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When turmoil broke in Kashmir in 1989 so much happened there- an explosive uprising, rule of gun on the streets, exodus of Kashmiri Pandits and conversion of Kashmir into a beautiful prison. Whiteman in dark is a memoir of a female doctor trained in Kashmir during the peak years of turmoil. The pain of spine-breaking crackdowns, unending curfews, violent protests and prolonged sieges is described in the setting of Downtown Srinagar adjoining the area of Kohimaran where Muslims, Hindus, and Sikhs would converge and bow together. Besides an in-depth account of the effect of turmoil on the lives of medical students, medical education and healthcare the memoir describes how doctors were churned out in adverse circumstances. After militancy was curbed, the lull and calmness seen as signs of peace returning-was a temporary fatigue, with people flooding the streets again in 2008,2009 and 2010.This time the weapon was a stone and not a gun. Same story happened,...Curfew returned, disorder prevailed and Kashmiri again was the target. Today became another yesterday. The memoir is meant to touch the heartstrings of all sensitive beings who believe in peace. It is first memoir by a Kashmiri female and first one by a doctor.
'This book rewarded me with dark, dry chuckles on every page' Reni Eddo-Lodge 'Hilarious . . . This original approach to discussing race is funny, intellectual and timely' Independent 'The work of a true mastermind' Benjamin Zephaniah I learned early on that, for me as a black professional, to rise through the ranks and really attain power, I needed to adopt the most ruthless of mindsets possible: the mindset of the White Man who would tear your cheek from your face before he even considered turning his one first.
A NEW YORK TIMES BESTSELLER NAMED A BEST BOOK OF THE SUMMER BY TIME, ELLE, USA TODAY, ENTERTAINMENT WEEKLY AND MORE “Perhaps Hamid’s most remarkable work yet … an extraordinary vision of human possibility.” –Ayad Akhtar, author of Homeland Elegies “Searing, exhilarating … reimagines Kafka’s iconic The Metamorphosis for our racially charged era.” Hamilton Cain, Oprah Daily From the New York Times-bestselling author of Exit West, a story of love, loss, and rediscovery in a time of unsettling change. One morning, a man wakes up to find himself transformed. Overnight, Anders’s skin has turned dark, and the reflection in the mirror seems a stranger to him. At first he shares his secret only with Oona, an old friend turned new lover. Soon, reports of similar events begin to surface. Across the land, people are awakening in new incarnations, uncertain how their neighbors, friends, and family will greet them.Some see the transformations as the long-dreaded overturning of the established order that must be resisted to a bitter end. In many, like Anders’s father and Oona’s mother, a sense of profound loss and unease wars with profound love. As the bond between Anders and Oona deepens, change takes on a different shading: a chance at a kind of rebirth--an opportunity to see ourselves, face to face, anew. In Mohsin Hamid’s “lyrical and urgent” prose (O Magazine), The Last White Man powerfully uplifts our capacity for empathy and the transcendence over bigotry, fear, and anger it can achieve.
"[W]e can't come off as a bunch of angry white men.” Robert Bennett, chairman of the Ohio Republican Party One of the enduring legacies of the 2012 Presidential campaign was the demise of the white American male voter as a dominant force in the political landscape. On election night, after Obama was announced the winner, a distressed Bill O'Reilly lamented that he didn't live in “a traditional America anymore.” He was joined by others who bellowed their grief on the talk radio airwaves, the traditional redoubt of angry white men. Why were they so angry? Sociologist Michael Kimmel, one of the leading writers on men and masculinity in the world today, has spent hundreds of hours in the company of America's angry white men – from white supremacists to men's rights activists to young students –in pursuit of an answer. Angry White Men presents a comprehensive diagnosis of their fears, anxieties, and rage. Kimmel locates this increase in anger in the seismic economic, social and political shifts that have so transformed the American landscape. Downward mobility, increased racial and gender equality, and a tenacious clinging to an anachronistic ideology of masculinity has left many men feeling betrayed and bewildered. Raised to expect unparalleled social and economic privilege, white men are suffering today from what Kimmel calls "aggrieved entitlement": a sense that those benefits that white men believed were their due have been snatched away from them. Angry White Men discusses, among others, the sons of small town America, scarred by underemployment and wage stagnation. When America's white men feel they've lived their lives the ‘right' way – worked hard and stayed out of trouble – and still do not get economic rewards, then they have to blame somebody else. Even more terrifying is the phenomenon of angry young boys. School shootings in the United States are not just the work of “misguided youth” or “troubled teens”—they're all committed by boys. These alienated young men are transformed into mass murderers by a sense that using violence against others is their right. The future of America is more inclusive and diverse. The choice for angry white men is not whether or not they can stem the tide of history: they cannot. Their choice is whether or not they will be dragged kicking and screaming into that inevitable future, or whether they will walk openly and honorably – far happier and healthier incidentally – alongside those they've spent so long trying to exclude.
A quasi-religious corporation worth mentioning is the Fabretto Foundation, based in Nicaragua. This Foundation is a true God Enterprise. Father Rafael Mara Fabretto was an Italian priest who moved to Nicaragua with the purpose of opening and managing an orphanage . . . It was a catastrophic failure. Father Fabrettos experiment almost killed me, together with other kids who were rescued at the brink of starvation. Ironically, it was Anastasio Somoza (the father, the first member of the Somoza dynasty) who saved our lives . . . The continuum works in marvelous ways; just picture a hated, soft-hearted tyrant being impacted by the sight of more than 300 children starving to death. I bet his conscience screamed to his inner ears that he was going to be blamed if some of those children were to die . . . Somoza was moved by the continuum to do what is atypical of dictators, an act of love. The author, Manuel S. Marin, as a child, lived for a short time in the Oratorio San Juan Bosco, where he met Father Rafael Mara Fabretto, who lighted up in him the notion of the continuum, for which he didnt have a name until he met Bob Jones at Williams Brothers Construction Co.
An immensely persuasive work of literary criticism that opens a new chapter in the American dialogue on race—and promises to change the way we read American literature—from the acclaimed Nobel Prize winner Morrison shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires. According to the Chicago Tribune, Morrison "reimagines and remaps the possibility of America." Her brilliant discussions of the "Africanist" presence in the fiction of Poe, Melville, Cather, and Hemingway leads to a dramatic reappraisal of the essential characteristics of our literary tradition. Written with the artistic vision that has earned the Nobel Prize-winning author a pre-eminent place in modern letters, Playing in the Dark is an invaluable read for avid Morrison admirers as well as students, critics, and scholars of American literature.
Somalia. March 4, 1993. Two Somalis are shot in the back by Canadian peacekeepers, one fatally. Barely two weeks later, sixteen-year-old Shidane Abukar Arone is tortured to death. Dozens of Canadian soldiers look on or know of the torture. The first reports of what became known in Canada as the Somalia Affair challenged national claims to a special expertise in peacekeeping and to a society free of racism. Today, however, despite a national inquiry into the deployment of troops to Somalia, what most Canadians are likely to associate with peacekeeping is the nation's glorious role as peacekeeper to the world. Moments of peacekeeping violence are attributed to a few bad apples, bad generals, and a rogue regiment. In Dark Threats and White Knights, Sherene H. Razack explores the racism implicit in the Somalia Affair and what it has to do with modern peacekeeping. Examining the records of military trials and the public inquiry, Razack weaves together two threads: that of the violence itself and what would drive men to commit such atrocities, and secondly, the ways in which peacekeeping violence is largely forgiven and ultimately forgotten. Race disappears from public memory and what is installed in its place is a story about an innocent, morally superior middle-power nation obliged to discipline and sort out barbaric third world nations. Modern peacekeeping, Razack concludes, maintains a colour line between a family of white nations constructed as civilized and a third world constructed as a dark threat, a world in which violence is not only condoned but seen as necessary.
The Son of the Soil: Stone Obi’s The Tale of Dark Africa will open your eyes to the power of tradition and belief that exist within a people, a power that modern religion can’t totally wipe away. “I want people to see who we are,” writes the author. “We Africans have not detached from our folk’s way of thinking, and our ancestral conception has affected us into the 21st century as we continue to entertain such beliefs.” Part manifesto, part folk stories, Tale of Dark Africa explores the dark undertones of traditional African mythology and what issues its tenacious hold on Obi’s home country of Nigeria—and on Africa as a whole—may cause in the modern world. “Slavery, poverty, and wars are not the cause of our sufferings,” Obi writes. Instead, suffering comes from “the way we think and process information from a cultural and ancestral mentality.” In this way, the author seeks to draw the links between Africa’s suffering and the world’s. The tale of Dark Africa is the tale of the whole wide world.
Now twenty years since its initial release, Richard Dyer’s classic text White remains a groundbreaking and insightful study of the representation of whiteness in Western visual culture. White explores how, while racial representation is central to the organisation of the contemporary world, white people have remained a largely unexamined category in sharp contrast to the many studies of images of black and Asian peoples. Looking beyond the apparent unremarkability of whiteness, Dyer demonstrates the importance of analysing images of white people. Dyer places this representation within the contexts of Christianity, ‘race’ and colonialism. In a series of absorbing case studies, he shows the construction of whiteness in the technology of photography and film as part of a wider ‘culture of light’; discusses heroic white masculinity in muscle-man action cinema, from Tarzan and Hercules to Conan and Rambo; analyses the stifling role of white women in end-of-empire fictions like Jewel in the Crown and traces the associations of whiteness with death in Falling Down, horror movies and cult dystopian films such as Blade Runner and the Aliens trilogy. This twentieth anniversary edition includes a new introductory chapter by Maxime Cervulle entitled ‘Looking into the light: Whiteness, racism and regimes of representation’. This new introduction illuminates how Dyer has made a major contribution to the study of contemporary regimes of representation by unveiling the cultural mechanisms that have formed and reinforced white hegemony, mechanisms under which white people have come to represent what is ordinary, neutral, even universal.
From the author of the “powerful, fable-like work” (Publishers Weekly) Intimate Relations with Strangers comes a sci-fi mystery—and a very dark comedy—about several, mostly white, men who are systematically driven insane by a series of bizarre events. A man wakes up in the woods one day with amnesia and is confronted by a dominatrix who tells him they are on a mission from God. She takes him to Atlanta, where he comes upon an unapologetically racist and sexist book called The Total Emasculation of the White Man—which sets him off on an even stranger quest. Another man, a college mathematics professor turned stay-at-home dad, finds himself losing his mind when his son’s demonic teddy bear comes to life. Other men see even stranger horrors, but all these seemingly unconnected stories are part of a grand scheme that is either the work of a mischievous god or something even weirder. Blending elements of fantasy, mystery, science fiction and comedy, The Total Emasculation of the White Man is a provocative exploration of gender and race relations in America today.