This collection from the late Ursula Franklin, published just two years before her death, includes an astonishing array of speeches and interviews on technology, pacifism, feminism, education, and more.
This brief and self-proclaimed manifesto contains two essays: the first, on the voice of women, and the second, on women and power.
For months, Matthew Desmond lived in the poorest neighborhoods of Milwaukee, getting to know the locals and documenting their impossible struggles to find and keep a home.
In this Victorian novel, Cora Seagrave’s abusive husband has died, leaving her and her son the best possible gifts: freedom and wealth.
Nancy MacLean unravels the main source of the right’s efforts to reimagine American democracy: the writing and thinking of political economist James Buchanan.
This anthology gathers core writing on the subject of critical race theory—a movement that looks at how the law is complicit in the creation and maintenance of oppression along the intersections of race, gender, sexuality, and class.
Zeynep Tufekci’s book spans the Zapatista uprisings in Mexico, the Occupy movement, a Turkish coup, Arab Spring, fake news, and more—and provides the most lucid analysis of the ways digital networked media has both enabled social justice movements and been used to thwart them.
It’s difficult to describe this collection of essays; I’m not convinced I should even refer to them as essays, exactly, as they often feel more like lyric than prose.
This sequal to Parable of the Sower follows Lauren Olamina and her Earthseed community as it grows—and then is viciously assaulted.
Lauren Olamina lives in a walled neighborhood in Southern California; it’s dangerous to venture beyond the walls, where there’s little work, less food, and no law.
Turner’s The Sea and Summer takes place in far future Australia, where the greenhouse effect has led to eternal summers and encroaching sea level.
Robert Gellately’s close history of the Nazi period focuses on one particular question: how much did ordinary Germans know about what was going on?
Claudia Rankine’s book-length lyric poem is adorned with an image of a torn black hood—a reference that could be any of the many black men and women who have been abused by the white state.