How do people live in a country that has experienced rebellions and state-organised repressions for decades and that is still marked by routine forms of violence and impunity? What do combatants do when they are not mobilised for war? Drawing on over ten years of fieldwork conducted in Chad, Marielle Debos explains how living by the gun has become both an acceptable form of political expression and an everyday occupation. Contrary to the popular association of violence and chaos, she shows that these fighters continue to observe rules, frontiers and hierarchies, even as their allegiances shift between rebel and government forces, and as they drift between Chad, Libya, Sudan and the Central African Republic. Going further, she explores the role of the globalised politico-military entrepreneurs and highlights the long involvement of the French military in the country. Ultimately, the book demonstrates that ending the war is not enough. The issue is ending the 'inter-war' which is maintained and reproduced by state violence. Combining ethnographic observation with in-depth theoretical analysis, Living by the Gun in Chad is a crucial contribution to our understanding of the intersections of war and peace.

Written by one of the foremost experts on the country, this book shows how armed violence has become both an ordinary form of political struggle and a practical occupation.

Writers write—but what do they do for money? In a widely read essay entitled "MFA vs NYC," bestselling novelist Chad Harbach (The Art of Fielding) argued that the American literary scene has split into two cultures: New York publishing versus university MFA programs. This book brings together established writers, MFA professors and students, and New York editors, publicists, and agents to talk about these overlapping worlds, and the ways writers make (or fail to make) a living within them. Should you seek an advanced degree, or will workshops smother your style? Do you need to move to New York, or will the high cost of living undo you? What's worse—having a day job or not having health insurance? How do agents decide what to represent? Will Big Publishing survive? How has the rise of MFA programs affected American fiction? The expert contributors, including George Saunders, Elif Batuman, and Fredric Jameson, consider all these questions and more, with humor and rigor. MFA vs NYC is a must-read for aspiring writers, and for anyone interested in the present and future of American letters.

Winner of the AIGA'S International Competition for Notable Graphic Design. “It’s both an architecture and movie fan’s dream.” - Los Angeles Times "Strikingly designed." - Publishers Weekly “Explores the cinematic tradition of antiheroes with architecturally significant private spaces." - Architectural Digest “A fascinating gift for that highbrow nerd in your life.” - Syfy Wire Why do bad guys live in good houses? From Atlantis in The Spy Who Loved Me to Nathan Bateman's ultra-modern abode in Ex Machina, big-screen villains often live in architectural splendor. From a design standpoint, the villain’s lair, as popularized in many of our favorite movies, is a stunning, sophisticated, envy-inducing expression of the warped drives and desires of its occupant. Lair: Radical Homes and Hideouts of Movie Villains, celebrates and considers several iconic villains’ lairs from recent film history. From futuristic fantasies to deathtrap-laden hives, from dwellings in space to those under the sea, pop culture and architecture join forces in these outlandish, primarily modern homes and in Lair, which features buildings from fifteen films, including: Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb Star Wars The Incredibles Blade Runner 2049 You Only Live Twice The Ghost Writer Body Double North by Northwest Edited by acclaimed architect Chad Oppenheim with Andrea Gollin, Lair includes interviews with production designers and other industry professionals such as Ralph Eggleston, Richard Donner, Roger Christian, David Scheunemann, Gregg Henry, and Mark Digby. Contributors include director Michael Mann, cultural critic Christopher Frayling, museum director Joseph Rosa, and architect Amy Murphy. Architectural illustrations and renderings by Carlos Fueyo provide multiple in-depth views of these spaces.

Thomas Sankara: A Revolutionary in Cold War Africa offers the first complete biography in English of the dynamic revolutionary leader from Burkina Faso, Thomas Sankara. Coming to power in 1983, Sankara set his sights on combating social injustice, poverty, and corruption in his country, fighting for women's rights, direct forms of democracy, economic sovereignty, and environmental justice. Drawing on government archival sources and over a hundred interviews with Sankara's family members, friends, and closest revolutionary colleagues, Brian J. Peterson details Sankara's political career and rise to power, as well as his assassination at age 37 in 1987, in a plot led by his close friend Blaise Compaoré. Thomas Sankara: A Revolutionary in Cold War Africa offers a unique, critical appraisal of Sankara and explores why he generated such enthusiasm and hope in Burkina Faso and beyond, why he was such a polarizing figure, how his rivals seized power from him, and why T-shirts sporting his image still appear on the streets today.

In October 1996, a group of ageing Marxists and unemployed youth coalesced to revolt against Mobutu Seso Seko, president of Zaire/Congo since 1965. Backed by a Rwanda-led regional coalition that drew support from Asmara to Luanda, the rebels of the AFDL marched over 1500 kilometers inseven months to crush the dictatorship. To the Congolese rebels and their Pan-Africanist allies, the vanquishing of the Mobutu regime represented nothing short of a "second independence" for Congo and Central Africa as a whole and the dawning of a new regional order of peace and security. Within fifteen months, however, Central Africa's "liberation peace" would collapse, triggering a cataclysmic fratricide between the heroes of the war against Mobutu and igniting the deadliest conflict since World War II. This book gives an account Africa's Great War. It argues that the seeds of Africa's Great War were sown in the revolutionary struggle against Mobutu- the way the revolution came together, the way it was organized, and, paradoxically, the very way it succeeded. In particular, the book argues that the overthrow of Mobutu proved a Pyrrhic victory because the protagonists ignored the philosophy of Julius Nyerere, the father of Africa's liberation movements: they put the gun before the unglamorous but essential task of building the domestic and regional political institutions and organizational structures necessary to consolidate peace after revolution.

In the 1990s, the New Orleans murder rate exploded. In 1996, 350 people were killed—the highest number in the city’s history, and the highest rate in the nation. In response to this crisis, gallery owner and artist Jonathan Ferrara and artist Brian Borrello, launched a powerful project: Guns in the Hands of Artists. Over sixty artists, including painters, glass artists, sculptors, photographers, and poets, used decommissioned guns taken off the city streets via a gun buyback program to express a thought, make a statement, open a discussion, and to stimulate thinking about guns and gun violence in America. As gun violence continues to devastate the nation on a daily basis, Guns in the Hands of Artists reemerged in 2012 as a community-based social activist art project that has since traveled to six cities across the US. Using art as a mirror for life and interweaving the works of thirty diverse artists with the voices of seventeen national thought leaders, this book is an important outgrowth of the exhibition and an extension of its efforts to employ art as a vehicle for dialogue, as a call to action, and—ultimately—as an agent of change. Essays by: Walter Isaacson, Senator Tim Kaine, Lupe Fiasco, Richard Ford, Joe Nocera, Trymaine Lee, Lolis Eric Elie, John M. Barry, Dan Cameron, Lucia McBath, Harry Shearer, Jonathan Ferrara, Brian Borrello, Maria Cuomo Cole, Michael Waldman, E. Ethelbert Miller, Mayor Mitchell J. Landrieu, Congresswoman Gabrielle Giffords and Captain Mark Kelly.