A revolutionary guide to acknowledging fear and developing the tools we need to build a healthy relationship with this confusing emotion—and use it as a positive force in our lives. We all feel fear. Yet we are often taught to ignore it, overcome it, push past it. But to what benefit? This is the essential question that guides Kristen Ulmer’s remarkable exploration of our most misunderstood emotion in The Art of Fear. Once recognized as the best extreme skier in the world (an honor she held for twelve years), Ulmer knows fear well. In this conversation-changing book, she argues that fear is not here to cause us problems—and that in fact, the only true issue we face with fear is our misguided reaction to it (not the fear itself). Rebuilding our experience with fear from the ground up, Ulmer starts by exploring why we’ve come to view it as a negative. From here, she unpacks fear and shows it to be just one of 10,000 voices that make up our reality, here to help us come alive alongside joy, love, and gratitude. Introducing a mindfulness tool called “Shift,” Ulmer teaches readers how to experience fear in a simpler, more authentic way, transforming our relationship with this emotion from that of a draining battle into one that’s in line with our true nature. Influenced by Ulmer’s own complicated relationship with fear and her over 15 years as a mindset facilitator, The Art of Fear will reconstruct the way we react to and experience fear—empowering us to easily and permanently address the underlying cause of our fear-based problems, and setting us on course to live a happier, more expansive future.

On Forbes list of "10 Books To Help You Foster A More Diverse And Inclusive Workplace" How law, policy, and official state rhetoric have fueled the resurgence of Islamophobia—with a call to action on how to combat it. “I remember the four words that repeatedly scrolled across my mind after the first plane crashed into the World Trade Center in New York City. ‘Please don’t be Muslims, please don’t be Muslims.’ The four words I whispered to myself on 9/11 reverberated through the mind of every Muslim American that day and every day after.… Our fear, and the collective breath or brace for the hateful backlash that ensued, symbolize the existential tightrope that defines Muslim American identity today.” The term “Islamophobia” may be fairly new, but irrational fear and hatred of Islam and Muslims is anything but. Though many speak of Islamophobia’s roots in racism, have we considered how anti-Muslim rhetoric is rooted in our legal system? Using his unique lens as a critical race theorist and law professor, Khaled A. Beydoun captures the many ways in which law, policy, and official state rhetoric have fueled the frightening resurgence of Islamophobia in the United States. Beydoun charts its long and terrible history, from the plight of enslaved African Muslims in the antebellum South and the laws prohibiting Muslim immigrants from becoming citizens to the ways the war on terror assigns blame for any terrorist act to Islam and the myriad trials Muslim Americans face in the Trump era. He passionately argues that by failing to frame Islamophobia as a system of bigotry endorsed and emboldened by law and carried out by government actors, U.S. society ignores the injury it inflicts on both Muslims and non-Muslims. Through the stories of Muslim Americans who have experienced Islamophobia across various racial, ethnic, and socioeconomic lines, Beydoun shares how U.S. laws shatter lives, whether directly or inadvertently. And with an eye toward benefiting society as a whole, he recommends ways for Muslim Americans and their allies to build coalitions with other groups. Like no book before it, American Islamophobia offers a robust and genuine portrait of Muslim America then and now.

Shocked by 9/11, the Great Recession, digital anxiety, and ecological collapse, the West suffers from nostalgia. People everywhere yearn for a utopian version of the past that never existed. Desperate for relief, many long to escape from the present. Some will stop at nothing to achieve it. In his essential new book, Grafton Tanner, author of Babbling Corpse: Vaporwave and the Commodification of Ghosts, argues that our nostalgia today is partly a consequence of the attention economy. At a time when historical literacy is crucial, and old prejudices are percolating into the present, Big Tech’s predictive algorithms are locking us into nostalgic feedback loops. The result is a precarious society with its gaze fixed on the good old days. Spanning from the ancient Sophists to Black Mirror, The Circle of the Snake is at once a reckoning with the myth of digital utopia and an incisive analysis of nostalgia as a weapon to spread fascism.

FEAR STREET -- WHERE YOUR WORST NIGHTMARES LIVE... The new girl is as pale as a ghost, blond, and eerily beautiful -- and she seems to need him as much as he wants her. Cory Brooks hungers for Anna Corwin's kisses, drowns in her light blue eyes. He can't get her out of his mind. He has been loosing sleep, ditching his friends...and everyone has noticed. Then as suddenly as she came to Shadyside High, Anna disappears. To find a cure for his obsession, Cory must go to Anna's house on Fear Street -- no matter what the consequences. Anna may be the love of his life...but finding out her secret might mean his death.

Although horror shows on television are popular in the 1990s thanks to the success of Chris Carter's The X-Files, such has not always been the case. Creators Rod Serling, Dan Curtis, William Castle, Quinn Martin, John Newland, George Romero, Stephen King, David Lynch, Wes Craven, Sam Raimi, Aaron Spelling and others have toiled to bring the horror genre to American living rooms for years. This large-scale reference book documents an entire genre, from the dawn of modern horror television with the watershed Serling anthology, Night Gallery (1970), a show lensed in color and featuring more graphic makeup and violence than ever before seen on the tube, through more than 30 programs, including those of the 1998-1999 season. Complete histories, critical reception, episode guides, cast, crew and guest star information, as well as series reviews are included, along with footnotes, a lengthy bibliography and an in-depth index. From Kolchak: The Night Stalker to Millennium, from The Evil Touch to Buffy the Vampire Slayer and Twin Peaks, Terror Television is a detailed reference guide to three decades of frightening television programs, both memorable and obscure.

During the last decades of the nineteenth century, Charles Darwin, Thomas Henry Huxley, Walter Pater and others changed the nature of thought concerning the human body and the physical environment that had shaped it. In response, the 1890s saw the publication of a series of remarkable literary works that had their genesis in the intense scientific and aesthetic activity of those preceding decades—texts that emphasized themes of degeneration and were themselves stylistically decompositive, with language both a surrogate for physical deformity and a source of anxiety. Susan J. Navarette examines the ways in which scientific and cultural concerns of late nineteenth-century England are coded in the horror literature of the period. By contextualizing the structural, stylistic, and thematic systems developed by writers seeking to reenact textually the entropic forces they perceived in the natural world, Navarette reconstructs the late Victorian mentalité. She analyzes aesthetic responses to trends in contemporary science and explores horror writers' use of scientific methodologies to support their perception that a long-awaited period of cultural decline had begun. In her analysis of the classics Turn of the Screw and Heart of Darkness, Navarette shows how James and Conrad made artistic use of earlier "scientific" readings of the body. She also considers works by lesser-known authors Walter de la Mare, Vernon Lee, and Arthur Machen, who produced fin de siècle stories that took the form of "hybrid literary monstrosities." To underscore the fascination with bodily decay and deformation that these writers explored, The Shape of Fear is enhanced with prints and line drawings by Victor Hugo, James Ensor, and other artists of the day. This elegantly written book formulates a new canon of late Victorian fiction that will intrigue scholars of literature and cultural history.