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Billions of American tax dollars go into a vast array of programs targeting various social issues: the opioid epidemic, criminal violence, chronic unemployment, and so on. Yet the problems persist and even grow. Howard Husock argues that we have lost sight of a more powerful strategy—a preventive strategy, based on positive social norms. In the past, individuals and institutions of civil society actively promoted what may be called “bourgeois norms,” to nurture healthy habits so that social problems wouldn’t emerge in the first place. It was a formative effort. Today, a massive social service state instead takes a reformative approach to problems that have already become vexing. It offers counseling along with material support, but struggling communities have been more harmed than helped by government’s embrace. And social service agencies have a vested interest in the continuance of problems. Government can provide a financial safety net for citizens, but it cannot effectively create or promote healthy norms. Nor should it try. That formative work is best done by civil society. This book focuses on six key figures in the history of social welfare to illuminate how a norm-promoting culture was built, then lost, and how it can be revived. We read about Charles Loring Brace, founder of the Children’s Aid Society; Jane Addams, founder of Hull House; Mary Richmond, a social work pioneer; Grace Abbott of the federal Children’s Bureau; Wilbur Cohen of the Department of Health, Education and Welfare; and Geoffrey Canada, founder of the Harlem Children’s Zone—a model for bringing real benefit to a poor community through positive social norms. We need more like it.
A New York Times bestseller | Soon to be a major motion picture “Witty, endearing and greatly entertaining.” —Wall Street Journal “Don’t trust anyone, including the four septuagenarian sleuths in Osman’s own laugh-out-loud whodunit.” —Parade Four septuagenarians with a few tricks up their sleeves A female cop with her first big case A brutal murder Welcome to... THE THURSDAY MURDER CLUB In a peaceful retirement village, four unlikely friends meet weekly in the Jigsaw Room to discuss unsolved crimes; together they call themselves the Thursday Murder Club. When a local developer is found dead with a mysterious photograph left next to the body, the Thursday Murder Club suddenly find themselves in the middle of their first live case. As the bodies begin to pile up, can our unorthodox but brilliant gang catch the killer, before it's too late?
This bracing new nonfiction book by the young superstar E´douard Louis is both a searing j’accuse of the viciously entrenched French class system and a wrenchingly tender love letter to his father This bracing new nonfiction book by the young superstar Édouard Louis is both a searing j’accuse of the viciously entrenched French class system and a wrenchingly tender love letter to his father. Who Killed My Father rips into France’s long neglect of the working class and its overt contempt for the poor, accusing the complacent French—at the minimum—of negligent homicide. The author goes to visit the ugly gray town of his childhood to see his dying father, barely fifty years old, who can hardly walk or breathe:“You belong to the category of humans whom politics consigns to an early death.” It’s as simple as that. But hand in hand with searing, specific denunciations are tender passages of a love between father and son, once damaged by shame, poverty and homophobia. Yet tenderness reconciles them, even as the state is killing off his father. Louis goes after the French system with bare knuckles but turns to his long-alienated father with open arms: this passionate combination makes Who Killed My Father a heartbreaking book.
A haunting, gloriously imagined novel by the acclaimed author of History of a Pleasure Seeker (“a classic” —The Washington Post), set in early twentieth-century colonial Cape Town, and a forest full of witch doctors, stingless bees, and hungry leopards. It is 1914. Germany has just declared war on France. Piet Barol was a tutor before he came to South Africa, his wife, Stacey, an opera singer. In Cape Town they are living the high life, impersonating French aristocrats—but their lies are catching up with them. The Barols’ furniture business is on the verge of collapse. They need top-quality wood, and they need it cheap. Piet enlists two Xhosa [pron. KO-sa] men to lead him into a vast forest, in search of a fabled tree. The Natives Land Act has just abolished property rights for the majority of black South Africans, and whole families have been ripped apart. Piet’s guides have their own reasons to lead him through the trees, and to keep him alive while he’s useful to them. Far from the comforting certainties of his privileged existence, Piet finds the prospect of riches beyond measure—and the chance to make great art. He is sure he’ll be able to buy what he needs for a few glass trinkets. But he’s underestimating the Xhosa, who believe the spirits of their ancestors live in this sacred forest. Battle lines are drawn. When Piet’s powers of persuasion fail him, he resorts to darker, more dangerous talents to get what he is determined to have. As the story moves to its devastating conclusion, every character becomes a suspect, and Piet’s arrogance and guile put him on a collision course with forces he cannot understand and that threaten his seemingly enchanted existence.
The American family used to be the fundamental institution of our stable, liberty-loving, and very successful society. It is the essential building block of a free society with limited government. In the last hundred years, the American family has been attacked, debased, maligned, slandered, and vilified by every facet of society. Who Killed the American Family explains how changes in the law, in court decisions, in the culture, in education, and in entertainment have eroded the once-precious institution. Any one of these factors would not have been enough to impact our families, but together they added up to a mighty force. Veteran conservative activist and conservative thought leader Phyllis Schlafly not only exposes the tactical charge the Left has implemented, but she offers hope and a plan for stopping anti-marriage incentives and how to restore in our culture the sacred nature of the family unit.
A controversial psychological examination of how soldiers’ willingness to kill has been encouraged and exploited to the detriment of contemporary civilian society. Psychologist and US Army Ranger Dave Grossman writes that the vast majority of soldiers are loath to pull the trigger in battle. Unfortunately, modern armies, using Pavlovian and operant conditioning, have developed sophisticated ways of overcoming this instinctive aversion. The mental cost for members of the military, as witnessed by the increase in post-traumatic stress, is devastating. The sociological cost for the rest of us is even worse: Contemporary civilian society, particularly the media, replicates the army’s conditioning techniques and, Grossman argues, is responsible for the rising rate of murder and violence, especially among the young. Drawing from interviews, personal accounts, and academic studies, On Killing is an important look at the techniques the military uses to overcome the powerful reluctance to kill, of how killing affects the soldier, and of the societal implications of escalating violence.
Whose truth is the lie? Stay up all night reading the sensational psychological thriller that has readers obsessed, from the #1 New York Times bestselling author of Too Late and It Ends With Us. #1 New York Times Bestseller · USA Today Bestseller · Globe and Mail Bestseller · Publishers Weekly Bestseller Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of bestselling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity’s notes and outlines, hoping to find enough material to get her started. What Lowen doesn’t expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read. Page after page of bone-chilling admissions, including Verity's recollection of the night her family was forever altered. Lowen decides to keep the manuscript hidden from Jeremy, knowing its contents could devastate the already grieving father. But as Lowen’s feelings for Jeremy begin to intensify, she recognizes all the ways she could benefit if he were to read his wife’s words. After all, no matter how devoted Jeremy is to his injured wife, a truth this horrifying would make it impossible for him to continue loving her.
Anthony McGowan is the Carnegie Medal 2020 winning author of Lark. He is coming to kill me. Now would be a good time to run. I cannot run. I am too afraid to run. Paul Varderman could be at any normal school - bullies, girls and annoying teachers are just a part of life. Unfortunately 'normal' doesn't apply when it comes to the school's most evil bully, Roth, a twisted and threatening thug with an agenda quite unlike anyone else. When Paul ends up delivering a message from Roth to the leader of a gang at a nearby school, it fuels a rivalry with immediate consequences. Paul attempts to distance himself from the feud, but when Roth hands him a knife it both empowers him and scares him at the same time . . . This thought-provoking and original novel highlights the terrible consequences of peer pressure and violence, and casts a spotlight on the worrying rise in knife crime among teenagers.