2023 Oregon Book Award Finalist in Creative Nonfiction Possums Run Amok is a rollicking, slyly hilarious, at times uncomfortable and dark memoir wherein the author and two friends are nicknamed The Possumettes. With fearless candor, Lora Lafayette recounts her life from a delinquent, late 1970s punk rock adolescence through a crooked, manic, transatlantic path to adulthood and her eventual terrifying descent into schizophrenia. Whip smart, daring, and inventive, Lafayette navigates the harsh realities of being a risk-taking adventurous young woman while seeking to wrest all the wild joy she can out of life. Her story reveals how blurry the line can be between real and unreal, choice and force. It lays bare the startling lack of empathy and services in society for those in crisis. Her voice is singular, her language full of shining unconventional metaphor. Deeply uncomfortable, laugh-out-loud funny, and devastatingly moving, Possums Run Amok is equal parts challenging and entertaining.

When ten-year-old Rufus discovers that he has magical powers like his mother and grandmother, he learns that being a wizard is not quite what he expected.

The recent data controversy with Facebook highlights that the tech industry as a whole was utterly unprepared for the backlash it faced as a result of its business model of selling user data to third parties. Despite the predominant role that technology plays in all of our lives, the controversy also revealed that many tech companies are reactive, rather than proactive, in addressing crises. This book examines society's failure to manage technology and its resulting negative consequences. Mitroff argues that the "technological mindset" is responsible for society's unbridled obsession with technology and unless confronted, will cause one tech crisis after another. This trans-disciplinary text, edgy in its approach, will appeal to academics, students, and practitioners through its discussion of the modern technological crisis.

Amok, one of the few Malay words commonly appearing in English, names a syndrome of unpredictable and indiscriminate homicidal behavior with suicidal intent. In tracing the development of this behavioral pattern, Spores examines historical data, including frequently colorful colonialist accounts of such episodes, from British Malaya and the Netherlands East Indies during the period 1800-1925. Spores presents a basic etiological distinction between reactive-motivated and a spontaneous, unmotivated amok; the one an intentional act capable of establishing or restoring dignity and self-respect; the other a result of organic disturbance. He also explores the social-psychological dynamics of engagement in the two types of solitary amok and suggests possible behavioral chains. Further, his study demonstrates the impact of social forces and processes of the late nineteenth and early twentieth century which significantly altered factors in traditional Malay society important in generating expressions of solitary amok. Running amok demonstrates the utility of bringing historical data to bear on the examination of specific social phenomena, particularly suggesting that the understanding of some present-day forms of mental disorder or other aberrant or deviant behavior can be facilitated and enriched through such analysis.

The oral history of Disney’s Hocus Pocus, one of the most beloved Halloween movies of all time. In July 1993, Disney’s Hocus Pocus, starring Bette Midler, Sarah Jessica Parker, and Kathy Najimy, did not immediately find success, with box office numbers falling far below what was envisioned. Yet somehow the Halloween movie released in the middle of the summer to little fanfare has become an enduring and widely loved classic. Nearly three decades after the film’s initial release, it’s a yearly holiday viewing tradition in households around the world, becoming a not-so-scary rite of passage for kids and their parents, many of whom grew up watching the film about the resurrected witchy trio with their own parents. Hocus Pocus is a movie that has few if any equals; it manages to span a generational divide, uniting boomers and zoomers in their nostalgic love for the boundary-pushing supernatural comedy that in some ways seemed a little too risqué for the millennial kids it was originally intended for. So how did a movie that didn’t catch an initial spark end up casting such a spell on mainstream culture? Witches Run Amok answers that question and more, using interviews from the cast and creative team behind the heartwarming Halloween staple. The book is a love letter to Hocus Pocus’s millions of devoted fans and a fascinating read for anyone who wants to understand how the Disney movie became a pop culture phenomenon.

Glenn Greenwald was not a political man — neither liberal nor conservative. To him, the U.S. was generally on track and would remain forever centrist. But all that has changed. Over the past five years, a creeping extremism has taken hold of our federal government, which threatens to alter our system of governing ourselves and our national character. This extremism is neither liberal nor conservative, but is driven by the Bush administration's radical theories of executive power. Greenwald writes that we cannot abide these unlimited and unchecked presidential powers if we are to remain a constitutional republic. Because when you answer to no one, you're not a president — you're a despot. This is one man's story of being galvanized into action to defend his country, and his concise and penetrating analysis of what is at stake for America when its president has secretly bestowed upon himself the powers of a king. From 9/11 to the question of nuclear war in Iran, Greenwald shows how Bush's claims of unlimited power play out. In the spirit of the colonists who once mustered the strength to denounce a king, Greenwald asks: how would a patriot act today?