An ethnography of Uruguayan waste-pickers that reconceptualizes rubbish as a form of modern-day commons.

“A galvanizing exposé” of America’s trash problem from plastic in the ocean to “wasteful packaging, bogus recycling, and flawed landfills and incinerators” (Booklist, starred review). Eat a take-out meal, buy a pair of shoes, or read a newspaper, and you’re soon faced with a bewildering amount of garbage. The United States is the planet’s number-one producer of trash. Each American throws out 4.5 pounds daily. But garbage is also a global problem. Today, the Pacific Ocean contains six times more plastic waste than zooplankton. How did we end up with this much rubbish, and where does it all go? Journalist and filmmaker Heather Rogers answers these questions by taking readers on a grisly and fascinating tour through the underworld of garbage. Gone Tomorrow excavates the history of rubbish handling from the nineteenth century to the present, pinpointing the roots of today’s waste-addicted society. With a “lively authorial voice,” Rogers draws connections between modern industrial production, consumer culture, and our throwaway lifestyle (New York Press). She also investigates the politics of recycling and the export of trash to poor countries, while offering a potent argument for change. “A clear-thinking and peppery writer, Rogers presents a galvanizing exposé of how we became the planet’s trash monsters. . . . [Gone Tomorrow] details everything that is wrong with today’s wasteful packaging, bogus recycling, and flawed landfills and incinerators. . . . Rogers exhibits black-belt precision.” —Booklist, starred review

NOW A MAJOR FILM BY STEPHEN DALDRY AND RICHARD CURTIS Raphael is a dumpsite boy. He spends his days wading through mountains of steaming trash, sifting it, sorting it, breathing it, sleeping next to it. Then one unlucky-lucky day, Raphael's world turns upside down. A small leather bag falls into his hands. It's a bag of clues. It's a bag of hope. It's a bag that will change everything. Soon Raphael and his friends Gardo and Rat are running for their lives. Wanted by the police, it takes all their quick-thinking and fast-talking to stay ahead. As the net tightens, they uncover a dead man's mission to put right a terrible wrong. And now it's three street boys against the world...

The New York Times bestseller A New York Times Notable and Critics’ Top Book of 2016 Longlisted for the PEN/John Kenneth Galbraith Award for Nonfiction One of NPR's 10 Best Books Of 2016 Faced Tough Topics Head On NPR's Book Concierge Guide To 2016’s Great Reads San Francisco Chronicle's Best of 2016: 100 recommended books A Washington Post Notable Nonfiction Book of 2016 Globe & Mail 100 Best of 2016 “Formidable and truth-dealing . . . necessary.” —The New York Times “This eye-opening investigation into our country’s entrenched social hierarchy is acutely relevant.” —O Magazine In her groundbreaking bestselling history of the class system in America, Nancy Isenberg upends history as we know it by taking on our comforting myths about equality and uncovering the crucial legacy of the ever-present, always embarrassing—if occasionally entertaining—poor white trash. “When you turn an election into a three-ring circus, there’s always a chance that the dancing bear will win,” says Isenberg of the political climate surrounding Sarah Palin. And we recognize how right she is today. Yet the voters who boosted Trump all the way to the White House have been a permanent part of our American fabric, argues Isenberg. The wretched and landless poor have existed from the time of the earliest British colonial settlement to today's hillbillies. They were alternately known as “waste people,” “offals,” “rubbish,” “lazy lubbers,” and “crackers.” By the 1850s, the downtrodden included so-called “clay eaters” and “sandhillers,” known for prematurely aged children distinguished by their yellowish skin, ragged clothing, and listless minds. Surveying political rhetoric and policy, popular literature and scientific theories over four hundred years, Isenberg upends assumptions about America’s supposedly class-free society––where liberty and hard work were meant to ensure real social mobility. Poor whites were central to the rise of the Republican Party in the early nineteenth century, and the Civil War itself was fought over class issues nearly as much as it was fought over slavery. Reconstruction pitted poor white trash against newly freed slaves, which factored in the rise of eugenics–-a widely popular movement embraced by Theodore Roosevelt that targeted poor whites for sterilization. These poor were at the heart of New Deal reforms and LBJ’s Great Society; they haunt us in reality TV shows like Here Comes Honey Boo Boo and Duck Dynasty. Marginalized as a class, white trash have always been at or near the center of major political debates over the character of the American identity. We acknowledge racial injustice as an ugly stain on our nation’s history. With Isenberg’s landmark book, we will have to face the truth about the enduring, malevolent nature of class as well.

2023 LASA Visual Culture Studies Section Book Prize, Latin American Studies Association (LASA) The first comprehensive study of cartonera, a vibrant publishing phenomenon born in Latin America. A publishing phenomenon and artistic project, cartonera was born in the wake of Argentina’s 2001 economic crisis. Infused with a rebellious spirit, it has exploded in popularity, with hundreds of publishers across Latin America and Europe making colorful, low-cost books out of cardboard salvaged from the street. Taking Form, Making Worlds is the first comprehensive study of cartonera. Drawing on interdisciplinary research conducted across Mexico, Brazil, and Argentina, the authors show how this hands-on practice has fostered a politically engaged network of writers, artists, and readers. More than a social movement, cartonera uses texts, workshops, encounters, and exhibitions to foster community and engagement through open-ended forms that are at once artistic and social. For various groups including waste-pickers, Indigenous communities, rural children, and imprisoned women, cartonera provides a platform for unique stories and sparks collaborations that bring the walls of the “lettered city” tumbling down. In contexts of stigma and exclusion, cartonera collectives give form to a decolonial aesthetics of resistance, making possible a space of creative experimentation through which plural worlds can be brought to life.

What role did the parish play in people's lives in England and Wales between 1700 and the mid-twentieth century? By comparison with globalisation and its dislocating effects, the book stresses how important parochial belonging once was. Professor Snell discusses themes such as settlement law and practice, marriage patterns, cultures of local xenophobia, the continuance of out-door relief in people's own parishes under the new poor law, the many new parishes of the period and their effects upon people's local attachments. The book highlights the continuing vitality of the parish as a unit in people's lives, and the administration associated with it. It employs a variety of historical methods, and makes important contributions to the history of welfare, community identity and belonging. It is highly relevant to the modern themes of globalisation, de-localisation, and the decline of community, helping to set such changes and their consequences into local historical perspective.