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From intimate relationships to global politics, Sarah Schulman observes a continuum: that inflated accusations of harm are used to avoid accountability. Illuminating the difference between Conflict and Abuse, Schulman directly addresses our contemporary culture of scapegoating. This deep, brave, and bold work reveals how punishment replaces personal and collective self-criticism, and shows why difference is so often used to justify cruelty and shunning. Rooting the problem of escalation in negative group relationships, Schulman illuminates the ways cliques, communities, families, and religious, racial, and national groups bond through the refusal to change their self-concept. She illustrates how Supremacy behavior and Traumatized behavior resemble each other, through a shared inability to tolerate difference. This important and sure to be controversial book illuminates such contemporary and historical issues of personal, racial, and geo-political difference as tools of escalation towards injustice, exclusion, and punishment, whether the objects of dehumanization are other individuals in our families or communities, people with HIV, African Americans, or Palestinians. Conflict Is Not Abuse is a searing rejection of the cultural phenomenon of blame, cruelty, and scapegoating, and how those in positions of power exacerbate and manipulate fear of the "other" to achieve their goals. Sarah Schulman is a novelist, nonfiction writer, playwright, screenwriter, journalist and AIDS historian, and the author of eighteen books. A Guggenheim and Fulbright Fellow, Sarah is a Distinguished Professor of the Humanities at the City University of New York, College of Staten Island. Her novels published by Arsenal include Rat Bohemia, Empathy, After Delores, and The Mere Future. She lives in New York. This publication meets the EPUB Accessibility requirements and it also meets the Web Content Accessibility Guidelines (WCAG-AA). It is screen-reader friendly and is accessible to persons with disabilities. A Simple book with few images, which is defined with accessible structural markup. This book contains various accessibility features such as alternative text for images, table of contents, page-list, landmark, reading order and semantic structure.
Although acceptance of difference is on the rise in America, it's the rare gay or lesbian person who has not been demeaned because of his or her sexual orientation, and this experience usually starts at home, among family members. Whether they are excluded from family love and approval, expected to accept second-class status for life, ignored by mainstream arts and entertainment, or abandoned when intervention would make all the difference, gay people are routinely subjected to forms of psychological and physical abuse unknown to many straight Americans. “Familial homophobia,” as prizewinning writer and professor Sarah Schulman calls it, is a phenomenon that until now has not had a name but that is very much a part of life for the LGBT community. In the same way that Susan Brownmiller's Against Our Will transformed our understanding of rape by moving the stigma from the victim to the perpetrator, Schulman's Ties That Bind calls on us to recognize familial homophobia. She invites us to understand it not as a personal problem but a widespread cultural crisis. She challenges us to take up our responsibilities to intervene without violating families, community, and the state. With devastating examples, Schulman clarifies how abusive treatment of homosexuals at home enables abusive treatment of homosexuals in other relationships as well as in society at large. Ambitious, original, and deeply important, Schulman's book draws on her own experiences, her research, and her activism to probe this complex issue—still very much with us at the start of the twenty-first century—and to articulate a vision for a more accepting world.
'A book of resistance and love, as urgently necessary now as it was thirty years ago' Olivia Laing First published in 1990, discover this blistering novel about a love triangle in New York during the AIDS crisis. The perfect novel to read after bingeing It's A Sin. It was the beginning of the end of the world but not everyone noticed right away. It is the late 1980s. Kate, an ambitious artist, lives in Manhattan with her husband Peter. She's having an affair with Molly, a younger lesbian who works part-time in a movie theater. At one of many funerals during an unbearably hot summer, Molly becomes involved with a guerrilla activist group fighting for people with AIDS. But Kate is more cautious, and Peter is bewildered by the changes he's seeing in his city and, most crucially, in his wife. Soon the trio learn how tragedy warps even the closest relationships, and that anger - and its absence - can make the difference between life and death. 'Strong, nervy and challenging' New York Times
First published in 1995, this award-winning novel, written from the epicentre of the AIDS crisis, is a bold, achingly honest story set in the rat bohemia of New York City, whose huddled masses include gay men and lesbians who bond with one ano...
A new edition of Sarah Schulman’s funny, sexy, surprising novel about a heartbroken waitress looking for love in New York.
A “captivating, perceptive, and empathic novel of New York” told with “panache and mischievous ebullience” (Booklist, starred review). In this retelling of Balzac’s Parisian classic Cousin Bette, Sarah Shulman spins her revenge story in Mad Men–era New York City. Bette, a lonely spinster, has worked as a secretary at an ad agency for thirty years. Her only real friend is her apartment neighbor Earl, a black, gay actor with a miserable job in a meatpacking plant. Shamed and disowned by their families, both find refuge in New York and in their friendship. Everything changes when Hortense, Bette’s wealthy niece from Ohio, moves to the city to pursue her own acting career. Her arrival reminds Bette of her scandalous past and the estranged Midwestern family she left behind. When Hortense’s calculating ambitions cause a rift between Bette and Earl, Bette uses her connections in the television ad world to destroy those who have wronged her. Textured with the grit and gloss of midcentury Manhattan in the days before the Civil Rights and Feminist Movements, The Cosmopolitans “balance[s] the hopes of an entire era on the backs of a fragile relationship. . . . Jarring and beautiful, this is a modern classic” (Kirkus Reviews, starred review).
"Maggie Terry is the most beautiful, most bitter, most sweet, and all around best detective novel I've read in years. Precise, insightful, heartbreaking, and page turning." —Sara Gran, author of The Infinite Blacktop Post-rehab, Maggie Terry is single-mindedly trying to keep her head down in New York City. There's a madman in the White House, the subways are constantly delayed, summer is relentless, and neighborhoods all seem to blend together. Against this absurd backdrop, Maggie wants nothing more than to slowly re- build her life in hopes of being reunited with her daughter. But her first day on the job as a private investigator lands her in the middle of a sensational new case: actress strangled. If Maggie is going to solve this mystery, she'll have to shake the ghosts—dead NYPD partner, vindictive ex, steadfast drug habit—that have long ruled her life. Sarah Schulman is a literary chronicler of the marginalized and subcultural, focusing on queer urban life. She is the author of several books, including The Gentrification of the Mind, Conflict Is Not Abuse, and The Cosmopolitans. She is Distinguished Professor of the Humanities at CUN Y, and teaches creative writing at the College of Staten Island.
Cancel culture addresses real harm...and sometimes causes more. It’s time to think this through. “Cancel” or “call-out” culture is a source of much tension and debate in American society. The infamous “Harper’s Letter,” signed by public intellectuals of both the left and right, sought to settle the matter and only caused greater division. Originating as a way for marginalized and disempowered people to take down more powerful abusers, often with the help of social media, cancel culture is seen by some as having gone “too far.” Adrienne maree brown, a respected cultural voice and a professional mediator, reframes the discussion for us, in a way that points to possible ways beyond the impasse. Most critiques of cancel culture come from outside the milieus that produce it, sometimes from even from its targets. Brown explores the question from a Black, queer, and feminist viewpoint that gently asks, how well does this practice serve us? Does it prefigure the sort of world we want to live in? And, if it doesn’t, how do we seek accountability and redress for harm in a way that reflects our values?
“An excellent workbook-like guide” to the nuts and bolts of professional conflict and the strategies you need to make conflict work for you (Booklist, starred review). Every workplace is a minefield of conflict, and all office tension is shaped by power. Making Conflict Work teaches you to identify the nature of a conflict, determine your power position relative to anyone opposing you, and use the best strategy for achieving your goals. These strategies are equally effective for executives, managers and their direct reports, consultants, and attorneys—anyone who has ever had a disagreement with someone in their organization. Packed with helpful self-assessment exercises and action plans, this book gives you the tools you need to achieve greater satisfaction and success. “A genuine winner.” —Robert B. Cialdini, author of Influence “This book is a necessity . . . Read it.” —Leymah Gbowee, 2011 Nobel Peace Prize laureate and Liberian peace activist “Innovative and practical.” —Lawrence Susskind, Program on Negotiation cofounder “Navigating conflict effectively is an essential component of leadership. Making Conflict Work illustrates when to compromise and when to continue driving forward.” —Hon. David N. Dinkins, 106th mayor of the City of New York “An excellent workbook-like guide.” —Booklist, starred review
This provocative thesis calls violence the driving force not just of war, but of politics and even social stability. Though violence is commonly deplored, political scientist Ginsberg argues that in many ways it is indispensable, unavoidable, and valuable. Ginsberg sees violence manifested in society in many ways. "Law-preserving violence" (using Walter Benjamin's phrase) is the chief means by which society preserves social order. Behind the security of a stable society are the blunt instruments of the police, prisons, and the power of the bureaucratic state to coerce and manipulate. Ginsberg also discusses violence as a tool of social change, whether used in outright revolution or as a means of reform in public protests or the threat of insurrection. He notes that even groups committed to nonviolent tactics rely on the violent reactions of their opponents to achieve their ends. And to avoid the threat of unrest, modern states resort to social welfare systems (a prudent use of the carrot instead of the stick). Emphasizing the unavoidability of violence to create major change, Ginsberg points out that few today would trade our current situation for the alternative had our forefathers not resorted to the violence of the American Revolution and the Civil War.