A lot has changed since 2015, and Ben Shapiro has something to say about it. In this curated sequel to “Facts Don’t Care About Your Feelings,” Shapiro breaks down American politics from 2015 to today like you’ve never seen before. Review political dog fights and the Democrats’ radicalism problem through a poignant lens. Analyze the novel coronavirus and its economic implications through a perspective too often stamped out by the mainstream media. Explore the absurdities of “anti-racism,” “mostly peaceful” protests and other leftist attempts to rewrite America. And discover pieces of the American identity—unity, free speech, capitalism and so much more—we have lost in the mayhem.

If you're interested in Plato, you're reading the wrong book. If you're interested in difficult childhoods, sexual misadventures, aesthetics, cultural history, and the reasons that a club sandwich and other meals--including breakfast--have remained in the memory of the present writer, keep reading. --from Feelings Are Facts In this memoir, dancer, choreographer, and filmmaker Yvonne Rainer traces her personal and artistic coming of age. Feelings Are Facts(the title comes from a dictum by Rainer's one-time psychotherapist) uses diary entries, letters, program notes, excerpts from film scripts, snapshots, and film frame enlargements to present a vivid portrait of an extraordinary artist and woman in postwar America. Rainer tells of a California childhood in which she was farmed out by her parents to foster families and orphanages, of sexual and intellectual initiations in San Francisco and Berkeley, and of artistic discoveries and accomplishments in the New York City dance world. Rainer studied with Martha Graham (and heard Graham declare, "when you accept yourself as a woman, you will have turn-out"--that is, achieve proper ballet position) and Merce Cunningham in the late 1950s and early 1960s, cofounded the Judson Dance Theater in 1962 (dancing with Trisha Brown, Steve Paxton, David Gordon, and Lucinda Childs), hobnobbed with New York artists including Robert Rauschenberg, Robert Morris (her lover and partner for several years), and Yoko Ono, and became involved with feminist and anti-war causes in the 1970s and 1980s. Rainer writes about how she constructed her dances--including The Mind Is a Muscleand its famous section, Trio A, as well as the recent After Many a Summer Dies the Swan--and about turning from dance to film and back to dance. And she writes about meeting her longtime partner Martha Gever and discovering the pleasures of domestic life. The mosaic-like construction of Feelings Are Factsrecalls the composition-by-juxtaposition of Rainer's work in film and dance, displaying prismatic variations from what she calls her "reckless past" for our amazement and appreciation.

The history of emotions has gained more and more scholarly attention, evidenced by an 'affective turn' or 'emotional turn' in historical research. Many publications have appeared, and internationally oriented research centres and conferences have been set up and organized. This volume brings the importance of a clear understanding of historical feelings into the research area of art historians. Even though the depiction of emotions is an important discipline in its own right, in this volume the concept of the artist and his or her own personal feelings, often in connection with the creation of a work of art, is prioritised. Although it is argued that a painter had to be able to feel emotions in order to depict them correctly, the articles brought together in this volume focus primarily on the traces of artist's emotions (feelings) that can be derived from archival documents, secondary sources, and paintings (facts). Each author has tried in his or her own way to elucidate both the written and visual expressions of an artist's (personal) emotions.

Preeminent psychologist Lisa Barrett lays out how the brain constructs emotions in a way that could revolutionize psychology, health care, the legal system, and our understanding of the human mind. “Fascinating . . . A thought-provoking journey into emotion science.”—The Wall Street Journal “A singular book, remarkable for the freshness of its ideas and the boldness and clarity with which they are presented.”—Scientific American “A brilliant and original book on the science of emotion, by the deepest thinker about this topic since Darwin.”—Daniel Gilbert, best-selling author of Stumbling on Happiness The science of emotion is in the midst of a revolution on par with the discovery of relativity in physics and natural selection in biology. Leading the charge is psychologist and neuroscientist Lisa Feldman Barrett, whose research overturns the long-standing belief that emotions are automatic, universal, and hardwired in different brain regions. Instead, Barrett shows, we construct each instance of emotion through a unique interplay of brain, body, and culture. A lucid report from the cutting edge of emotion science, How Emotions Are Made reveals the profound real-world consequences of this breakthrough for everything from neuroscience and medicine to the legal system and even national security, laying bare the immense implications of our latest and most intimate scientific revolution.

"From the editor-at-large of Breitbart.com, a timely and compelling look at how liberals use bullying toward their opponents on today's top political issues"--