An “engaging” study of trash as a metaphor in contemporary African cinema (African Studies Review). Highlighting what is melodramatic, flashy, low, and gritty in the characters, images, and plots of African cinema, Kenneth W. Harrow uses trash as the unlikely metaphor to show how these films have depicted the globalized world. Rather than focusing on topics such as national liberation and postcolonialism, he employs the disruptive notion of trash to propose a destabilizing aesthetics of African cinema. Harrow argues that the spread of commodity capitalism has bred a culture of materiality and waste that now pervades African film. He posits that a view from below permits a way to understand the tropes of trash present in African cinematic imagery.

This fascinating reference offers a unique take on recycling and trash, tracing the role of waste in public health, climate change, and sustainability around the world. As the popularity of sustainability grows and climate change becomes an accepted reality, experts point to trash and waste as the link between environmental and public health. This detailed reference—one of the most comprehensive resources available on the subject—examines garbage disposal on a global level, from the history of waste management, to the rise of green movements and recycling programs, to the environmental problems caused by incineration and overflowing landfills. According to urban planning scholar Robert William Collin, accounting for waste will improve the chances for environmental protection, public health, and sustainability. This country-by-country guide studies waste management practices and related topics from around the world, including garbage strikes in Italy, successful recycling programs in Switzerland, trash in the streets of India, and the garbage patch floating in the Pacific Ocean. Country entries cover a brief history of garbage disposal, current methods of removal, recycling, and waste management problems specific to the region. Additional content addresses air and water pollution, greenhouse gas emissions, E-waste, and hazardous and nuclear wastes.

The New York Times bestseller A New York Times Notable and Critics’ Top Book of 2016 Longlisted for the PEN/John Kenneth Galbraith Award for Nonfiction One of NPR's 10 Best Books Of 2016 Faced Tough Topics Head On NPR's Book Concierge Guide To 2016’s Great Reads San Francisco Chronicle's Best of 2016: 100 recommended books A Washington Post Notable Nonfiction Book of 2016 Globe & Mail 100 Best of 2016 “Formidable and truth-dealing . . . necessary.” —The New York Times “This eye-opening investigation into our country’s entrenched social hierarchy is acutely relevant.” —O Magazine In her groundbreaking bestselling history of the class system in America, Nancy Isenberg upends history as we know it by taking on our comforting myths about equality and uncovering the crucial legacy of the ever-present, always embarrassing—if occasionally entertaining—poor white trash. “When you turn an election into a three-ring circus, there’s always a chance that the dancing bear will win,” says Isenberg of the political climate surrounding Sarah Palin. And we recognize how right she is today. Yet the voters who boosted Trump all the way to the White House have been a permanent part of our American fabric, argues Isenberg. The wretched and landless poor have existed from the time of the earliest British colonial settlement to today's hillbillies. They were alternately known as “waste people,” “offals,” “rubbish,” “lazy lubbers,” and “crackers.” By the 1850s, the downtrodden included so-called “clay eaters” and “sandhillers,” known for prematurely aged children distinguished by their yellowish skin, ragged clothing, and listless minds. Surveying political rhetoric and policy, popular literature and scientific theories over four hundred years, Isenberg upends assumptions about America’s supposedly class-free society––where liberty and hard work were meant to ensure real social mobility. Poor whites were central to the rise of the Republican Party in the early nineteenth century, and the Civil War itself was fought over class issues nearly as much as it was fought over slavery. Reconstruction pitted poor white trash against newly freed slaves, which factored in the rise of eugenics–-a widely popular movement embraced by Theodore Roosevelt that targeted poor whites for sterilization. These poor were at the heart of New Deal reforms and LBJ’s Great Society; they haunt us in reality TV shows like Here Comes Honey Boo Boo and Duck Dynasty. Marginalized as a class, white trash have always been at or near the center of major political debates over the character of the American identity. We acknowledge racial injustice as an ugly stain on our nation’s history. With Isenberg’s landmark book, we will have to face the truth about the enduring, malevolent nature of class as well.

A lively investigation of the intimate connections we maintain with the things we toss away It's hard to think of trash as anything but a growing menace. Our communities face crises over what to do with the mountains of rubbish we produce, the enormous amount of biological waste generated by humans and animals, and the truckloads of electronic equipment judged to be obsolete. All this effluvia poses widespread problems for human health, the well-being of the planet, and the quality of our lives. But though our notorious habits of disposal have put us well on the way to making the earth inhospitable to life, our relation to rejectamenta includes much more than shedding and tossing. In Trash Talks, philosopher Elizabeth V. Spelman explores the extent to which we rely on trash and waste to make sense of our lives. Examples are rich: We use people's rubbish to gain information about them. We trumpet wastefulness as a means of signaling social status. We take the occupation of handling trash and garbage as revelatory of possible moral or spiritual shortcomings. We are intrigued by or in distress over the idea that evolution is a prodigiously wasteful process and that it is to the dustbin that each of us, and our species, shall ultimately repair. In the heaps of our trash, some see consequences of dissatisfaction, while others find confirmation of a flourishing consumer economy. While we may want to shove debris and detritus out of sight, many of our most impassioned projects involve keeping these objects resolutely in mind. Trash talks, and there is much of which it speaks.

Millions of tons of plastic slip into oceans every year. Some floats and travels slowly with the currents, endangering the health of marine animals. The rest is hardly visible but is far more dangerous. Tiny bits of plastic sprinkle the ocean's surface or mix into the sandy seafloor and beaches. It ends up inside birds, fish, and other animals, harming them-and ultimately humans. Experts struggle with fear and hope as they work to stop the flood of plastic threatening living organisms across the globe.

A young man goes to war against a landfill in a novel that “revels in the absurd but never strays far from the deeply felt humanity of its characters” (Maceo Montoya, author of The Deportation of Wopper Barraza). Ben Shippers doesn’t have much use for school, friends, or pretty much anyone except his smartass sister, but he does harbor a secret passion: Trash Mountain, the central feature of the noxious landfill next to his house, the fumes from which have made his sister ill. After a botched attempt to destroy Trash Mountain with a homemade firebomb, Ben begins a years-long infiltration operation that leads him to drop out of school to work alongside homeless trash-pickers, and then, eventually, intern at the very place he meant to destroy. Ben’s boss there, a charismatic would-be titan of sanitation, shows Ben the intricate moralities of the trash industry, forcing him to choose between monetary stability and his environmental principles. With dark humor, Trash Mountain reflects on life in small southern cities in decline—and an adolescent’s search for fundamental values without responsible adults to lead the way. “From Mark Twain to George Saunders . . . Trash Mountain joins a long tradition of dark humor, wild inventiveness, and social satire in American letters. By turns hilarious, colorful, and strange.” —Maceo Montoya, author of The Deportation of Wopper Barraza “Chronicles the ways in which Ben’s early idealism erodes under more complex concerns . . . Bazzle’s novel explores the compromises one makes in life even as it blends the gritty and the extravagant along the way.” —Kirkus Reviews

This volume explores the lower reaches of cinema and its paradoxical appeal. It looks at films from the B-movies of the 1930s to the mockbusters of today, and from the New York underground to the genre variations of Turkey's Yesilçam studios (and their YouTube afterlife). Critically examining the reasons for studying, denigrating, or celebrating the detritus of film history, it also considers the place of a trash aesthetic within and beyond 1960s American avant-garde and looks at the cult of trash in the fanzines of the 1980s. It draws on debates about cult, paracinema, and camp, arguing that trash cinema exists in relation to these but brings with it a particular history that includes the ordinary as well as the strange. Trash Cinema places these debates, and the strand of self-proclaimed low culture that emerged in the second half of the twentieth century, within a historical and international perspective. It focuses on American cinema history but addresses Eurotrash reception as well as the related field of garbology, examining trash cinema as a distinct but fluid category.