Pocket Change Collective was born out of a need for space. Space to think. Space to connect. Space to be yourself. And this is your invitation to join us. "It won't take you long to read this book, but it will linger in your heart and head for quite a while, and perhaps inspire you to join in the creative, blossoming movement to make this world work." -- Bill McKibben, environmentalist, New York Times bestselling author of The End of Nature, journalist, and founder of 350.org "An inspiring story that will change the way all of us think about the climate crisis - and how we can solve it." -- Van Jones, New York Times bestselling author of The Green Collar Economy and Rebuild the Dream, and co-founder of Dream Corps "A hopeful, well-argued book on climate change written in a refreshing new voice."-- Kirkus Reviews, starred review "Martinez presents a meaningful, heartfelt call to action with content that reflects current issues. Additionally, the book's short length will appeal to reluctant readers. An essential purchase for any high school or public library."-- School Library Journal, starred review In this personal, moving essay, environmental activist and hip-hop artist Xiuhtezcatl Martinez uses his art and his activism to show that climate change is a human issue that can't be ignored. Pocket Change Collective is a series of small books with big ideas from today's leading activists and artists. In this installment, Earth Guardians Youth Director and hip-hop artist Xiuhtezcatl Martinez shows us how his music feeds his environmental activism and vice versa. Martinez visualizes a future that allows us to direct our anger, fear, and passion toward creating change. Because, at the end of the day, we all have a part to play.

"It won't take you long to read this book, but it will linger in your heart and head for quite a while, and perhaps inspire you to join in the creative, blossoming movement to make this world work." -- Bill McKibben, environmentalist, New York Times bestselling author of The End of Nature, journalist, and founder of 350.org "An inspiring story that will change the way all of us think about the climate crisis - and how we can solve it." -- Van Jones, New York Times bestselling author of The Green Collar Economy and Rebuild the Dream, and co-founder of Dream Corps "A hopeful, well-argued book on climate change written in a refreshing new voice."-- Kirkus Reviews, starred review "Martinez presents a meaningful, heartfelt call to action with content that reflects current issues. Additionally, the book's short length will appeal to reluctant readers. An essential purchase for any high school or public library."-- School Library Journal, starred review In this personal, moving essay, environmental activist and hip-hop artist Xiuhtezcatl Martinez uses his art and his activism to show that climate change is a human issue that can't be ignored. Pocket Change Collective is a series of small books with big ideas from today's leading activists and artists. In this installment, Earth Guardians Youth Director and hip-hop artist Xiuhtezcatl Martinez shows us how his music feeds his environmental activism and vice versa. Martinez visualizes a future that allows us to direct our anger, fear, and passion toward creating change. Because, at the end of the day, we all have a part to play.

Southwest Book Award, Border Regional Library Association, 2011 Although popularly conceived as a relatively recent phenomenon, patterns of immigrant smuggling and undocumented entry across American land borders first emerged in the late nineteenth century. Ingenious smugglers and immigrants, long and remote boundary lines, and strong push-and-pull factors created porous borders then, much as they do now. Historian Patrick Ettinger offers the first comprehensive historical study of evolving border enforcement efforts on American land borders at the turn of the twentieth century. He traces the origins of widespread immigrant smuggling and illicit entry on the northern and southern United States borders at a time when English, Irish, Chinese, Italian, Russian, Lebanese, Japanese, Greek, and, later, Mexican migrants created various "backdoors" into the United States. No other work looks so closely at the sweeping, if often ineffectual, innovations in federal border enforcement practices designed to stem these flows. From upstate Maine to Puget Sound, from San Diego to the Lower Rio Grande Valley in Texas, federal officials struggled to adapt national immigration policies to challenging local conditions, all the while battling wits with resourceful smugglers and determined immigrants. In effect, the period saw the simultaneous "drawing" and "erasing" of the official border, and its gradual articulation and elaboration in the midst of consistently successful efforts to undermine it.

In tandem with a postnational imaginary which is nurtured by the ever-present promise of deterritorialized mobility and burgeoning migratory fluxes, walls and fences separating nation-states multiply. This is a burning issue: even though nation states at the centre of the global order increasingly present themselves as postnational, calls for tighter border security undermine utopian notions of both a borderless New Europe and the USA as the Promised Land. This collection investigates the urgent issue of borderscapes and the cinematic imaginary by bringing together a range of new approaches in the field of film and media studies, crossing over into sociology, migration studies and artistic research. The contributions focus on the interrelated motifs of borderscapes as they are represented and used in transnational cinematographies, from Palestine to Sweden, Spain, Finland, Italy, Iran, Iraq, France, the UK and US, and as constituting premises of cinematic production. The chapters in this book were originally published in the Transnational Cinemas journal.

For centuries, friends, lovers, schemers, and smugglers have reached across the line. Now, post 9/11, political paranoia has led to a sharp divide, disrupting the lives of residents caught in the middle of world events. An elderly Canadian couple's driveway touches the border, leading to a Kafkaesque overreaction by Homeland Security. The Tea Party calls for complete border shutdown. Once friendly neighbours have become increasingly isolated from each other.

Frank, fearless letters from poets of all colors, genders, classes about the material conditions under which their art is made.

Drawing on extensive and carefully designed ethnographic fieldwork in the Ferghana Valley region, where the state borders of Kyrgyzstan, Tajikizstan and Uzbekistan intersect, Madeleine Reeves develops new ways of conceiving the state as a complex of relationships, and of state borders as socially constructed and in a constant state of flux. She explores the processes and relationships through which state borders are made, remade, interpreted and contested by a range of actors including politicians, state officials, border guards, farmers and people whose lives involve the crossing of the borders. In territory where international borders are not always clearly demarcated or consistently enforced, Reeves traces the ways in which states' attempts to establish their rule create new sources of conflict or insecurity for people pursuing their livelihoods in the area on the basis of older and less formal understandings of norms of access. As a result the book makes a major new and original contribution to scholarly work on Central Asia and more generally on the anthropology of border regions and the state as a social process. Moreover, the work as a whole is presented in a lively and accessible style. The individual lives whose tribulations and small triumphs Reeves so vividly documents, and the relationships she establishes with her subjects, are as revealing as they are engaging. Border Work is a well-deserved winner of this year’s Alexander Nove Prize.