"They Will Have to Die Now is the story of what happened after most Americans stopped paying attention to Iraq…It will take its place among the very best war writing of the past two decades." —George Packer, author of Our Man and The Assassins’ Gate James Verini arrived in Iraq in the summer of 2016 to write about life in the Islamic State. He stayed to cover the jihadis’ last great stand, the Battle of Mosul, not knowing it would go on for nearly a year, nor that it would become, in the words of the Pentagon, "the most significant urban combat since WWII." They Will Have to Die Now takes the reader into the heart of the conflict against the most lethal insurgency of our time. We see unspeakable violence, improbable humanity, and occasional humor. We meet an Iraqi major fighting his way through the city with a bad leg; a general who taunts snipers; an American sergeant who removes his glass eye to unnerve his troops; a pair of Moslawi brothers who welcomed the Islamic State, believing, as so many Moslawis did, that it might improve their shattered lives. Verini also relates the rich history of Iraq, and of Mosul, one of the most beguiling cities in the Middle East.

"They Must Die" is an undimmed corpus of delirious crime stories based on the international canvas. Its capstone feature is the opaque side of human nature. While facing real-life ataxia, some persons become victims of psychological disorders and anxiety. They attempt to turn the wheel of destiny in their way and put themselves under a spell of psychosis or schizophrenia for revenge or to escape and obviously target the serene environment of society around them. The atrocious criminal stories, needless to say, grab a frizzing hold of human mind quickly. To spike, this snare in ascending direction till the end has been a pink skill of the writers and the story as well. This corpus of delirious criminal stories depicts this flair almost on every page on. The twined state of the psychogenic mind before the crime and the skillful use of these psychodynamics are exhibited in the anthology “They Must Die”. The spooked crime even though has been done with perilous sneakiness, and it is negative or destructive in nature too but an acute care has been taken here in particular by neutralizing the sublimation of these crimes. Of course, through the instantiating description, we strongly believe that readers will be utterly screwed down with the stupefying touchstone of this compilation of stories. This creation is a sapient collection of four delirious crime stories and it depicts a criminal social canker as a threat to the civilized society, so…. they must die.

When seventeen-year-old, white Berneen O'Brien moves to Tulsa and takes a job at a segregated elementary school, she becomes increasingly involved in the lives of her black colleagues and shares their experiences during the deadly race riot that destroys Greenwood in 1921.

If We Must Die examines nearly five hundred shipboard rebellions that occurred over the course of the entire slave trade, directly challenging the prevailing thesis that such resistance was infrequent or insignificant. As Eric Robert Taylor shows, though most revolts were crushed quickly, others raged on for hours, days, or weeks, and, occasionally, the Africans captured the vessel and returned themselves to freedom. In recounting these rebellions, Taylor suggests that certain factors like geographic location, the involvement of women and children, and the timing of a shipboard revolt, determined the difference between success and failure. Taylor also explores issues like aid from other ships, punishment of slave rebels, and treatment of sailors captured by the Africans. If We Must Die expands the historical view of slave resistance, revealing a continuum of rebellions that spanned the Atlantic as well as the centuries. These uprisings, Taylor argues, ultimately helped limit and end the traffic in enslaved Africans and also served as crucial predecessors to the many revolts that occurred subsequently on plantations throughout the Americas.

The bestselling editor of This Explains Everything brings together 175 of the world’s most brilliant minds to tackle Edge.org’s 2014 question: What scientific idea has become a relic blocking human progress? Each year, John Brockman, publisher of Edge.org—”The world’s smartest website” (The Guardian)—challenges some of the world’s greatest scientists, artists, and philosophers to answer a provocative question crucial to our time. In 2014 he asked 175 brilliant minds to ponder: What scientific idea needs to be put aside in order to make room for new ideas to advance? The answers are as surprising as they are illuminating. In : Steven Pinker dismantles the working theory of human behavior Richard Dawkins renounces essentialism Sherry Turkle reevaluates our expectations of artificial intelligence Geoffrey West challenges the concept of a “Theory of Everything” Andrei Linde suggests that our universe and its laws may not be as unique as we think Martin Rees explains why scientific understanding is a limitless goal Nina Jablonski argues to rid ourselves of the concept of race Alan Guth rethinks the origins of the universe Hans Ulrich Obrist warns against glorifying unlimited economic growth and much more. Profound, engaging, thoughtful, and groundbreaking, This Idea Must Die will change your perceptions and understanding of our world today . . . and tomorrow.

Part memento mori for architecture, and part invocation to reimagine the design values that lay at the heart of its creative purpose. Buildings, although inanimate, are often assumed to have "life." And the architect, through the act of design, is assumed to be their conceiver and creator. But what of the "death" of buildings? What of the decay, deterioration, and destruction to which they are inevitably subject? And what might such endings mean for architecture's sense of itself? In Buildings Must Die, Stephen Cairns and Jane Jacobs look awry at core architectural concerns. They examine spalling concrete and creeping rust, contemplate ruins old and new, and pick through the rubble of earthquake-shattered churches, imploded housing projects, and demolished Brutalist office buildings. Their investigation of the death of buildings reorders architectural notions of creativity, reshapes architecture's preoccupation with good form, loosens its vanities of durability, and expands its sense of value. It does so not to kill off architecture as we know it, but to rethink its agency and its capacity to make worlds differently. Cairns and Jacobs offer an original contemplation of architecture that draws on theories of waste and value. Their richly illustrated case studies of building "deaths" include the planned and the unintended, the lamented and the celebrated. They take us from Moline to Christchurch, from London to Bangkok, from Tokyo to Paris. And they feature the work of such architects as Eero Saarinen, Carlo Scarpa, Cedric Price, Arata Isozaki, Rem Koolhaas and François Roche. Buildings Must Die is both a memento mori for architecture and a call to to reimagine the design values that lay at the heart of its creative purpose.