joe.”In contrast, mainstream liberals backed the Democratic ticket in the belief that Trump would put America on the road to fascism. As the director of an influential Palestinian advocacy group tells Barkan, “It’s a choice between fascism or genocide.”Biden’s withdrawal from the election and Kamala Harris’s subsequent nomination barely changed the narrative. Millions of Democrats stayed home after souring on the party, while others switched allegiance and got behind the Trump team. Fascism or Genocide takes a hard, informed look at the election, focusing on the future of the Democratic Party, the influence and potential of the progressive “Squad,” and ongoing culture wars within the party.

In 1972, when workers in Pottstown, Pennsylvania, were digging the foundations for a new development, the last thing they expected to find was a skeleton at the bottom of a well. Who the skeleton was and how it got there were two of the long-held secrets kept by the residents of Chicken Hill, the dilapidated neighbourhood where immigrant Jews and African Americans lived side by side and shared ambitions and sorrows. As these characters' stories overlap and deepen, it becomes clear how much the people who live on the margins struggle and what they must do to survive. When the truth is finally revealed about what happened on Chicken Hill and the part the town's white establishment played in it, McBride shows us that even in dark times, it is love and community-heaven and earth-that sustain us.

Powerfully persuasive and thought-provoking, Ending the Pursuit asks us to reimagine sexuality, romance and gender without the borders imposed by society. How did asexual identity form? What is aromanticism? How does agender identity function? Researcher and writer Michael Paramo explores these misunderstood experiences, from the complex challenge of coming out to navigating the western lens of attraction. Expertly mapping their history, Paramo traces the emergence of vital online communities to the origins of the Victorian binaries that still restrict us today. With a groundbreaking blend of memoir and poetry, online articles and discussions, Ending the Pursuit is a much-needed addition to the cultural conversation. It encourages us to end the search for ‘normalcy’ and gives voice to an often-misunderstood community. 'Important . . . Paramo refuses to take for granted the normalized ideas we are fed around how relationships should work and what they should look like' Dr. Ela Przybyło, Illinois State University

Louis Althusser’s renowned short text ‘Ideology and Ideological State Apparatuses’ radically transformed the concept of the subject, the understanding of the state and even the very frameworks of cultural, political and literary theory. The text has influenced thinkers such as Judith Butler, Ernesto Laclau and Slavoj �i�ek. The piece is, in fact, an extract from a much longer book, On the Reproduction of Capitalism, until now unavailable in English. Its publication makes possible a reappraisal of seminal Althusserian texts already available in English, their place in Althusser’s oeuvre and the relevance of his ideas for contemporary theory. On the Reproduction of Capitalism develops Althusser’s conception of historical materialism, outlining the conditions of reproduction in capitalist society and the revolutionary struggle for its overthrow. Written in the afterglow of May 1968, the text addresses a question that continues to haunt us in a society that proclaims its attachment to the ideals of liberty and equality, why do we witness the ever-renewed reproduction of relations of domination? Both a conceptually innovative text and a key theoretical tool for activists, On the Reproduction of Capitalism is an essential addition to the corpus of the twentieth-century Left.From the Trade Paperback edition.

The creation of the Frankfurt School of critical theory in the 1920s saw the birth of some of the most exciting and challenging writings of the twentieth century. It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture. He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors. In today's world, where even the least cynical of consumers is aware of the influence of the media, Adorno's work takes on a more immediate significance. The Culture Industry is an unrivalled indictment of the banality of mass culture.

In Her Body and Other Parties, Carmen Maria Machado blithely demolishes the arbitrary borders between psychological realism and science fiction, comedy and horror, fantasy and fabulism. While her work has earned her comparisons to Karen Russell and Kelly Link, she has a voice that is all her own. In this electric and provocative debut, Machado bends genre to shape startling narratives that map the realities of women's lives and the violence visited upon their bodies. A wife refuses her husband's entreaties to remove the green ribbon from around her neck. A woman recounts her sexual encounters as a plague slowly consumes humanity. A salesclerk in a mall makes a horrifying discovery within the seams of the store's prom dresses. One woman's surgery-induced weight loss results in an unwanted houseguest. And in the bravura novella Especially Heinous, Machado reimagines every episode of Law & Order: Special Victims Unit, a show we naively assumed had shown it all, generating a phantasmagoric police procedural full of doppelgangers, ghosts, and girls with bells for eyes. Earthy and otherworldly, antic and sexy, queer and caustic, comic and deadly serious, Her Body and Other Parties swings from horrific violence to the most exquisite sentiment. In their explosive originality, these stories enlarge the possibilities of contemporary fiction. The husband stitch -- Inventory -- Mothers -- Especially heinous -- Real women have bodies -- Eight bites -- The resident -- Difficult at parties

How did feminists end up turning to the police and the law to make them safe? A history of British feminism's long connections with the police and criminal justice system. The abduction and murder of Sarah Everard by London Met officer Wayne Couzens and the sharing photos of the bodies of murdered sisters Nicole Smallman and Bibaa Henry by constables revealed something rotten about policing in Britain. Every week it seems there is a fresh scandal involving abhorrent, racist, misogynist behaviour by serving officers. Yet, these are the very people that women are supposed to seek help from when they face violence. And many feminists continue to hope that the criminal justice system can be used to make women fighting for stronger laws and longer sentences for those who harm them. Why Would Feminists Trust the Police? traces the history of British feminism’s alliances and struggles with the law and its enforcers, to how did feminists come to rely on the police to make them safe? And how can we change course? Drawing on the history of Black British feminism and police and prison abolition, Leah Cowan issues a the police are not feminists, and they will not bring us safety.

Ryland Grace is the sole survivor on a desperate, last-chance mission—and if he fails, humanity and the earth itself will perish. Except that right now, he doesn’t know that. He can’t even remember his own name, let alone the nature of his assignment or how to complete it. All he knows is that he’s been asleep for a very, very long time. And he’s just been awakened to find himself millions of miles from home, with nothing but two corpses for company. His crewmates dead, his memories fuzzily returning, Ryland realizes that an impossible task now confronts him. Hurtling through space on this tiny ship, it’s up to him to puzzle out an impossible scientific mystery—and conquer an extinction-level threat to our species. And with the clock ticking down and the nearest human being light-years away, he’s got to do it all alone. Or does he?

With the verve and bite of My Year of Rest and Relaxation and the whip-smart, wisecracking sensibility of a golden-age Hollywood heroine, Marlowe Granados’s stunning début brilliantly captures a summer of striving in New York City. Refreshing and wry in equal measure, Happy Hour is an intoxicating novel of youth well spent. Isa Epley is all of twenty-one years old, and already wise enough to understand that the purpose of life is the pursuit of pleasure. After a sojourn across the pond, she arrives in New York City for a summer of adventure with her best friend, one newly blond Gala Novak. They have little money, but that’s hardly going to stop them from having a good time. In her diary, Isa describes a sweltering summer in the glittering city. By day, the girls sell clothes in a market stall, pinching pennies for their Bed-Stuy sublet and bodega lunches. By night, they weave from Brooklyn to the Upper East Side to the Hamptons among a rotating cast of celebrities, artists, Internet entrepreneurs, stuffy intellectuals, and bad-mannered grifters. Money runs ever tighter and the strain tests their friendship as they try to convert their social capital into something more lasting than their precarious gigs as au pairs, nightclub hostesses, paid audience members, and aspiring foot fetish models. Through it all, Isa’s bold, beguiling voice captures the precise thrill of cultivating a life of glamour and intrigue as she juggles paying her dues with skipping out on the bill. Happy Hour announces a dazzling new talent in Marlowe Granados, whose exquisite wit recalls Anita Loos’s 1925 classic, Gentlemen Prefer Blondes, updated to evoke a recent, golden period of hope and transformation—the summer of 2013. A cri de cœur for party girls and anyone who has ever felt entitled to an adventure of their own, Happy Hour is an effervescent tonic for the ails of contemporary life.

What it means to be sexually promiscuous in contemporary American culture, edited by cult-favorite author Michelle Tea. SLUTS , the first publication from vulgarian queer publisher DOPAMINE BOOKS, is an exploration of what it means to be sexually promiscuous in contemporary American culture. Featuring personal essays, spilled secrets, fiction, memoir, and experimental works, SLUTS asks writers and readers to investigate the many ways the notion of the slut impacts our inner and outer lives, as a threat or an identity, a punishment or an aspiration, a lifestyle, an aesthetic, a philosophy and rallying cry. From hideous and terrifying first encounters to postapocalyptic polyamory, from unionizing sex workers to backstage tableaux of sex and drugs and rock and roll, SLUTS ’s stories probe the liberating highs and abject lows of physical abandon. Featuring work from performer Miguel Gutierrez, hailed by the New York Times as “an artist of ordered excess”; former Nylon magazine editor in chief Gabrielle Korn; award-winning author Brontez Purnell; Whore of New York author Liara Roux; National Book Critics Circle Award winner Jeremy Atherton Lin; and a host of additional artists and writers, SLUTS reveals the knowledges provoked by a dalliance with desire. With work by BRONTEZ PURNELL * VERA BLOSSOM * MEREDITH MARAN * ROBERT GLÜCK * GABRIELLE KORN * CARLEY MOORE * NATE LIPPENS * CARTA MONIR * DREW ARRIOLA-SANDS * TOM COLE * JENNY FRAN DAVIS * BARUCH PORRAS-HERNANDEZ * KAMALA PULIGANDLA * ANNA JOY SPRINGER * LIARA ROUX * HEDI EL KHOLTI * JEN SILVERMAN * LYDIA CONKLIN * SAM COHEN * CHERYL E. KLEIN * JEREMY ATHERTON LIN * MCKENZIE WARK * DAVIEL SHY * FAWZY TAYLOR * CYRUS DUNHAM * MIGUEL GUTIERREZ * CHLOE CALDWELL * D-L ALVEREZ * AMANDA MONTIEL * LAURIE STONE * RYKA AOKI * VERONICA GONZALEZ PEÑA * TALEEN KALI * NICOLE REED * GRACE LAVERY * CRISTY C. ROAD * & more

When poet Amy Key was growing up, she looked forward to a life shaped by romance, fuelled by desire, longing and the conventional markers of success that come when you share a life with another person. But that didn't happen for her. Now in her forties, she sets out to explore the realities of a life lived in the absence of romantic love.Using Joni Mitchell's seminal album Blue - an album that shaped Key's expectations of love - as her guide, she examines the unexpected life she has created for herself. Building a home, travelling alone, choosing whether to be a mother, recognising her own milestones, learning the limits of self-care and the expansive potential of self-friendship, Key uncovers the many forms of connection and care that often go unnoticed.With profound candour and intimacy, Arrangements in Blue explores the painful feelings we are usually too ashamed to discuss: loneliness, envy, grief and failure. The result is a singular work - a beautifully-written and essential book about building a life on your own terms, which inspires us to live and love more honestly.

An explosive memoir charting one woman’s career at the heart of one of the most influential companies on the planet, Careless People gives you a front-row seat to Facebook, the decisions that have shaped world events in recent decades, and the people who made them. From trips on private jets and encounters with world leaders to shocking accounts of misogyny and double standards behind the scenes, this searing memoir exposes both the personal and the political fallout when unfettered power and a rotten company culture take hold. In a gripping and often absurd narrative where a few people carelessly hold the world in their hands, this eye-opening memoir reveals what really goes on among the global elite. Sarah Wynn-Williams tells the wrenching but fun story of Facebook, mapping its rise from stumbling encounters with juntas to Mark Zuckerberg’s reaction when he learned of Facebook’s role in Trump’s election. She experiences the challenges and humiliations of working motherhood within a pressure cooker of a workplace, all while Sheryl Sandberg urges her and others to “lean in.” Careless People is a deeply personal account of why and how things have gone so horribly wrong in the past decade—told in a sharp, candid, and utterly disarming voice. A deep, unflinching look at the role that social media has assumed in our lives, Careless People reveals the truth about the leaders of Facebook: how the more power they grasp, the less responsible they become and the consequences this has for all of us.

A New York Times Bestseller The leading thinker and most visible public advocate of modern monetary theory -- the freshest and most important idea about economics in decades -- delivers a radically different, bold, new understanding for how to build a just and prosperous society. Stephanie Kelton's brilliant exploration of modern monetary theory (MMT) dramatically changes our understanding of how we can best deal with crucial issues ranging from poverty and inequality to creating jobs, expanding health care coverage, climate change, and building resilient infrastructure. Any ambitious proposal, however, inevitably runs into the buzz saw of how to find the money to pay for it, rooted in myths about deficits that are hobbling us as a country. Kelton busts through the myths that prevent us from taking action: that the federal government should budget like a household, that deficits will harm the next generation, crowd out private investment, and undermine long-term growth, and that entitlements are propelling us toward a grave fiscal crisis. MMT, as Kelton shows, shifts the terrain from narrow budgetary questions to one of broader economic and social benefits. With its important new ways of understanding money, taxes, and the critical role of deficit spending, MMT redefines how to responsibly use our resources so that we can maximize our potential as a society. MMT gives us the power to imagine a new politics and a new economy and move from a narrative of scarcity to one of opportunity.

Zombies want brains. Vampires want blood. Cannibals want human flesh. All monsters need feeding. Horror has been embraced by mainstream pop culture more than ever before, with horror characters and aesthetics infecting TV, music videos and even TikTok trends. Yet even with the commercial and critical success of The Babadook, Hereditary, Get Out, The Haunting of Hill House, Yellowjackets and countless other horror films and TV series over the last few years, loving the genre still prompts the what's wrong with you? Implying, of course, that there is something not quite right about the people who make and consume it. In Feeding the Monster, Anna Bogutskaya dispels this notion once and for all by examining how horror responds to and fuels our feelings of fear, anxiety, pain, hunger and power.

Through the lens of horror—from "Halloween" to "Hereditary"—queer and trans writers consider the films that deepened, amplified, and illuminated their own experiences. Horror movies hold a complicated space in the hearts of the queer community: historically misogynist, and often homo- and transphobic, the genre has also been inadvertently feminist and open to subversive readings. Common tropes—such as the circumspect and resilient “final girl,” body possession, costumed villains, secret identities, and things that lurk in the closet—spark moments of eerie familiarity and affective connection. Still, viewers often remain tasked with reading themselves into beloved films, seeking out characters and set pieces that speak to, mirror, and parallel the unique ways queerness encounters the world. "It Came from the Closet" features twenty-five original essays by writers speaking to this relationship, through connections both empowering and oppressive. From Carmen Maria Machado on "Jennifer’s Body", Jude Ellison S. Doyle on "In My Skin", Addie Tsai on "Dead Ringers", and many more, these conversations convey the rich reciprocity between queerness and horror.

Henri “Halti” Haltiwanger can charm just about anyone. He is a star debater and popular student at the prestigious FATE academy, the dutiful first-generation Haitian son, and the trusted dog walker for his wealthy New York City neighbors. But his easy smiles mask a burning ambition to attend his dream college, Columbia University. There is only one person who seems immune to Henri’s charms: his “intense” classmate and neighbor Corinne Troy. When she uncovers Henri’s less-than-honest dog-walking scheme, she blackmails him into helping her change her image at school. Henri agrees, seeing a potential upside for himself. Soon what started as a mutual hustle turns into something more surprising than either of them ever bargained for. . . . This is a sharply funny and insightful novel about the countless hustles we have to keep from doing the hardest thing: being ourselves.