Poetry. Women's Studies. LGBTQIA Studies. This book has multiple fire exits. This book has too many keys. You can climb through a window into this book. Some of these poems are not on the lease, and you are willing to take it all the way to the Residential Tenancies Authority. AFTER THE DEMOLITION is about rebuilding as much as it is about taking apart. It is about moving, and about moving on--what we leave behind, and what we attach more firmly to ourselves. When a place is gone--because we've given the keys back, or because the locks are lopped off--our attachment can drive us towards saudade, nostalgia, replication. We mythologise the flaws of our past haunts and past lives, and this determines the ways we start over when everything is air rights.

Flint, Michigan, is widely seen as Detroit s Detroit: the perfect embodiment of a ruined industrial economy and a shattered American dream. In this deeply researched book, Andrew Highsmith gives us the first full-scale history of Flint, showing that the Vehicle City has always seen demolition as a tool of progress. During the 1930s, officials hoped to renew the city by remaking its public schools into racially segregated community centers. After the war, federal officials and developers sought to strengthen the region by building subdivisions in Flint s segregated suburbs, while GM executives and municipal officials demolished urban factories and rebuilt them outside the city. City leaders later launched a plan to replace black neighborhoods with a freeway and new factories. Each of these campaigns, Highsmith argues, yielded an ever more impoverished city and a more racially divided metropolis. By intertwining histories of racial segregation, mass suburbanization, and industrial decline, Highsmith gives us a deeply unsettling look at urban-industrial America."

“Crais is at the top of his game, and Demolition Angel delivers the goods. With a bang. . . . It’s Silence of the Lambs meets Speed. . . . Crais knows how to press all the right buttons in keeping the story line taut and the action, well, explosive.”—San Francisco Chronicle Carol Starkey is struggling to pick up the pieces of her former life as L.A.’s finest bomb squad technician. Fueled with liberal doses of alcohol and Tagamet, she’s doing time as a Detective-2 with LAPD’s Criminal Conspiracy Section. Three years have passed since the event that still haunts her: a detonation that killed her partner and lover, scarred her body and soul, and ended her career as a bomb tech. When a seemingly innocuous bomb call explodes into a charred murder scene, Carol catches the case and embarks on an investigation of a series of explosions that reveal chilling intentions. The bombs are designed expressly to kill bomb technicians. Now, as the one tech who survived the deadliest of blasts, Carol is in for the most perilous fight of her life. . . . Praise for Demolition Angel “Terrific . . . explosive . . . [a] high powered thrill ride.”—The Wall Street Journal “Gripping . . . Crais piles on plot twists . . . gathering the separate threads at the end and igniting them like a string of fireworks.”—People “A powerful, self-contained novel of suspense that has the compactness, velocity, and effectiveness of a well-aimed bullet . . . This is a thriller that works on every level, a pivotal work from a crime novelist operating at the top of his game.”—Los Angeles Times “Fascinating and frighteningly believable . . . Starkey is one of the toughest characters to grace the crowded field of thriller books in a long time.”—USA Today “A flammable techno-thriller with the kind of force that knocks out windows.”—The New York Times Book Review "Packs an explosive punch. Though the pace of the book moves like a quick-burning fuse, Crais still takes the time in Demolition Angel to sketch out some memorable characters: Starkey, haunted and hollow-eyed, covering up her pain with a Bogart-tough demeanor; and John Michael Fowles (aka Mr. Red), a sociopath who gets all sorts of information from the Internet without breaking a sweat. . . . Crais keeps things wound so tight that readers will be getting paper cuts in their rush to finish this one.”—The Denver Post

Archaeology has become implicated in the Ayodhya controversy. It has been claimed that archaeological evidence provides irrefutable proof of the existence of a Rama Temple at the site of Babri Masjid, and of the destruction of this temple by Babur. The author uses standard archaeological procedures to question the claim. He examines the structural and artefactual evidence and analyses the stratigraphic information of B. B. Lal s excavations. Exploring possible alternative interpretations of the available data, he concludes that there was no temple of stone or brick lying below the mosque, and that there is no evidence of any act of destruction. The book is a defence of archaeology against its political misuse. A cautious examination of the archaeological evidence reveals a great deal about the working of communal politics. The archaeological discoveries which are supposed to prove the demolition of a Rama temple by Babur actually show no more than the logic of a politics which destroyed the Babri Masjid on 6 December 1992.

"Richard Blanzac, a San Francisco-based rare book dealer, opens a box of consignment items and encounters the unexpected. There, among an assortment of literary rarities, he discovers a manuscript in verse, an Ace Double Novel, and a scattering of very old cigarette butts. These commonplace objects serve as catalysts for an extraordinary-- and unpredictable-- adventure. Without warning, Blanzac finds himself traversing a 'circle of discontinuity' that leads from the present day to the San Francisco of 1957. Caught up in that circle are an ancient Sumerian deity, a forgotten Beat-era poet named Sophie Greenwald, and an apocalyptic cult in search of the key to absolute non-existence" -- from publisher's web site.

"This is all about as good as it gets for truck-obsessed preschoolers." — The Horn Book (starred review) Features an audio read-along! From the huge crane with a swinging ball (crack! ) to the toothy jaws that ram the walls (thwack! ), this rambunctious demolition, reverberating with sound words, is guaranteed to have small kids rapt. Bright spreads showcase the gargantuan machines in all their glory.

What would you write if no one knew who you were? In the spirit of the demolition derby, where drivers take heedless risks with reckless abandon, welcome to the first convocation of the Secret Society of Demolition Writers. Here is a one-of-a-kind collection by famous authors writing anonymously–and dangerously. With the usual concerns about reputations and renown cast aside, these twelve daredevils have each contributed an extreme, no-holds-barred unsigned story, each shining as brightly and urgently as hazard lights. Unconventional and unapologetic, this publishing equivalent of a whodunit features an eclectic group of fictional characters, including a delusional schizophrenic narrator, an egg donor with second thoughts about her decision, a pharmacist who forms a weird crush on a woman who beat both of her parents to death, and a little girl who understands that an old safe is the threshold to another, ghostly, world. Equally diverse and surprising are the authors themselves: Aimee Bender, Benjamin Cheever, Michael Connelly, Sebastian Junger, Elizabeth McCracken, Rosie O’Donnell, Chris Offutt, Anna Quindlen, John Burnham Schwartz, Alice Sebold, Lauren Slater, and Marc Parent, the editor of the collection. Never before has such a wide-ranging and talented group of authors been assembled to such explosive and entertaining effect. The Secret Society of Demolition Writers is an intriguing puzzle in itself, but it’s also an important addition to the careers of some of our finest storytellers–even if we never really know who wrote what. Its boundary-smashing fiction offers exhilarating proof that for an artist, withholding your identity can mean gaining your freedom.