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This is political theory painted in extraordinary, sweeping strokes. Dallas reaches back to the Chivalric Orders; to Robert, Earl of Essex; to Saladin; and to many others besides, gathering all these strands together to communicate a message which relates immediately and relevantly to the situation we are confronted with in the world we live in today.
In Cooper, South Dakota, the so-called “interim” lasts from October 20 at 10:05 p.m. until November 1 at 5:42 a.m. To Cooper’s residents, this chosen span of time makes sense as 10:05 was the time of the monster’s capture and 5:42 was the time of his death. Now, they are haunted by said creature, but only over the span of the interim. The rest of the year in Cooper is utopia, but it’s paramount that its citizens remain isolated in their homes during the interim in accordance with rules over a hundred years old. All that is about to change. On a hot day in July of 1999, five children—Randy Larkins, Ty Thomas, Vin Dellowinsk, Darlene Ren, and Betty Clammin—form a bound. Living in Cooper, their struggles are something more than those of the average adolescent. Due to social engineering, they’ve lived their lives in line with the threat of a terrible beast. With the interim looming, they band together. The children have had enough of the old ways. It’s time for the young to stand up and face the curse and defeat the monster that haunts their town.
From a writer whose work is considered "among the most significant prose and poetry written not just in the GDR but in all of postwar Germany" (Joshua Cohen), a digressive masterwork in the tradition of Heinrich Böll, Imre Kértesz, and Dasa Drndić that interrogates lust, God, statelessness, addiction, capitalism, and above all else the writer's place in "a century of lies."
An advocate and son of same-gender parents recounts his famed address to the Iowa House of Representatives on civil unions, and describes his positive experiences of growing up in an alternative family in spite of prejudice.
Where racism and sexism meet—an understanding of anti-Black misogyny When Moya Bailey first coined the term misogynoir, she defined it as the ways anti-Black and misogynistic representation shape broader ideas about Black women, particularly in visual culture and digital spaces. She had no idea that the term would go viral, touching a cultural nerve and quickly entering into the lexicon. Misogynoir now has its own Wikipedia page and hashtag, and has been featured on Comedy Central’s The Daily Show and CNN’s Cuomo Prime Time. In Misogynoir Transformed, Bailey delves into her groundbreaking concept, highlighting Black women’s digital resistance to anti-Black misogyny on YouTube, Facebook, Tumblr, and other platforms. At a time when Black women are depicted as more ugly, deficient, hypersexual, and unhealthy than their non-Black counterparts, Bailey explores how Black women have bravely used social-media platforms to confront misogynoir in a number of courageous—and, most importantly, effective—ways. Focusing on queer and trans Black women, she shows us the importance of carving out digital spaces, where communities are built around queer Black webshows and hashtags like #GirlsLikeUs. Bailey shows how Black women actively reimagine the world by engaging in powerful forms of digital resistance at a time when anti-Black misogyny is thriving on social media. A groundbreaking work, Misogynoir Transformed highlights Black women’s remarkable efforts to disrupt mainstream narratives, subvert negative stereotypes, and reclaim their lives.
'Hamlet and the Vision of Darkness' is a radical new interpretation of the most famous play in the English language. By exploring Shakespeare's engagements with the humanist traditions of early modern England and Europe, Rhodri Lewis reveals a 'Hamlet' unseen for centuries: an innovative, coherent, and exhilaratingly bleak tragedy in which the governing ideologies of Shakespeare's age are scrupulously upended.