This acclaimed graphic memoir that Kirkus calls “cathartic and uplifting” is the tale of losing a parent and what it feels like to grieve and to move forward. “I can’t recommend this kind, funny, and poignant memoir enough. It’s an intimate, life-affirming story of resilience that feels like a good friend.” —Mari Andrew, author of Am I There Yet? Tyler Feder had just white-knuckled her way through her first year of college when her super cool mom was diagnosed with late-stage cancer. Now, with a decade of grief and nervous laughter under her belt, Tyler shares the story of that gut-wrenching, heart-pounding, extremely awkward time in her life—from her mom’s first oncology appointment to her funeral through the beginning of facing reality as a motherless daughter. She shares the sting of loss that never goes away, the uncomfortable post-death firsts, and the deep-down, hard-to-talk-about feelings of the grieving process. Dancing at the Pity Party is a frank and refreshingly funny look at what it’s like to grieve—for anyone struggling with loss who just wants someone to get it.

When liberals don't have reason, authority, or the American people on their side, they turn to the one thing they never run out of: Pity. For decades, conservatives have chafed at being called "heartless" and "uncaring" by liberals who maintain that our essential choice as a nation is between the politics of kindness and the politics of cruelty. In The Pity Party, political scientist William Voegeli turns the tables on this argument, making the case that "compassion" is neither the essence of personal virtue nor the ultimate purpose of government. Over the years, liberals have built a remarkable edifice of government programs that are justified by appeals to compassion: Head Start, immigration reform, gun control, affirmative action, and entitlements, to name only some. As Voegeli amply demonstrates, the liberals who promote these massive programs are weirdly indifferent as to whether they succeed. Instead, when the problems they are intended to solve fail to disappear, liberals double down, calling for yet more programs and ever greater expenditures in the name of "compassion." Meanwhile, conservatives who challenge the effectiveness of these programs are slandered as "heartless right-wingers." Yet rather than challenge this tendentious liberal argument, the many conservatives it intimidates feel it necessary to insist that they really do "care." However, liberal compassion's good intentions consistently fail to translate into good results. Voegeli walks the reader through a plethora of programs that have become battlefields between conservatives fighting for more efficiency and liberals fighting for more budget-busting federal programs to address an ever-expanding catalog of social ills. Along the way, he explains the underpinnings of the liberal philosophy that reinforce this misapplied ideal and shows why today's self-described compassionate liberals are ultimately unfit to govern.

A history of German Jews from the mid-eighteenth century to the eve of the Third Reich traces their transformation from cattle dealers and wandering peddlers to a successful community of writers, philosophers, scientists, and activists.

For over a century, the idea that African Americans are psychologically damaged has played an important role in discussions of race. In this provocative work, Daryl Michael Scott argues that damage imagery has been the product of liberals and conservatives, of racists and antiracists. While racial conservatives, often playing on white contempt for blacks, have sought to use findings of black pathology to justify exclusionary policies, racial liberals have used damage imagery primarily to promote policies of inclusion and rehabilitation. In advancing his argument, Scott challenges some long-held beliefs about the history of damage imagery. He rediscovers the liberal impulses behind Stanley Elkins's Sambo hypothesis and Daniel Patrick Moynihan's Negro Family and exposes the damage imagery in the work of Ralph Ellison, the leading anti-pathologist. He also corrects the view that the Chicago School depicted blacks as pathological products of matriarchy. New Negro experts such as Charles Johnson and E. Franklin Frazier, he says, disdained sympathy-seeking and refrained from exploring individual pathology. Scott's reassessment of social science sheds new light on Brown v. Board of Education, revealing how experts reversed four decades of theory in order to represent segregation as inherently damaging to blacks. In this controversial work, Scott warns the Left of the dangers in their recent rediscovery of damage imagery in an age of conservative reform.

From a bestselling historian, a daringly revisionist history of World War I The Pity of War makes a simple and provocative argument: the human atrocity known as the Great War was entirely England's fault. According to Niall Ferguson, England entered into war based on naive assumptions of German aims, thereby transforming a Continental conflict into a world war, which it then badly mishandled, necessitating American involvement. The war was not inevitable, Ferguson argues, but rather was the result of the mistaken decisions of individuals who would later claim to have been in the grip of huge impersonal forces. That the war was wicked, horrific, and inhuman is memorialized in part by the poetry of men like Wilfred Owen and Siegfried Sassoon, but also by cold statistics. Indeed, more British soldiers were killed in the first day of the Battle of the Somme than Americans in the Vietnam War. And yet, as Ferguson writes, while the war itself was a disastrous folly, the great majority of men who fought it did so with little reluctance and with some enthusiasm. For anyone wanting to understand why wars are fought, why men are willing to fight them and why the world is as it is today, there is no sharper or more stimulating guide than Niall Ferguson's The Pity of War.

Comic, elegaic, and always formally intricate, using political allegory and painterly landscape, philosophic story and dramatic monologue, these poems describe a moment when something marvelous and unforeseen alters the course of a single day, a year, or an entire life.