Critical Race Theory, like most ideologies before it, promises an earthly paradise premised on ceaseless revolution, but instead of delivering on this promise, it produces a terrestrial hell echoing the inner nihilism of modern life. Contemporary social justice movements, just like progressivism, the New Deal, and post-Civil War Southern Democrats, place Westerners in bondage rather than delivering on the promise of unlimited freedom. Requiem for Reality responds to the widening pendulum shifts of our age. These developments consume and incense the nation. These shifts offer a bewildering set of claims grounded in the presumption that race and other forms of human identity explain all forms of disparity and inequality. Against such claims, it is crucial to distinguish between a development narrative and a bias narrative for the purpose of explaining ethnic disparity. The development narrative is grounded in data that often deliver unwelcome facts. The facts show that Asian Americans, as well as West Indian blacks, often do better than white Americans in schooling, per capita income, and crime rates. Indeed, Syrian Americans, Korean Americans, Indonesian Americans, Taiwanese Americans, and Filipino Americans experience significantly higher median household incomes than whites and higher test scores, lower incarceration rates, and longer life expectancies. Oblivious to such facts, the bias narrative, on the other hand, grounds itself in the “white privilege” thesis suggesting that only race matters. Surfacing from the toxic pit of ideology, the bias narrative emphasizes the racist claim that African Americans are the only ethnic group in the world who cannot succeed under less-than-ideal conditions. Separated from important facts, this narrative often substitutes absolute Neo-pagan certainties originating in a make-believe world for commonplace notions of truth and reality. As such, the “white privilege” thesis, rather than improving the conditions of African Americans and others, offers a utopian dream that threatens to become a national nightmare. The urgent pursuit of utopia reflects trends that are largely anthropological, sociological, and more spiritual than political. Responding to these developments, which have given rise to victimhood claims within gender and transgender categories will require more than argumentation, rational analysis, superior logic, or even the inauguration of a Hanging Judge. It will require courage because otherwise, Chairman Mao’s forecast, stating that there is a great disorder under heaven and the situation is excellent, may come true here just like it has already come true for China.

First Published in 2010. Routledge is an imprint of Taylor & Francis, an informa company.

Here's the long-awaited solo novel--the first of an imaginative interstellar trilogy--from the co-author of the "New York Times" bestselling "Death Gate" saga, Tracy Hickman.With more than ten million copies of the "Death Gate" novels in print, Tracy Hickman's talent is widely recognized. Now this popular fantasist begins an epic trilogy set in future space. The war-like Arachta, aliens from the past, invade the Earth searching for a cure to the plague that will spell their own demise if they're unsuccessful.

This richly detailed tribute to the legendary Yamato is now back in print by popular demand. Equipped with the largest guns and heaviest armor and having the greatest displacement of any ship ever built, the Yamato proved to be a formidable opponent to the U.S. Pacific Fleet in World War II. This classic in the Anatomy of the Ship series contains a full description of the design and construction of the battleship including wartime modifications, and a career history. This is followed by a substantial pictorial section with rare onboard views of Yamato and her sister ship, a comprehensive portfolio of more than 600 perspective and three-view drawings, and 30 photographs. Such a handsome and thorough work is guaranteed to impress modelmakers, ship enthusiasts, and naval historians.

Requiem for a Lost City shows us the reality of Civil War Atlanta from the eve of secession to the memorials for the fallen, through the memories of a participant. Sallie Clayton would have been the same age as the fictional Scarlett O'Hara during the Civil War. Sallie Clayton's memoirs, however, are not a work of fiction but bittersweet reminiscences of growing up in a doomed city in the midst of losing a war. Although her memoirs provide invaluable detail on Civil War Atlanta, they also tell of her personal experiences on a plantation in Montgomery, Alabama, and in postwar Augusta and Athens. Sallie Clayton belonged to one of Georgia's wealthiest and most prominent families. Her memoirs are colored by the losses suffered by her family. Robert Davis's introduction to this work illustrates the background of the Claytons, Sallie's writings, and Civil War Atlanta, providing a balanced account of life at "the crossroads of the Confederacy." The introduction also provides a corrective to the popular, Gone With the Wind view of Civil War Atlanta.

A tale of four people trapped by their addictions, the basis for the acclaimed Darren Aronofsky film, by the author of Last Exit to Brooklyn. Sara Goldfarb is devastated by the death of her husband. She spends her days watching game shows and obsessing over appearing on television as a contestant—and her prescription diet pills only accelerate her mania. Her son, Harry, is living in the streets with his friend Tyrone and girlfriend Marion, where they spend their days selling drugs and dreaming of escape. When their heroin supply dries up, all three descend into an abyss of dependence and despair, their lives, like Sara’s, doomed by the destructive power of drugs. Tragic and captivating, Requiem for a Dream is one of Selby’s most powerful works, and an indelible portrait of the ravages of addiction. This ebook features an illustrated biography of Hubert Selby Jr. including rare photos from the author’s estate.

Between the French Indochina war of the fifties and the fall of Phnom Penn and Saigon in 1975, 134 photographers from different nations were killed. Horst Faas, two-times Pullitzer Prize winner and Chief Photographer for The Associated Press in Saigon at the height of the war, and Tim Page, another veteran who had been badly wounded, have gathered many thousands of photos from the Western agencies and from archives in Hanoi and Ho Chi Minh City. These have now been assembled to form both a monument to the dead and a record of the most terrifying war photography ever taken. Never again will the media have the kind of access to the war zone that was offered to the photographers in Vietnam. In many cases the photographers tried to get as close as possible, then paid the price.