* 2018 "12 best books to give this holiday season" —TODAY (Elizabeth Acevedo) * A "Best Book of 2017" —Rolling Stone (2018), NPR, Buzzfeed, Paste Magazine, Esquire, Chicago Tribune, Vol. 1 Brooklyn, CBC, Stereogum, National Post, Entropy, Heavy, Book Riot, Chicago Review of Books, The Los Angeles Review, Michigan Daily * American Booksellers Association (ABA) 'December 2017 Indie Next List Great Reads' * Midwest Indie Bestseller In an age of confusion, fear, and loss, Hanif Abdurraqib's is a voice that matters. Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly. In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of Black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car. In essays that have been published by the New York Times, MTV, and Pitchfork, among others—along with original, previously unreleased essays—Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.

Kohen assembles America's most prominent comediennes to piece together an oral history about the revolution that happened to (and by) women in American comedy.

A deeply reported book that brings alive the quest for justice in the deaths of Michael Brown, Tamir Rice, and Freddie Gray, offering both unparalleled insight into the reality of police violence in America and an intimate, moving portrait of those working to end it. Conducting hundreds of interviews during the course of over one year reporting on the ground, Washington Post writer Wesley Lowery traveled from Ferguson, Missouri, to Cleveland, Ohio; Charleston, South Carolina; and Baltimore, Maryland; and then back to Ferguson to uncover life inside the most heavily policed, if otherwise neglected, corners of America today. In an effort to grasp the magnitude of the repose to Michael Brown's death and understand the scale of the problem police violence represents, Lowery speaks to Brown's family and the families of other victims other victims' families as well as local activists. By posing the question, "What does the loss of any one life mean to the rest of the nation?" Lowery examines the cumulative effect of decades of racially biased policing in segregated neighborhoods with failing schools, crumbling infrastructure and too few jobs. Studded with moments of joy, and tragedy, They Can't Kill Us All offers a historically informed look at the standoff between the police and those they are sworn to protect, showing that civil unrest is just one tool of resistance in the broader struggle for justice. As Lowery brings vividly to life, the protests against police killings are also about the black community's long history on the receiving end of perceived and actual acts of injustice and discrimination. They Can't Kill Us All grapples with a persistent if also largely unexamined aspect of the otherwise transformative presidency of Barack Obama: the failure to deliver tangible security and opportunity to those Americans most in need of both.

Throughout the 19th century, American poetry was a profoundly populist literary form. It circulated in New England magazines and Southern newspapers; it was read aloud in taverns, homes, and schools across the country. Antebellum reviewers envisioned poetry as the touchstone democratic genre, and their Civil War–era counterparts celebrated its motivating power, singing poems on battlefields. Following the war, however, as criticism grew more professionalized and American literature emerged as an academic subject, reviewers increasingly elevated difficult, dispassionate writing and elite readers over their supposedly common counterparts, thereby separating “authentic” poetry for intellectuals from “popular” poetry for everyone else.\ Conceptually and methodologically unique among studies of 19th-century American poetry, Who Killed American Poetry? not only charts changing attitudes toward American poetry, but also applies these ideas to the work of representative individual poets. Closely analyzing hundreds of reviews and critical essays, Karen L. Kilcup tracks the century’s developing aesthetic standards and highlights the different criteria reviewers used to assess poetry based on poets’ class, gender, ethnicity, and location. She shows that, as early as the 1820s, critics began to marginalize some kinds of emotional American poetry, a shift many scholars have attributed primarily to the late-century emergence of affectively restrained modernist ideals. Mapping this literary critical history enables us to more readily apprehend poetry’s status in American culture—both in the past and present—and encourages us to scrutinize the standards of academic criticism that underwrite contemporary aesthetics and continue to constrain poetry’s appeal. Who American Killed Poetry? enlarges our understanding of American culture over the past two hundred years and will interest scholars in literary studies, historical poetics, American studies, gender studies, canon criticism, genre studies, the history of criticism, and affect studies. It will also appeal to poetry readers and those who enjoy reading about American cultural history.

A critical look at the risk measurement tool that has repeatedly hurt the financial world The Number That Killed Us finally tells the "greatest story never told": how a mysterious financial risk measurement model has ruled the world for the past two decades and how it has repeatedly, and severely, caused market, economic, and social turmoil. This model was the key factor behind the unleashing of the cataclysmic credit crisis that erupted in 2007 and which the effects are still being felt around the world. The Number That Killed Us is the first and only book to thoroughly explain this hitherto-uncovered phenomenon, making it the key reference for truly understanding why the malaise took place. The very number financial institutions and regulators use to measure risk (Vale at Risk/VaR) has masked it, allowing firms to leverage up their speculative bets to unimaginable levels. VaR sanctioned and allowed the monstrously geared toxic punts that sank Wall Street, and the world, during the latest crisis. We can confidently say that VaR was the culprit. In The Number That Killed Us, derivatives expert Pablo Triana takes you through the development of VaR and shows how its inevitable structural flaws allowed banks to take on even greater risks. The precise role of VaR in igniting the latest crisis is thoroughly covered, including in-depth analysis of how and why regulators, by falling in love with the tool, condemned us to chaos. Uncritically embraced worldwide for way too long, VaR is, in the face of such destruction, just starting to be examined as problematic, and in this book Triana (long an open critic of the tool's role in encouraging mayhem) uncovers exactly why it makes our financial world a more dangerous place. If we care for our safety, we should let VaR go. Contains controversial analysis of the hotly debated risk metric Value at Risk (VaR) and its central role in the credit crisis Denounces the role of regulators and academics in forcing the presence of the inevitably malfunctioning in financeland Describes how bonus-hungry traders can use VaR as an alibi to take on the most reckless of bets Reveals how the most recent financial crisis will simply repeat itself if the problems behind VaR are not unmasked Pablo Triana is also the author of Lecturing Birds on Flying The very risk measurement tool that was intended to contain risk allowed financial firms to blindly take on more. The model that was supposed to save us condemned us to misery. The Number That Killed Us reveals how this has happened and what needs to be done to correct the situation.

International best-seller in 10 countries. Over 41 million reads. Wattys Award . Hannah is a sixteen-year-old student hooked on social media. One day, she receives a friend request on Facebook from a boy named Alex Crowell. After accepting it, Hannah discovers that Alex is missing and that he is given up for dead. However, an eerie event takes place: Hannah gets a message from the boy, who asks for help to find out who killed him. From that moment, she will start an investigation to track down the killer with Alex's ghost help. But facing the truth won't be easy for either of them...

In You Know Who Killed Me, by multiple award-winning author Loren D. Estleman, Amos Walker is at low ebb. Just released from a rehab clinic, the Detroit private detective has to marshal his energies to help solve a murder in Iroquois Heights, his least favorite town. The area is flooded with billboards rented by the widow of Donald Gates, an ordinary suburbanite found shot to death in his basement on New Year's Eve: "YOU KNOW WHO KILLED ME!" they read, above the number of the sheriff's tip line. Complicating matters is a $10,000 reward for information leading to the arrest and conviction of the murderer, offered by an anonymous donor through the dead man's place of worship. Initially hired by the sheriff's department to run down anonymous tips, Walker investigates further. The trail leads to former fellow employee Yuri Yako, a Ukrainian mobster, relocated to the area through the U.S. Marshals' Witness Protection Program. Shadowed by government operatives, at odds with the sheriff, and struggling with his addiction, Walker soldiers on, in spite of bodies piling up and the fact that almost everyone involved with the case is lying to him. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

When Caryl Chessman appeared on the cover of Time's March 21, 1960 issue, he was the most famous prisoner in America and arguably the best-known in the world. He not only put a face on the issue of capital punishment, he made one of the most remarkable transformations by any American writer. Through access to the papers and letters of his attorneys, George T. Davis and Rosalie Asher, the unpublished manuscripts and papers held by Joseph Longstreth; reminiscences with those who knew him, like Mr. Davis, Mr. Longstreth, his agent and executor; and country music legend Merle Haggard, the first definitive portrait of the enigmatic Caryl Chessman emerges.

Step by step, Dwight McAran built a wall of vicious hate around himself. It was easy. He was a man who could slap one woman to death because she loved him, and hum a love song to another while he raped her. Sure, he did some time in jail. He sat in a cell and simmered for five long years until his hate hardened to a core of white-hot evil. Revenge was all he craved - and a plan was what he had - a plan just cruel enough to please him, and just crazy enough to work.