Winner of the 2012 Melville J. Herskovits award (African Studies Association) Throughout southwestern Nigeria, Yoruba men and women create objects called aale to protect their properties�farms, gardens, market goods, firewood�from the ravages of thieves. Aale are objects of such unassuming appearance that a non-Yoruba viewer might not register their important presence in the Yoruba visual landscape: a dried seedpod tied with palm fronds to the trunk of a fruit tree, a burnt corncob suspended on a wire, an old shoe tied with a rag to a worn-out broom and broken comb, a ripe red pepper pierced with a single broom straw and set atop a pile of eggs. Consequently, aale have rarely been discussed in print, and then only as peripheral elements in studies devoted to other issues. Yet aale are in no way peripheral to Yoruba culture or aesthetics. In Vigilant Things, David T. Doris argues that aale are keys to understanding how images function in Yoruba social and cultural life. The humble, often degraded objects that comprise aale reveal as eloquently as any canonical artwork the channels of power that underlie the surfaces of the visible. Aale are warnings, intended to trigger the work of conscience. Aale objects symbolically threaten suffering as the consequence of transgression�the suffering of disease, loss, barrenness, paralysis, accident, madness, fruitless labor, or death�and as such are often the useless residues of things that were once positively valued: empty snail shells, shards of pottery, fragments of rusted iron, and the like. If these objects share �suffering� and �uselessness� as constitutive elements, it is because they already have been made to suffer and become useless. Aale offer would-be thieves an opportunity to recognize themselves in advance of their actions and to avoid the thievery that would make the "useless" people.

"Throughout southwestern Nigeria, Yoruba men and women create objects called ààlè to protect their properties from the ravages of thieves. Ààlè are objects of such unassuming appearance that a non-Yoruba viewer might not register their important presence in the Yoruba visual landscape. David T. Doris argues that ààlè are keys to understanding how images function in Yoruba social and cultural life."--Publisher description.

Robert Jackson Bennett's Vigilance is a dark science fiction action parable from an America that has permanently surrendered to gun violence. The United States. 2030. John McDean executive produces "Vigilance," a reality game show designed to make sure American citizens stay alert to foreign and domestic threats. Shooters are introduced into a "game environment," and the survivors get a cash prize. The TV audience is not the only one that's watching though, and McDean soon finds out what it's like to be on the other side of the camera. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

In 1969, Robert Tucker returns from strict boarding school life in England to his island home in Bermuda to work a summer job for famed local treasure diver Harry Tumbridge. An epic marine treasure hunt and adventure unfolds in this hauntingly beautiful underwater world--and above it--with unexpected twists and turns conspiring to test Robert and his seafaring compatriots. For Tucker, young love also evolves in this tropical paradise as first experiences unfold with nascent innocence. However, treachery is afoot when Dr. Parrish, the head of the national museum, along with the Bermuda government and others, seek to take over the important 1600's treasure-laden wreck site that Tumbridge has found. Spirited legal battles ensue, with additional international interests playing out their hands. Will love and justice prevail? An epic summer of adventure to remember.

In Vigilant Faith: Passionate Agnosticism in a Secular World, Daniel Boscaljon takes up the contemporary challenges to faith by skepticism and secularism. He proposes a model of faith for believers and unbelievers alike—a passionate agnosticism—that is rooted in a skeptical consciousness. Skepticism and faith are structurally similar, he writes, in that they share an "unknowing" quality. The author argues that vigilance—the act of keeping watch, a spiritual practice in its own right—is as necessary a precondition for the structure of faith as it is for the structure of skepticism. A suspension in uncertainty and an openness to possibility require vigilance, he attests, if faith and skepticism are to avoid the often dogmatic tendencies of both theism and atheism to cling to their own brands of certainty and knowledge. Boscaljon has three aims: to expand the current, post-theistic definitions of God for greater relevance to human beings on an individual and existential level; to integrate skepticism into faith so that it will restore the importance of faith to current theology and recover it from anti-intellectual bias; and to conceptualize the vigilance of faith in such a way that can provide a vocabulary for distinguishing "good faith" from "bad faith." He offers a variety of cultural examples ranging from film to poetry to represent a life of faith and to show how its components come together in practice. As an alternative to the prevailing fundamentalisms in today's world, his book proposes a paradigmatic understanding of faith in which theism, atheism, and agnosticism refuse to differ.

This remarkable study explores the use of the visual and performing arts to promote nonviolence and social harmony in sub-Saharan Africa. It focuses on Gelede, a popular community festival of masquerade, dance, and song, held several times a year by the Yoruba of Southwestern Nigeria and the Republic of Benin. Babatunde Lawal, an art historian and African scholar who has taught in Nigeria, Brazil, and the United States, is himself a Yoruba and has taken an active part in Gelede. He writes from the perspective of an informed participant/observer of his own culture. Lawal bases his book on extensive field research--observations and interviews--conducted over more than two decades as well as on numerous published and unpublished scholarly sources. He casts significant new light on many previously obscure aspects of Gelede, and he demonstrates a useful methodological approach to the study of non-Western art. The book systematically covers the major aspects of the Gelede spectacle, presenting its cultural background and historical origins as preface to a vivid and detailed description of an actual performance. This is followed by a discussion of the iconography and aesthetics of costume, and an examination of the sculpted images on the masks. The book concludes with a discussion of the moral and aesthetic philosophy of Gelede and its responsiveness to technological and social change. The Gelede Spectacle is illustrated in color and black-and-white with over 100 field and museum photographs, including a rare sequence on the dressing of a masquerader. It offers, in addition, more than 60 Gelede song texts, proverbs, and divination verses, each in the original Yoruba as well as in translation. Lawal's interpretations of these pieces indicate the rich complexities of metaphor and analogy inherent in the Yoruba language and art.

How organizations can anticipate threats, spot opportunities, and act faster when the time is right; with rich examples including Adobe, MasterCard, and Amazon. When turbulence is the new normal, an organization's survival depends on vigilant leadership that can anticipate threats, spot opportunities, and act quickly when the time is right. In See Sooner, Act Faster, strategy experts George Day and Paul Schoemaker offer tools for thriving when digital advances intensify turbulence. Vigilant firms have greater foresight than their rivals, while vulnerable firms often miss early signals of external threats and organizational challenges. Charles Schwab, for example, was early to see and act on the promise of “robo-advisors”; Honeywell, on the other hand, stumbled when Nest Labs came out first with a “smart” thermostat. Day and Schoemaker show leaders how to assess their vigilance capabilities and cultivate insight and foresight throughout their organizations. They draw on a range of cases, including Adobe and Intuit's move to the cloud, Shell's investment in clean energy, and MasterCard's early recognition of digital challenges. Day and Schoemaker describe how to allocate the scarce resource of attention, how to detect weak signals and separate them from background noise, and how to respond strategically before competitors do. The challenge is not just to act faster but to act wisely, and the authors suggest ways to create dynamic portfolios of options. Finally, they offer an action agenda, with tips for fostering vigilance and agility throughout an organization. The rewards are stronger market positions, higher profits and growth, more motivated employees, and organization longevity.

A NEW YORK TIMES NOTABLE BOOK • The dramatic story of the Flint water crisis, by a relentless physician who stood up to power. “Stirring . . . [a] blueprint for all those who believe . . . that ‘the world . . . should be full of people raising their voices.’”—The New York Times “Revealing, with the gripping intrigue of a Grisham thriller.” —O: The Oprah Magazine Here is the inspiring story of how Dr. Mona Hanna-Attisha, alongside a team of researchers, parents, friends, and community leaders, discovered that the children of Flint, Michigan, were being exposed to lead in their tap water—and then battled her own government and a brutal backlash to expose that truth to the world. Paced like a scientific thriller, What the Eyes Don’t See reveals how misguided austerity policies, broken democracy, and callous bureaucratic indifference placed an entire city at risk. And at the center of the story is Dr. Mona herself—an immigrant, doctor, scientist, and mother whose family’s activist roots inspired her pursuit of justice. What the Eyes Don’t See is a riveting account of a shameful disaster that became a tale of hope, the story of a city on the ropes that came together to fight for justice, self-determination, and the right to build a better world for their—and all of our—children. Praise for What the Eyes Don’t See “It is one thing to point out a problem. It is another thing altogether to step up and work to fix it. Mona Hanna-Attisha is a true American hero.”—Erin Brockovich “A clarion call to live a life of purpose.”—The Washington Post “Gripping . . . entertaining . . . Her book has power precisely because she takes the events she recounts so personally. . . . Moral outrage present on every page.”—The New York Times Book Review “Personal and emotional. . . She vividly describes the effects of lead poisoning on her young patients. . . . She is at her best when recounting the detective work she undertook after a tip-off about lead levels from a friend. . . . ‛Flint will not be defined by this crisis,’ vows Ms. Hanna-Attisha.”—The Economist “Flint is a public health disaster. But it was Dr. Mona, this caring, tough pediatrican turned detective, who cracked the case.”—Rachel Maddow

The Shattered Gourd uses the lens of visual art to examine connections between the United States and the Yoruba region of western Nigeria. In Yoruba legend, the sacred Calabash of Being contained the Water of Life; when the gourd was shattered, its fragments were scattered over the ground, death invaded the world, and imperfection crept into human affairs. In more modern times, the shattered gourd has symbolized the warfare and enslavement that culminated in the black diasporas. The "re-membering" of the gourd is represented by the survival of people of African origin all over the Americas, and, in this volume, by their rediscovery of African art forms on the diaspora soil of the United States. Twentieth-century African American artists employing Yoruba images in their work have gone from protest art to the exploration and celebration of the self and the community. But because the social, economic, and political context of African art forms differs markedly from that of American culture, critical contradictions between form and meaning often appear in African American works that use African forms. In this book -- the first to treat Yoruba forms while transcending the conventional emphasis on them as folk art, focusing instead on the high art tradition -- Moyo Okediji uses nearly four dozen works to illustrate a broad thematic treatment combined with a detailed approach to individual African and African American artists. Incorporating works by such artists as Meta Warrick Fuller, Hale Woodruff, Aaron Douglas, Elizabeth Catlett, Ademola Olugebefola, Paul Keene, Jeff Donaldson, Howardena Pindell, Muneer Bahauddeen, Michelle Turner, Michael Harris, Winnie Owens-Hart, and John Biggers, the author invites the reader to envision what he describes as "the immense possibilities of the future, as the twenty-first century embraces the twentieth in a primal dance of the diasporas," a future that heralds the advent of the global as a distinct movement in art, beyond postmodernism.