Despite the end of white minority rule and the transition to parliamentary democracy, Johannesburg remains haunted by its tortured history of racial segregation and burdened by enduring inequalities in income, opportunities for stable work, and access to decent housing. Under these circumstances, Johannesburg has become one of the most dangerous cities in the world, where the yawning gap between the 'haves' and 'have-nots' has fueled a turn toward redistribution through crime. While wealthy residents have retreated into heavily fortified gated communities and upscale security estates, the less affluent have sought refuge in retrofitting their private homes into safe houses, closing off public streets, and hiring the services of private security companies to protect their suburban neighborhoods. Panic City is an exploration of urban fear and its impact on the city's evolving siege architecture, the transformation of policing, and obsession with security that has fueled unprecedented private consumption of 'protection services.' Martin Murray analyzes the symbiotic relationship between public law enforcement agencies, private security companies, and neighborhood associations, wherein buyers and sellers of security have reinvented ways of maintaining outdated segregation practices that define the urban poor as suspects.

Written in the shadow of war, City of Panic argues that cities everywhere have been the dedicated target of political and technological terror throughout the 20th century. The wanton erasure of the past, the construction of identikit places, the proliferation of gated-communities, the ever-widening net of surveillance, the privatization of what was public. In this globalized and militarized "everywhere," all citizens are becoming one citizen--saturated, standardized and synchronized--ever more reliant on a media fabricating a world of fear. For the panic of the 21st century is simply the final phase of the pincer movement. Place-less, media-fed, panic-struck - welcome to the desert of the real. --- Product Description

“A virtuosic debut [and] a wry look at immigrant life in the global age.” —Vogue Having left Odessa for Brighton Beach, Brooklyn, with a sense of finality, the Nasmertov family has discovered that the divide between the old world and the new is not nearly as clear-cut as they had imagined. With the collapse of the Soviet Union, returning is just a matter of a plane ticket, and the Russian-owned shops in their adopted neighborhood stock even the most obscure comforts of home. Pursuing the American Dream once meant giving up everything, but does the dream still work if the past refuses to grow distant and mythical, remaining alarmingly within reach? If the Nasmertov parents can afford only to look forward, learning the rules of aspiration, the family’s youngest, Frida, can’t help looking back—and asking far too many questions. Yelena Akhtiorskaya’s exceptional debut has been hailed not only as the great novel of Brighton Beach but as a “breath of fresh air … [and] a testament to Akhtiorskaya’s wit, generosity, and immense talent as a young American author” (NPR).

From nineteenth-century paintings of fires raging through New York City to scenes of Manhattan engulfed by a gigantic wave in the 1998 movie Deep Impact, images of the city’s end have been prolific and diverse. Why have Americans repeatedly imagined New York’s destruction? What do the fantasies of annihilation played out in virtually every form of literature and art mean? This book is the first to investigate two centuries of imagined cataclysms visited upon New York, and to provide a critical historical perspective to our understanding of the events of September 11, 2001. Max Page examines the destruction fantasies created by American writers and imagemakers at various stages of New York’s development. Seen in every medium from newspapers and films to novels, paintings, and computer software, such images, though disturbing, have been continuously popular. Page demonstrates with vivid examples and illustrations how each era’s destruction genre has reflected the city’s economic, political, racial, or physical tensions, and he also shows how the images have become forces in their own right, shaping Americans’ perceptions of New York and of cities in general.

Bringing together scholars from a diverse range of disciplines, The City as Target provides a sustained and critical response to the relationship between the concept of targeting (in its many forms) and notions of understanding, imagining and shaping the urban. Among the many spatial and graphic terms used to describe cities in urban studies, the word target is rarely encountered. Though equally spatial, it differs from these others by implying some motive force, and, more than that, a force with some intentionality. To target is to aim, to project, and ultimately to impact. It suggests a space of violence, or at least action, or movement resulting in displacement, which most other terms do not. In that sense it is useful, underused, and perhaps revelatory. Rather than approach the city as simply a site of growth, processes, and developments, the contributors to this volume treat it as the recipient of attentions. The work draws on a wide variety of geographical sites and historic monuments in order to explore this concept, examining and challenging current urban theories. It seeks to highlight both the power of The Global City and the current vulnerability and fragility of urban culture, exploring the city as a recipient and a culprit in relation to issues including terrorism and urban warfare, the latest cyclical failure of global financial markets, and the relatively new spectre of environmental unsustainability. Offering a unique and relevant contribution to the literature, this work will be of great interest to scholars of urban theory, international relations, postcolonial politics and military studies.

“Raw kinetic energy and blistering pace . . . a thriller for the new millennium.”—James Rollins, author of Map of Bones and The Judas Strain For decades, Echelon forced peace on the world. Freedom was a sham: Echelon wielded total, if secret, control. In the end, two bioengineered Echelon agents, Ryan Laing and Sarah Peters, brought the conspiracy down. But there is no happily ever after for the liberators, or for humanity. With Echelon’s fall, a power vacuum is opened—and all hell breaks loose. Now an outsider in the world he created, Ryan retreats into the wastelands of Antarctica and a life of isolation. But when Sarah is blamed for a series of terrorist attacks, Ryan must return to a world he wanted to forget. Could Sarah be responsible for these atrocities, or is she a pawn in a much larger game? The answer lies with EMPYRE, a shadow organization at the center of the chaos gripping the globe. Ryan’ s only hope is to uncover EMPYRE’s devastating secrets. The battle will drive Ryan and Sarah to the dark corners of the earth, to a floating, guarded city where the ultimate evil—and the ultimate plot against humanity—await. Praise for Empyre “Empyre is edgy, entertaining, and frightening. We can only hope the scary technology Conviser proposes is the purest fiction!” —Kevin J. Anderson, co-author of Hunters of Dune “Josh Conviser’s near future is fascinating to imagine—and terrifying, because we might just be heading for it.”—John Scalzi, author of The Ghost Brigades