An examination of the lingering effects of a hydroelectric power station on Pimicikamak sovereign territory in Manitoba, Canada. The child of South Asian migrants, Kazim Ali was born in London, lived as a child in the cities and small towns of Manitoba, and made a life in the United States. As a man passing through disparate homes, he has never felt he belonged to a place. And yet, one day, the celebrated poet and essayist finds himself thinking of the boreal forests and lush waterways of Jenpeg, a community thrown up around the building of a hydroelectric dam on the Nelson River, where he once lived for several years as a child. Does the town still exist, he wonders? Is the dam still operational? When Ali goes searching, however, he finds not news of Jenpeg, but of the local Pimicikamak community. Facing environmental destruction and broken promises from the Canadian government, they have evicted Manitoba’s electric utility from the dam on Cross Lake. In a place where water is an integral part of social and cultural life, the community demands accountability for the harm that the utility has caused. Troubled, Ali returns north, looking to understand his place in this story and eager to listen. Over the course of a week, he participates in community life, speaks with Elders and community members, and learns about the politics of the dam from Chief Cathy Merrick. He drinks tea with activists, eats corned beef hash with the Chief, and learns about the history of the dam, built on land that was never ceded, and Jenpeg, a town that now exists mostly in his memory. In building relationships with his former neighbors, Ali explores questions of land and power?and in remembering a lost connection to this place, finally finds a home he might belong to. Praise for Northern Light An Outside Magazine Favorite Book of 2021 A Book Riot Best Book of 2021 A Shelf Awareness Best Book of 2021 “Ali’s gift as a writer is the way he is able to present his story in a way that brings attention to the myriad issues facing Indigenous communities, from oil pipelines in the Dakotas to border walls running through Kumeyaay land.” —San Diego Union-Tribune “A world traveler, not always by choice, ponders the meaning and location of home. . . . A graceful, elegant account even when reporting on the hard truths of a little-known corner of the world.” —Kirkus Reviews “[Ali’s] experiences are relayed in sensitive, crystalline prose, documenting how Cross Lake residents are working to reinvent their town and rebuild their traditional beliefs, language, and relationships with the natural world. . . . Though these topics are complex, they are untangled in an elegant manner.” —Foreword Reviews (starred review)

This title explores the shadowy world of the short, pornographic cut-piece clips that appear in some films in Bangladesh and examines their place in South Asian film culture. It provides a portrait of the production, consumption and cinematic pleasures of stray celluloid and shines a light on Bangladesh's state-owned film industry and popular practices of the obscene. The book also reframes conceptual approaches to South Asian cinema and film culture, drawing on media anthropology to decode the cultural contradictions of Bangladesh since the 1990s.

Madge Cohen does not regret her marriage to a man nearly twice her age, but looks forward to the day she is able to remarry. Young and lively, Madge was forced to marry Peter Cohen, a man nearly old enough to be her grandfather. While his wealth affords Madge new and greatly appreciated privileges, she finds Mr. Cohen to be boring. While Madge dreams of all the exciting things she could do with a younger husband, she decides to study music, so she can channel her unspent energy into something other than daydreams. Though Madge is forced to wait for love, she is happy to help find it for her friends, especially Lance, Mr. Cohen’s protégé. Determined to watch over Lance to ensure he does not make any costly mistakes, Madge and Lance grow to be close friends who support each other without conditions. However, when Lance becomes fascinated with Miss. Shore, a mysterious and blunt woman, Madge has her doubts. After Lance finds Miss Shore homeless and alone, but oddly stoic, he asks Madge to help her, hoping to get to know Miss Shore better. As a stubborn woman, Madge has a difficult time discarding her original ill impression of Miss Shore. Still, she agrees to help Lance grow closer to her, inviting Miss Shore to stay in the Cohen manor for a time. As the arrangement unfolds, Madge becomes increasingly concerned about the mysterious woman, who seems to be completely haunted by a dark event in her past. With intimate descriptions of scenery, characters, and social customs, At the Moment of Victory is a beautiful portrayal of the upper class during the late 19th century. First published in 1889, At the Moment of Victory continues to pique readers’ interest with its vivid characters and compelling narrative. This edition of At the Moment of Victory by Catherine Louisa Pirkis features a new, eye-catching cover design and is printed in an easy-to-read font. With these accommodations, At the Moment of Victory caters to a modern audience while preserving the original beauty of Catherine Louisa Pirkis’ work.