Here in their own words are Frederick Douglass, George Jackson, Chief Joseph, Martin Luther King Jr., Plough Jogger, Sacco and Vanzetti, Patti Smith, Bruce Springsteen, Mark Twain, and Malcolm X, to name just a few of the hundreds of voices that appear in Voices of a People's History of the United States, edited by Howard Zinn and Anthony Arnove. Paralleling the twenty-four chapters of Zinn's A People's History of the United States, Voices of a People’s History is the long-awaited companion volume to the national bestseller. For Voices, Zinn and Arnove have selected testimonies to living history—speeches, letters, poems, songs—left by the people who make history happen but who usually are left out of history books—women, workers, nonwhites. Zinn has written short introductions to the texts, which range in length from letters or poems of less than a page to entire speeches and essays that run several pages. Voices of a People’s History is a symphony of our nation’s original voices, rich in ideas and actions, the embodiment of the power of civil disobedience and dissent wherein lies our nation’s true spirit of defiance and resilience.

In the realm of the social our incommensurable differences define us, yet more often we find they divide us. Speaking–Writing With: Aboriginal and Settler Interrelations argues that power relations of suppression rely on particular ways of marking difference. Its discussion circulates in and through “indigenous” and “settler” interrelations, yet the focus is on relations and relationships – on the formation of subjectivities and ongoing construction of identities. In the context of Australia’s socio-political history, the text theorises ways of speaking “with” (instead of “for”) others by exploring the relationship between poststructural/deconstruction theories and indigenous relational ontologies. Such modes of thinking, outside the binarised thinking of the west, deeply resonate in their shared capacity for change, innovation, creativity and engagement with atavism–futurity. While Fiona McAllan’s PhD published articles have achieved recognition in trans-disciplinary fields, a cohesive development of her socio-cultural theory has been made accessible to academic audiences by incorporating those articles into this academic text. Written in the combined modes of a western theory/praxis fusion and an indigenous methodology, and utilising diverse theories including indigenous epistemologies and decolonising methodologies, deconstruction, feminist psychoanalytic theory, eco-phenomenology, postcolonialism, critical whiteness, etc., the text poses the research question: “is it possible to engage an in-relation ethos and inter-entity consciousness that will allow for the transformation from global relations of suppression and subordination to those of reciprocity, mutual respect and engagement, thus providing a model for a transformative and reciprocal sociality?” Speaking–Writing With is therefore a book that acknowledges how unconscious forces influence our everyday thoughts and actions (and their correlative material consequences) and thus engages pressing geo-political issues at a time when indigenous ontologies/understandings are becoming increasingly crucial to addressing the mounting problems of the west. It sits in the genre of critical cultural theory, yet will be equally relevant to other disciplines such as Indigenous Studies, Critical Whiteness/racial theories, cultural sociology, and philosophy.

From Publishers Weekly: "... Doyle-Mekkes fluidly weaves together practical speaking tips and big-picture advice on how to shore up one’s self-esteem. The reticent will find much to mull over in this confidence-boosting manual.” I’m Speaking is every woman’s guide to creating a clear, confident voice that is authentically hers and then using it fearlessly. Full of effective, efficient, brain-science-based ways to make positive changes to your voice, in your head and coming out of your mouth, I’m Speaking also teaches the reader how to fearlessly use that voice, personally and professionally: ask for what you want and get what you need, speak up against toxicity, communicate everything better, have the difficult conversations, and cultivate resilience. Imagine a world without the voices of Maya Angelou, Malala Yousafzai, Gloria Steinem, your mother, your best girlfriend, your midwife, your hair stylist. Do you know a woman whose voice isn’t essential to her career, her family, the world? Women’s voices are essential, and they are powerful. Every woman can harness that power. This is the only book written that gives women the exact tools necessary to solve the common vocal problems they face, and literally reprogram their brains and bodies to be more confident when speaking. Think of how much more centered, how much more confident you would be knowing that you can deliver your message in a voice that makes people want to listen to you. Knowing that, regardless of situation, you can speak clearly and confidently, stay on track (or get back on), relax your body, and even enjoy the moment you’ve worked so hard for. Your voice is the secret weapon to success you’ve always had, but never knew how to use, til now.

The ideas of the world-renowned Black American are represented on the arts, civil rights, socialism, and other topics.

Michael Haneke's films subject us to extreme experiences of disturbance, desperation, grief, and violence. They are unsoftened by music, punctuated by accosting noises, shaped by painful silences, and charged with aggressive dialogue. The sound tracks are even more traumatic to hear than his stories are to see, but they also offer us the transformative possibilities of reawakened sonic awareness. Haneke's use of sound redefines cinema in ways that can help us re-hear everything-including our own voices, and everything around us-better. Though Haneke's films make exceptional demands on us, he is among the most celebrated of living auteurs: he is two-time receipt of the Palme D'Or at Cannes Film Festival (for The White Ribbon (2009) and Amour (2012)), and Academy Award winner of Best Foreign Language Film (for Amour), along with numerous other awards. The radical confrontationality of his cinema makes him an internationally controversial, as well as revered, subject. Hearing Haneke is the first book-length study of the sound tracks that define this living legacy. This book explores the haunting, subversive, and political significance of all aural elements through Haneke's major feature films (dialogue, sound effects, silences, and music), all of which are meticulously conducted by him. Many critics read Haneke as coolly dispassionate about showing scenes of humanity under threat, but Hearing Haneke argues that all facets of his sound tracks stress humane understanding and the importance of compassion. This book provides exceptionally detailed analyses of all Haneke's most celebrated films: including The Seventh Continent, Funny Games, Code Unknown, The Piano Teacher, Cach , The White Ribbon, and Amour. The writing brings together film theory, musicology, history, and cultural studies in ways that resonate broadly. Hearing Haneke will matter to anyone who cares about the power of art to inspire progressive change.