A Schneider Family Book Award Honor Book for Teens "Raw and unflinching . . . A must-read!" --Marieke Nijkamp, #1 New York Times-bestselling author of This Is Where It Ends "[It] cuts to the heart of our bogus ideas of beauty." –Scott Westerfeld, #1 New York Times-bestselling author of Uglies I am ugly. There's a mathematical equation to prove it. At only eight months old, identical twin sisters Ariel and Zan were diagnosed with Crouzon syndrome -- a rare condition where the bones in the head fuse prematurely. They were the first twins known to survive it. Growing up, Ariel and her sister endured numerous appearance-altering procedures. Surgeons would break the bones in their heads and faces to make room for their growing organs. While the physical aspect of their condition was painful, it was nothing compared to the emotional toll of navigating life with a facial disfigurement. Ariel explores beauty and identity in her young-adult memoir about resilience, sisterhood, and the strength it takes to put your life, and yourself, back together time and time again.

Happiness is big business. Books, consultants, psychologists, organizations, and even governments tout happiness secrets that are backed by scientific findings. The problem is that all of this science is done by and for cis white men. And some of the most vocal of these happiness experts were announcing that women could become happier by espousing "traditional" values and eschewing feminism. Skeptical of this hypothesis, Ariel Gore took a deep dive into the optimism industrial complex, reading the history, combing the research, attending the conferences, interviewing the thought leaders, and exploring her own and her friends' personal experiences and desires. Fuck Happiness is a nuanced, thoughtful examination of what happiness means and to whom, how it's played a role in defining modern gender roles and power structures, and how we can all have a more empowered relationship with the pursuit of joy in our lives.

An Old Creed for the New South:Proslavery Ideology and Historiography, 1865–1918 details the slavery debate from the Civil War through World War I. Award-winning historian John David Smith argues that African American slavery remained a salient metaphor for how Americans interpreted contemporary race relations decades after the Civil War. Smith draws extensively on postwar articles, books, diaries, manuscripts, newspapers, and speeches to counter the belief that debates over slavery ended with emancipation. After the Civil War, Americans in both the North and the South continued to debate slavery’s merits as a labor, legal, and educational system and as a mode of racial control. The study details how white Southerners continued to tout slavery as beneficial for both races long after Confederate defeat. During Reconstruction and after Redemption, Southerners continued to refine proslavery ideas while subjecting blacks to new legal, extralegal, and social controls. An Old Creed for the New South links pre– and post–Civil War racial thought, showing historical continuity, and treats the Black Codes and the Jim Crow laws in new ways, connecting these important racial and legal themes to intellectual and social history. Although many blacks and some whites denounced slavery as the source of the contemporary “Negro problem,” most whites, including late nineteenth-century historians, championed a “new” proslavery argument. The study also traces how historian Ulrich B. Phillips and Progressive Era scholars looked at slavery as a golden age of American race relations and shows how a broad range of African Americans, including Booker T. Washington and W. E. B. Du Bois, responded to the proslavery argument. Such ideas, Smith posits, provided a powerful racial creed for the New South. This examination of black slavery in the American public mind—which includes the arguments of former slaves, slaveholders, Freedmen's Bureau agents, novelists, and essayists—demonstrates that proslavery ideology dominated racial thought among white southerners, and most white northerners, in the five decades following the Civil War.

We are pressing beyond the range of human information at blazing speed, and in so doing, we are entering a realm were quite unprepared for. When this books essayist announces a celestial being from a different dominion has arrived to equip us with permission to eat of the fruit, allowing us to become all-knowledgeable, and to offer immortality, everyone is eager, of course. The extraterrestrial alien values the spirit nature as much as we value our flesh, and he prizes each, for he transcends knowledge of those entities, a character gushes. But we shall lose command of our individual freedoms if we forfeit our wits to another, because intelligence is more than gathering lots of data. Filtering information takes time and work to transform into wisdom. The race to control artificial intelligence has made each person a database for a search engine, and our species has mixed with machine. Weve become unknowingly programmed without an ethical compass while some in charge have questionable motives and are involved in moral turpitude. The result? As one character laments, We must break the very laws that make us civil.

This is an authoritative companion that is global in scope, recognizing the presence of African Diaspora artists across the world. It is a bold and broad reframing of this neglected branch of art history, challenging dominant presumptions about the field. Diaspora pertains to the global scattering or dispersal of, in this instance, African peoples, as well as their patterns of movement from the mid twentieth century onwards. Chapters in this book emphasize the importance of cross-fertilization, interconnectedness, and intersectionality in the framing of African Diaspora art history. The book stresses the complexities of artists born within, or living and working within, the African continent, alongside the complexities of Africa-born artists who have migrated to other parts of the world. The group of international contributors emphasizes and accentuates the interplay between, for example, Caribbean art and African Diaspora art, or Latin American art and African Diaspora art, or Black British art and African Diaspora art. The book will be of interest to scholars and students working in art history, the various branches of African studies, African American studies, African Diaspora studies, Caribbean studies, and Latin American studies.