When you hear that now ubiquitous phrase 'I find that offensive', you know you're being told to shut up. While the terrible murder of the Charlie Hebdo cartoonists demonstrated that those who offend can face the most brutal form of censorship, it also served only to intensify the pre-existing climate that dictates we all have to walk on eggshells to avoid saying anything offensive - or else. Indeed, competitive offence-claiming is ratcheting up well beyond religious sensibilities. So, while Islamists and feminists may seem to have little in common, they are both united in demanding retribution in the form of bans, penalties and censorship of those who hurt their feelings. But how did we become so thin-skinned? In 'I Find That Offensive!' Claire Fox addresses the possible causes of what is fast becoming known as 'Generation Snowflake' head-on (no 'safe spaces' here) in a call to toughen up, become more robust and make a virtue of the right to be offensive.

NEW AND UPDATED EDITION OF THE BOOK THAT INTRODUCED THE TERM 'SNOWFLAKE.' When you hear that now ubiquitous phrase 'I find that offensive', you know you're being told to shut up. While the terrible murder of the Charlie Hebdo cartoonists demonstrated that those who offend can face the most brutal form of censorship, it also served to intensify the pre-existing climate that dictates we all have to walk on eggshells to avoid saying anything offensive – or else. Indeed, competitive offence-claiming is ratcheting up well beyond religious sensibilities. So, while Islamists and feminists may seem to have little in common, they are both united in demanding retribution in the form of bans, penalties and censorship of those who hurt their feelings. But how did we become so thin-skinned? In this ned and updated edition of her book 'I Find That Offensive!' Claire Fox addresses head on the possible causes of what is fast becoming known as 'Generation Snowflake' in a call to toughen up, become more robust and make a virtue of the right to be offensive.

"You people ... She was asking for it ... That's so gay ... Don't be a Jew ... My ex-girlfriend is crazy ... You'd be pretty if you lost weight ... You look good ... for your age ... These statements can be offensive to some people, but it is complicated to understand exactly why. It is often difficult to recognize the veiled racism, sexism, ableism, lookism, ageism, and other -isms that hide in our everyday language. From an early age, we learn and normalize many words and phrases that exclude groups of people and reinforce bias and social inequality. Our language expresses attitudes and beliefs that can reveal internalized discrimination, prejudice, and intolerance. Some words and phrases are considered to be offensive, even if we're not trying to be"--

A MOST ANTICIPATED ROM-COM SELECTED BY * BUZZFEED * LGBTQ READS * BUSTLE * THE NERD DAILY * ENTERTAINMENT TONIGHT * FROLIC MEDIA * AND MORE! A BEST BOOK PICK BY * HARPER’​S BAZAAR * ENTERTAINMENT WEEKLY “The Charm Offensive will sweep you off your feet.” —PopSugar ​​​​In this witty and heartwarming romantic comedy—reminiscent of Red, White & Royal Blue and One to Watch—an awkward tech wunderkind on a reality dating show goes off-script when sparks fly with his producer. Dev Deshpande has always believed in fairy tales. So it’s no wonder then that he’s spent his career crafting them on the long-running reality dating show Ever After. As the most successful producer in the franchise’s history, Dev always scripts the perfect love story for his contestants, even as his own love life crashes and burns. But then the show casts disgraced tech wunderkind Charlie Winshaw as its star. Charlie is far from the romantic Prince Charming Ever After expects. He doesn’t believe in true love, and only agreed to the show as a last-ditch effort to rehabilitate his image. In front of the cameras, he’s a stiff, anxious mess with no idea how to date twenty women on national television. Behind the scenes, he’s cold, awkward, and emotionally closed-off. As Dev fights to get Charlie to connect with the contestants on a whirlwind, worldwide tour, they begin to open up to each other, and Charlie realizes he has better chemistry with Dev than with any of his female co-stars. But even reality TV has a script, and in order to find to happily ever after, they’ll have to reconsider whose love story gets told.

At the beginning of the twenty-first century, China is poised to become a major global power. And though much has been written of China's rise, a crucial aspect of this transformation has gone largely unnoticed: the way that China is using soft power to appeal to its neighbours and to distant countries alike. This original book is the first to examine the significance of China's recent focus on soft power, that is, diplomacy, trade incentives, cultural and educational exchange opportunities, and other techniques, to project a benign national image, pose as a model of social and economic success, and develop stronger international alliances. Drawing on years of experience tracking China's policies in Southeast Asia, Latin America, and Africa, Joshua Kurlantzick reveals how China has wooed the world with a charm offensive that has largely escaped the attention of American policymakers. Beijing's new diplomacy has altered the political landscape in Southeast Asia and far beyond, changing the dynamics of China's relationships with other countries. China also has worked to take advantage of American policy mistakes, the author contends. In a provocative conclusion, he considers a future in which China may be the first nation since the Soviet Union to rival the U.S. in international influence.

The films discussed in this book have been labeled cinéma vomitif because they induce a visceral response in their audience. They are an underground hybrid of slasher movies, exploitation films, and shock-u-mentaries. Taking a serious look at a taboo subject, Brottman argues that these scandalous films are of far more substance than has been previously assumed. Their consistent appeal to our repressed appetites, libidinal instincts, and fascination with flesh and death has much to tell us about the human condition. Films analyzed include the voyeuristic Freaks (1932), the traumatic psychodrama The Tingler (1959), the succés de scandale The Texas Chain Saw Massacre (1976), the Italian shocker Cannibal Holocaust (1983), and two recent series of live death shock-u-mentaries, Death Scenes and Faces of Death (1989-1994). These movies, shunned from mainstream cinema because they are too offensive, obscene, marginal or bizarre, are considered here for the first time as an important part of the cinematic canon.

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