A lively graphic narrative reports on censorship of political cartoons around the world, featuring interviews with censored cartoonists from Pittsburgh to Beijing. Why do the powerful feel so threatened by political cartoons? Cartoons don't tell secrets or move markets. Yet, as Cherian George and Sonny Liew show us in Red Lines, cartoonists have been harassed, trolled, sued, fired, jailed, attacked, and assassinated for their insolence. The robustness of political cartooning--one of the most elemental forms of political speech--says something about the health of democracy. In a lively graphic narrative--illustrated by Liew, himself a prize-winning cartoonist--Red Lines crisscrosses the globe to feel the pulse of a vocation under attack. A Syrian cartoonist insults the president and has his hands broken by goons. An Indian cartoonist stands up to misogyny and receives rape threats. An Israeli artist finds his antiracist works censored by social media algorithms. And the New York Times, caught in the crossfire of the culture wars, decides to stop publishing editorial cartoons completely. Red Lines studies thin-skinned tyrants, the invisible hand of market censorship, and demands in the name of social justice to rein in the right to offend. It includes interviews with more than sixty cartoonists and insights from art historians, legal scholars, and political scientists--all presented in graphic form. This engaging account makes it clear that cartoon censorship doesn't just matter to cartoonists and their fans. When the red lines are misapplied, all citizens are potential victims.

An engaging and reflective look at how austerity and the billionaire class paved the way for Trump's presidency, the rise of the "alt-right," and the caging of migrants children and adults in detention centers across the country. For all of the energy that the far right has demonstrated-and for all of the support that they receive from institutional conservatives in the GOP and affiliated organizations-the United States is experiencing an upsurge in left-wing social movements unlike any other in the past half-century, with roots not in the Democratic Party but Occupy Wall Street and Black Lives Matter. Drawing on his original reporting as well as archival research, O'Connor investigates how the capitalist class and the radical right mobilize racism to defend their interests, while focusing on one of the most pressing issues of our time: immigration.

Runyon Heights, a community in Yonkers, New York, has been populated by middle-class African Americans for nearly a century. This book—the first history of a black middle-class community—tells the story of Runyon Heights, which sheds light on the process of black suburbanization and the ways in which residential development in the suburbs has been shaped by race and class. Relying on both interviews with residents and archival research, Bruce D. Haynes describes the progressive stages in the life of the community and its inhabitants and the factors that enabled it to form in the first place and to develop solidarity, identity and political consciousness. He shows how residents came to recognize common political interests within the community, how racial consciousness provided an axis for social solidarity as well as partial insulation from racial slights, and how the suburb afforded these middle-class residents a degree of physical and social distance from the ghetto. As Haynes explores the history of Runyon Heights, we learn the ways in which its black middle class dealt with the tensions between the political interests of race and the material interests of class.

A longtime CNN columnist astutely combines history and global politics to help us better understanding the exploding number of military, political, and diplomatic crises around the globe. The riveting and illuminating behind-the-scenes stories of the world's most intense “red lines," from diplomatic and military challenges at particular turning points in history to the ones that set the tone of geopolitics today. Whether it was the red line in Munich that led to the start of the Second World War, to the red lines in the South China Sea, the Korean Peninsula, Syria and the Middle East. As we traverse the globe, Andelman uses original documentary research, previously classified material, and interviews with key players, to help us understand the growth, the successes and frequent failures that have shaped our world today. Andelman provides not just vivid historical context, but a political anatomy of these red lines. How might their failures be prevented going forward? When and how can such lines in the sand help preserve peace rather than tempt conflict? A Red Line in the Sand is a vital examination of our present and the future—where does diplomacy end and war begin? It is an object lesson of tantamount importance to every leader, diplomat, citizen, and voter. As America establishes more red lines than it has pledged to defend, every American should understand the volatile atmosphere and the existential stakes of the red web that encompasses the globe.

This open access book offers a synthetic reflection on the authors’ fieldwork experiences in seven countries within the framework of ‘Authoritarianism in a Global Age’, a major comparative research project. It responds to the demand for increased attention to methodological rigor and transparency in qualitative research, and seeks to advance and practically support field research in authoritarian contexts. Without reducing the conundrums of authoritarian field research to a simple how-to guide, the book systematically reflects and reports on the authors’ combined experiences in (i) getting access to the field, (ii) assessing risk, (iii) navigating ‘red lines’, (iv) building relations with local collaborators and respondents, (v) handling the psychological pressures on field researchers, and (vi) balancing transparency and prudence in publishing research. It offers unique insights into this particularly challenging area of field research, makes explicit how the authors handled methodological challenges and ethical dilemmas, and offers recommendations where appropriate.

In Red Line, Joby Warrick, the Pulitzer Prize–winning author of Black Flags, shares the thrilling unknown story of America’s mission in Syria: to find and destroy Syria’s chemical weapons and keep them out of the hands of the Islamic State. In August 2012, Syrian president Bashar al-Assad was clinging to power in a vicious civil war. When secret intelligence revealed that the dictator might resort to using chemical weapons, President Obama warned that doing so would cross “a red line.” Assad did it anyway, bombing the Damascus suburb of Ghouta with sarin gas, killing hundreds of civilians, and forcing Obama to decide if he would mire America in another unpopular war in the Middle East. When Russia offered to broker the removal of Syria’s chemical weapons, Obama leapt at the out. So began an electrifying race to find, remove, and destroy 1,300 tons of chemical weapons in the midst of a raging civil war. The extraordinary little-known effort is a triumph for the Americans, but soon Russia’s long game becomes clear: it will do anything to preserve Assad’s rule. As America’s ability to control events in Syria shrinks, the White House learns that ISIS, building its caliphate in Syria’s war-tossed territory, is seeking chemical weapons for itself, with an eye to attack the West. Drawing on astonishing original reporting, Warrick crafts a character-driven narrative that reveals how the United States embarked on a bold adventure to prevent one catastrophe but could not avoid a tragic chain of events that led to another.

A lively graphic narrative reports on censorship of political cartoons around the world, featuring interviews with censored cartoonists from Pittsburgh to Beijing. Why do the powerful feel so threatened by political cartoons? Cartoons don't tell secrets or move markets. Yet, as Cherian George and Sonny Liew show us in Red Lines, cartoonists have been harassed, trolled, sued, fired, jailed, attacked, and assassinated for their insolence. The robustness of political cartooning--one of the most elemental forms of political speech--says something about the health of democracy. In a lively graphic narrative--illustrated by Liew, himself a prize-winning cartoonist--Red Lines crisscrosses the globe to feel the pulse of a vocation under attack. A Syrian cartoonist insults the president and has his hands broken by goons. An Indian cartoonist stands up to misogyny and receives rape threats. An Israeli artist finds his antiracist works censored by social media algorithms. And the New York Times, caught in the crossfire of the culture wars, decides to stop publishing editorial cartoons completely. Red Lines studies thin-skinned tyrants, the invisible hand of market censorship, and demands in the name of social justice to rein in the right to offend. It includes interviews with more than sixty cartoonists and insights from art historians, legal scholars, and political scientists--all presented in graphic form. This engaging account makes it clear that cartoon censorship doesn't just matter to cartoonists and their fans. When the red lines are misapplied, all citizens are potential victims.