Forty years ago, the world nearly ended. Be is an old robot who was there, and doesn’t want to think about what happened, or what role they played in that conflict. They have settled into a life of isolation in the abandoned ruins of an old mill in the former New York Botanical Gardens, disinterested in what has happened in the outside world since they stepped away from the war. Someone out there, though, has not forgotten about them, and when they are attacked, their person vandalized, one of their legs stolen, they set out to find the thief accompanied by a cyborg dog and a human mechanic. The world has changed, but the recovery from the war is uneven and faltering, and Be begins to suspect a malicious hand trying to rekindle the old conflict and finish what was started. In order to stop them, Be needs to come to terms with both their own past and who they have become, and how everything and everyone else they knew has changed in their absence. Being left alone is no longer an option, and peace may be impossible. This is a story about coming to terms with your past, with who you’ve become and who you still want to be: a tale of resilence and hope, an ode to those struggling to become whole in a world half-broken.

Esqueça o que você pensa que sabe sobre dinheiro, dívida e relações sociais. Obra essencial para entendermos o desenvolvimento da sociedade e do capitalismo, "Dívida" é um marco. Combinando antropologia, história, economia e um espírito abertamente anarquista, David Graeber — coautor do celebrado "O despertar de tudo" — prova que nossas ideias sobre dinheiro são limitadas, se não de todo equivocadas. Revertendo o senso comum de maneira brilhante, o autor mostra que a sociedade sempre foi separada em devedores e credores, e que a dívida e o perdão estiveram no centro do debate político bem antes de o dinheiro existir. Com prefácio inédito de Thomas Piketty.

Private investigator John Blacksad is up to his feline ears in mystery, digging into the backstories behind murders, child abductions, and nuclear secrets. Guarnido's sumptuously painted pages and rich cinematic style bring the world of 1950s America to vibrant life, with Canales weaving in fascinating tales of conspiracy, racial tension, and the "red scare" Communist witch hunts of the time. Guarnido reinvents anthropomorphism in these pages, and industry colleagues no less than Will Eisner, Jim Steranko, and Tim Sale are fans! Whether John Blacksad is falling for dangerous women or getting beaten to within an inch of his life, his stories are, simply put, unforgettable. Dark Horse is very proud to present the first three Blacksad stories in a beautiful hardcover collection, completely relettered to the artist's specifications and with the latest album, Red Soul, in English for the very first time. This internationally acclaimed series has won nearly a dozen prestigious awards — including the Angoulême Comics Festival prizes for Best Series and Best Artwork-and is a three-time Eisner Award nominee.

Tam Hashford is tired of working at her local pub, slinging drinks for world-famous mercenaries and listening to the bards sing of adventure and glory in the world beyond her sleepy hometown. When the biggest mercenary band of all rolls into town, led by the infamous Bloody Rose, Tam jumps at the chance to sign on as their bard. It's adventure she wants — and adventure she gets as the crew embark on a quest that will end in one of two ways: glory or death. It's time to take a walk on the wyld side.

Mystery crime fiction written in the Golden Age of Murder In the peaceful seaside town of Broadgate, an impossible crime occurs. The operator of the cliff railway locks the empty carriage one evening; when he returns to work next morning, a dead body is locked inside—a man who has been stabbed in the back. Jimmy London, a newspaper reporter, is first on the scene. He is quick on the trail for clues—and agrees to pool his knowledge with Inspector Shelley of Scotland Yard, who is holidaying in the area. Mistrustful of the plodding local policeman, Inspector Beech, the two men launch their own investigation into the most baffling locked-room mystery—a case that could reignite Jimmy's flagging career, but one that exposes him to great danger. "Rowland shows how a journalist might see what a cop doesn't see, and vice versa, in intriguing ways, as the murder spans out into a black-market petrol conspiracy worthy of Foyle's War." — Booklist STARRED review

AI is here, bringing a seismic shift in the way our society operates. Might this mean a future reimagined on equitable terms for women and marginalised groups everywhere? Not unless we fight for it. At present, power remains largely in the hands of a few rich, white men. New AI-driven technologies, with misogyny baked into their design, are putting women in danger, their rights and safety sacrificed at the altar of profitability and reckless speed. In The New Age of Sexism, Sunday Times bestselling author and campaigner Laura Bates takes us deep into the heart of this rapidly evolving world. She explores the metaverse, confronts deepfake pornography, travels to cyber brothels, tests chatbots, and hears from schools in the grip of online sexual abuse, showing how our lives – from education to work, sex to entertainment – are being infiltrated by easily accessible technologies that are changing the way we live and love. What she finds is a wild west where existing forms of discrimination, inequality and harassment are being coded into the future we will all have little choice about living in – unless we seize this moment to demand change. Gripping, courageous and eye-opening, The New Age of Sexism exposes a phenomenon we can’t afford to ignore any longer. Our future is on the line. We need to act now, before it is too late.

In this introduction to the work of postmodern sex and gender theorists, gender activist Riki Wilchins explains the key ideas that have shaped contemporary sex and gender studies. Using straightforward prose and concrete examples from LGBT politics — as well as her own life — Wilchins makes thinkers like Derrida, Foucault, and Judith Butler easily accessible to students, activists, and others who are interested in some of the most compelling and divisive issues of the last 100 years. Additionally, Wilchins reports on the ways queer youths today are using the tools of queer theory and gender theory to reshape their world. This book connects postmodern theory to political passion, personal experience, and the patterns of everyday life.

"No work in modern literature, with the possible exception of Uncle Tom's Cabin, can compete with What Is to Be Done? in its effect on human lives and its power to make history. For Chernyshevsky's novel, far more than Marx's Capital, supplied the emotional dynamic that eventually went to make the Russian Revolution."—Joseph Frank, The Southern Review Almost from the moment of its publication in 1863, Nikolai Chernyshevsky's novel, What Is to Be Done?, had a profound impact on the course of Russian literature and politics. The idealized image it offered of dedicated and self-sacrificing intellectuals transforming society by means of scientific knowledge served as a model of inspiration for Russia's revolutionary intelligentsia. On the one hand, the novel's condemnation of moderate reform helped to bring about the irrevocable break between radical intellectuals and liberal reformers; on the other, Chernyshevsky's socialist vision polarized conservatives' opposition to institutional reform. Lenin himself called Chernyshevsky "the greatest and most talented representative of socialism before Marx"; and the controversy surrounding What Is to Be Done? exacerbated the conflicts that eventually led to the Russian Revolution. Michael R. Katz's readable and compelling translation is now the definitive unabridged English-language version, brilliantly capturing the extraordinary qualities of the original. William G. Wagner has provided full annotations to Chernyshevsky's allusions and references and to the, sources of his ideas, and has appended a critical bibliography. An introduction by Katz and Wagner places the novel in the context of nineteenth-century Russian social, political, and intellectual history and literature, and explores its importance for several generations of Russian radicals.

Exploring anti-fatness and anti-Blackness at the intersections of race, police violence, gender identity, fatness, and health. To live in a body both fat and Black is to intersect at the margins of a society that normalizes anti-fatness as anti-Blackness: hyper-policed by state and society, passed over for housing and jobs, and derided and misdiagnosed by medical professionals, fat Black people in the United States are subject to culturally sanctioned discrimination, abuse, and trauma. In Belly of the Beast, author Da’Shaun Harrison–a fat, Black, disabled, and non-binary writer AMAB (assigned male at birth)–offers an incisive, fresh, and precise exploration of anti-fatness as anti-Blackness. Foregrounding the state-sanctioned murder of Eric Garner in a historical analysis of the policing, disenfranchisement, and invisibilizing of fat Black men and trans and nonbinary AMAB people, Harrison discusses the pervasive, insidious ways that anti-fat anti-Blackness shows up in everyday life. Fat people can be legally fired in 49 states for being fat; they’re more likely to be houseless. Fat people die at higher rates from misdiagnosis or non-treatment; fat women are more likely to be sexually assaulted. And at the intersections of fatness, race, disability, and gender identity, these abuses are exacerbated. Taking on desirability politics, f*ckability, healthism, hyper-sexualization, invisibility, and the connections between anti-fatness and police violence, Harrison viscerally and vividly illustrates the myriad harms of anti-fat anti-Blackness–and offers strategies for dismantling denial, unlearning the cultural programming that says “fat is bad,” and moving beyond the world we have now toward one that makes space for the fat and Black.

Play in Utopian and Dystopian Fiction is a wide-ranging and interdisciplinary study of the different forms of play to be found in depictions of radically better and radically worse societies across literary, filmic, and televisual texts. The book sets out to dismantle common myths about the role of play in such fiction by arguing that, far from being dull and static, utopias are primarily playful and dynamic. In contrast, in the twentieth and twenty-first centuries, dystopian fiction has been popularized by reader and audience expectations of spectacular and exciting action, but in this book such readings of dystopia are also challenged. Accompanying this is a discussion about labor and its role in relation to a future society that might privilege play over work. The book covers texts as diverse as Thomas More’s originary 1516 travel narrative, Utopia, and South Korean Netflix dystopian hit Squid Game (2021-25). It consists of chapters detailing the nature of play in utopian fiction; the connection between utopia and stasis; dystopian forms of violent and deadly play; boring dystopias; the absurd in utopian and dystopian fiction; and, finally, the future of play promised by new digital utopias and made possible by videogame technologies.

This monograph recuperates the concept of entertainment as a legitimate basis for ‘small screen’ criticism. It suggests that critical approaches to television might treat the text as an object of potential which actively engages and provides for aesthetic experience through entertainment. Aesthetic experience is characterised by emotion, and this study shows how the textual production of specifically forward feelings such as anticipation, aspiration, fear or dread may be mobilised and made sense of, shaping our sense of the future and its objects of hope. The argument is demonstrated by case studies arranged from ‘light’ to ‘dark’ in tone — as varied as Eurovision and Succession, The Repair Shop and The Leftovers — showing how these provide potentially significant, affecting encounters that are ‘hopeful’ in varying degrees and guises. Hope is adopted both as a theme of analysis and as a critical strategy of interpretation which privileges entertainment efficacy, and thus moves towards a more viewer-centric appreciation of cultural value.

This is a book that students of architecture will want to keep in the studio and in their backpacks. It is also a book they may want to keep out of view of their professors, for it expresses in clear and simple language things that tend to be murky and abstruse in the classroom. These 101 concise lessons in design, drawing, the creative process, and presentation—from the basics of "How to Draw a Line" to the complexities of color theory—provide a much-needed primer in architectural literacy, making concrete what too often is left nebulous or open-ended in the architecture curriculum. Each lesson utilizes a two-page format, with a brief explanation and an illustration that can range from diagrammatic to whimsical. The lesson on "How to Draw a Line" is illustrated by examples of good and bad lines; a lesson on the dangers of awkward floor level changes shows the television actor Dick Van Dyke in the midst of a pratfall; a discussion of the proportional differences between traditional and modern buildings features a drawing of a building split neatly in half between the two. Written by an architect and instructor who remembers well the fog of his own student days, 101 Things I Learned in Architecture School provides valuable guideposts for navigating the design studio and other classes in the architecture curriculum. Architecture graduates—from young designers to experienced practitioners—will turn to the book as well, for inspiration and a guide back to basics when solving a complex design problem.

O autor neste livro quebra a cronologia linear da historiografia oficial para desnudar o saque ao continente que persiste desde o descobrimento. Analisando os mecanismos de poder, os modos de produção e os sistemas de expropriação, Eduardo Galeano reescreve a história da América Latina e expõe os quinhentos anos de exploração econômica e miséria social.

More incisive analysis from the dude.

Emma Goldman is often depicted in current academic discourse as a mere prototypical feminist and socialist. Yet this collection of essays by Goldman reveals that she often expressed ideas which many of her present day admirers might find surprising and unsettling. She distrusted the proletariat, wrote disdainfully of the early feminists who were her contemporaries, and even expressed scepticism of women's suffrage. Goldman was an admirer of Nietzsche and in many ways represents a model of a superior individual who is capable of rising above the herd instincts of the masses and embracing confrontation with danger. She never hesitated to countenance both the ire of public authorities and the scorn of public opinion. As contemporary anarchists have fallen into the mundane habit of politically correct conformity, a full examination of Goldman's thought suggests the need for a new anarchism that reflects the martial spirit of which Goldman was an exemplary. Emma Goldman is often depicted in current academic discourse, and the “Left” in particular, as a role model for feminists and a champion of the proletariat. Keith Preston however in reviewing each chapter of Goldman’s most famous work “Anarchism and Other Essays” reveals that Emma Goldman often expressed ideas which many of her present day admirers will find surprising and unsettling. He highlights the fact that Emma Goldman distrusted the proletariat, wrote disdainfully of the early feminists who were her contemporaries, and expressed scepticism of women’s suffrage. Keith Preston maintains that Emma Goldman can only be really understood by recognising her admiration for the ideas of the German philosopher Friedrich Nietzsche (an admiration that she shared with Adolf Hitler and the National Socialists). He argues that Emma Goldman (as with Nietzsche’s “Zarathustra”) represents a model of a “superior individual” who is capable of rising above the herd instincts of the masses — one who never hesitated to countenance both the ire of public authorities and the scorn of public opinion. Politically correct she was not.

An accessible, bold new vision for the future of intersectional trans feminism, called "one of the best books in trans studies in recent years" by Susan Stryker Why are trans women the most targeted of LGBT people? Why are they in the crosshairs of a resurgent anti-trans politics around the world? And what is to be done about it by activists, organizers, and allies? A Short History of Transmisogyny is the first book-length study to answer these urgent but long overdue questions. Combining new historical analysis with political and activist accessibility, the book shows why it matters to understand trans misogyny as a specific form of violence with a documentable history. Ironically, it is through attending to the specificity of trans misogyny that trans women are no longer treated as inevitably tragic figures. They emerge instead as embattled but tenacious, locked in a struggle over the meaning and material stakes of gender, labor, race, and freedom. The book travels across bustling port cities like New York, New Orleans, London and Paris, the colonial and military districts of the British Raj, the Philippines, and Hawai'i, and the lively travesti communities of Latin America. The book shows how trans femininity has become legible as a fault line of broader global histories, including colonial government, the sex work industry, the policing of urban public space, and the line between the formal and informal economy. This transnational and intersectional approach reinforces that trans women are not isolated social subjects who appear alone; they are in fact central to the modern social world.

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.

O Tao-te Ching é um dos textos mais importantes e mais conhecidos da literatura chinesa, uma obra essencial para quem busca uma vivência espiritual no mundo contemporâneo, no entanto, ela nem sempre é de fácil compreensão. Assim, esta edição do Tao-Te Ching, comentada por Lúcia Helena Galvão, professora de filosofia da Nova Acrópole, chega para apresentar essas sabedorias de forma mais palatável, fruto de uma série de palestras que Lúcia realizou sobre o tema. Segundo ela, a ideia é que se penetre no Tao-Te Ching, desmistificando aquela imagem de "ininteligível" que o livro possui, podendo interpretá-lo e vivenciá-lo.

Spread out over many years and many different publications, the late author and activist Marta Russell wrote a number of groundbreaking and insightful essays on the nature of disability and oppression under capitalism. In this volume, Russell’s various essays are brought together in one place in order to provide a useful and expansive resource to those interested in better understanding the ways in which the modern phenomenon of disability is shaped by capitalist economic and social relations. The essays range in analysis from the theoretical to the topical, including but not limited to: the emergence of disability as a “human category” rooted in the rise of industrial capitalism and the transformation of the conditions of work, family, and society corresponding thereto; a critique of the shortcomings of a purely “civil rights approach” to addressing the persistence of disability oppression in the economic sphere, with a particular focus on the legacy of the Americans with Disabilities Act of 1990; an examination of the changing position of disabled people within the overall system of capitalist production utilizing the Marxist economic concepts of the reserve army of the unemployed, the labor theory of value, and the exploitation of wage-labor; the effects of neoliberal capitalist policies on the living conditions and social position of disabled people as it pertains to welfare, income assistance, health care, and other social security programs; imperialism and war as a factor in the further oppression and immiseration of disabled people within the United States and globally; and the need to build unity against the divisive tendencies which hide the common economic interest shared between disabled people and the often highly-exploited direct care workers who provide services to the former.

At the pinnacle of a grand and prolific career, W. S. Merwin has given us a shimmering new verse translation of the central section of Dante's Divine Comedy — the Purgatorio. Led by Virgil, inspired by his love for Beatrice, Dante makes the arduous journey up the Mountain of Purgatory, where souls are cleansed to prepare them for the ultimate ascent to heaven. Presented with the original Italian text, and with Merwin's notes and commentary, this luminous new interpretation of Dante's great poem of sin, repentance, and salvation is a profoundly moving work of art and the definitive translation for our time.