Fatima Bhutto

Layering climate science, mythologies, nature writing, and personal experiences, this New York Times Notable Book presents a stunning reckoning with our current moment and with the literal and figurative end of time. Desert Notebooks examines how the unprecedented pace of destruction to our environment and an increasingly unstable geopolitical landscape have led us to the brink of a calamity greater than any humankind has confronted before. As inhabitants of the Anthropocene, what might some of our own histories tell us about how to confront apocalypse? And how might the geologies and ecologies of desert spaces inform how we see and act toward time―the pasts we have erased and paved over, this anxious present, the future we have no choice but to build? Ehrenreich draws on the stark grandeur of the desert to ask how we might reckon with the uncertainty that surrounds us and fight off the crises that have already begun. In the canyons and oases of the Mojave and in Las Vegas’s neon apocalypse, Ehrenreich finds beauty, and even hope, surging up in the most unlikely places, from the most barren rocks, and the apparent emptiness of the sky. Desert Notebooks is a vital and necessary chronicle of our past and our present―unflinching, urgent―yet timeless and profound.

Bollywood is India's most popular entertainment and one of its most powerful social forces. Its blockbusters contest ideas about state formation, capture the nation's dispersed anxieties, and fabricate public fantasies of what constitutes "India." Written by an award-winning scholar of popular culture and postcolonial modernity, Bollywood's India analyzes the role of the cinema's most popular blockbusters in making, unmaking, and remaking modern India. With dazzling interpretive virtuosity, Priya Joshi provides an interdisciplinary account of popular cinema as a space that filters politics and modernity for its viewers. Themes such as crime and punishment, family and individuality, vigilante and community capture the diffuse aspirations of an evolving nation. Summoning India's tumultuous 1970s as an interpretive lens, Joshi reveals the cinema's social work across decades that saw the decline of studios, the rise of the multi-starrer genre, and the arrival of corporate capital and new media platforms. In elegantly crafted studies of iconic and less familiar films, including Awara (1951), Ab Dilli Dur Nahin (1957), Deewaar (1975), Sholay (1975), Dil Se (1998), A Wednesday (2008), and 3 Idiots (2009), Joshi powerfully conveys the pleasures and politics of Bollywood blockbusters.

In the stories of Adjei-Brenyah’s debut, an amusement park lets players enter augmented reality to hunt terrorists or shoot intruders played by minority actors, a school shooting results in both the victim and gunman stuck in a shared purgatory, and an author sells his soul to a many-tongued god. Adjei-Brenyah's writing will grab you, haunt you, enrage, and invigorate you. By placing ordinary characters in extraordinary situations, Adjei-Brenyah reveals the violence, injustice, and painful absurdities that black men and women contend with every day. These stories tackle urgent instances of racism and cultural unrest and explore the many ways we fight for humanity in an unforgiving world.

?Bold?, ?Shameless?, ?Siren? were just some of the (kinder) words u sed to describe Qandeel Baloch. She embraced these labels and played the coquette, yet dished out biting critiques of some of Pakistan?s most holy cows. Pakistanis snickered at her fake American accent, but marvelled at her gumption. She was the stuff of a hundred memes and Pakistan?s first celebrity-by-social media. Qandeel first captured the nation?s attention on Pak istan Idol with a failed audition and tearful outburst.But it was in February 2016, when she uploaded a Facebook video mocking a presidential ?warning? not to celebrate Valentine?s Day, that she went ?viral?. In the video, which racked up nearly a million views, she lies in bed, in a low- cut red dress, and says in broken English, ?They can stop to people go out ...but they can?t stop to people love.? The video shows us everything that Pakistanis loved-and loved to hate-about Qandeel, ?Pakistan?s Kim Kardashian?. Five months later, she would be dead. In July 2016, Qandeel?s brother would strangle her in their family home, in what was described as an ?honour killing?-a punishment for the ?shame? her online behaviour had brought to the family.

A New York Times bestseller “[Nobody] examines the interlocking mechanisms that systematically disadvantage 'those marked as poor, black, brown, immigrant, queer, or trans'—those, in Hill’s words, who are Nobodies...A worthy and necessary addition to the contemporary canon of civil rights literature.” —The New York Times “An impassioned analysis of headline-making cases…Timely, controversial, and bound to stir already heated discussion.” —Kirkus Reviews “A thought-provoking and important analysis of oppression, recommended for those seeking clarity on current events.” —Library Journal Unarmed citizens shot by police. Drinking water turned to poison. Mass incarcerations. We’ve heard the individual stories. Now a leading public intellectual and acclaimed journalist offers a powerful, paradigm-shifting analysis of America’s current state of emergency, finding in these events a larger and more troubling truth about race, class, and what it means to be “Nobody.” Protests in Ferguson, Missouri and across the United States following the death of Michael Brown revealed something far deeper than a passionate display of age-old racial frustrations. They unveiled a public chasm that has been growing for years, as America has consistently and intentionally denied significant segments of its population access to full freedom and prosperity. In Nobody, scholar and journalist Marc Lamont Hill presents a powerful and thought-provoking analysis of race and class by examining a growing crisis in America: the existence of a group of citizens who are made vulnerable, exploitable and disposable through the machinery of unregulated capitalism, public policy, and social practice. These are the people considered “Nobody” in contemporary America. Through on-the-ground reporting and careful research, Hill shows how this Nobody class has emerged over time and how forces in America have worked to preserve and exploit it in ways that are both humiliating and harmful. To make his case, Hill carefully reconsiders the details of tragic events like the deaths of Michael Brown, Sandra Bland, and Freddie Gray, and the water crisis in Flint, Michigan. He delves deeply into a host of alarming trends including mass incarceration, overly aggressive policing, broken court systems, shrinking job markets, and the privatization of public resources, showing time and time again the ways the current system is designed to worsen the plight of the vulnerable. Timely and eloquent, Nobody is a keen observation of the challenges and contradictions of American democracy, a must-read for anyone wanting to better understand the race and class issues that continue to leave their mark on our country today.