NAMED A TOP 10 BOOK OF 2018 BY NPR and THE WASHINGTON POST FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE NONFICTION AWARD FINALIST FOR THE LOS ANGELES TIMES BOOK PRIZE IN CURRENT INTEREST The instant New York Times bestseller, "A must-read for anyone who thinks 'build a wall' is the answer to anything." --Esquire For Francisco Cantú, the border is in the blood: his mother, a park ranger and daughter of a Mexican immigrant, raised him in the scrublands of the Southwest. Driven to understand the hard realities of the landscape he loves, Cantú joins the Border Patrol. He and his partners learn to track other humans under blistering sun and through frigid nights. They haul in the dead and deliver to detention those they find alive. Plagued by a growing awareness of his complicity in a dehumanizing enterprise, he abandons the Patrol for civilian life. But when an immigrant friend travels to Mexico to visit his dying mother and does not return, Cantú discovers that the border has migrated with him, and now he must know the full extent of the violence it wreaks, on both sides of the line.
the line becomes a river
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THE NEW YORK TIMESBESTSELLER'Stunningly good. Beautiful, smart, raw, sad, poetic and humane... It?s the best thing I?ve read for ages', James Rebanks, author of THE SHEPHERD'S LIFEHow does a line in the sand become a barrier that people will risk everything to cross?Francisco Canto was a US Border Patrol agent from 2008 to 2012. He worked the desert along the Mexican border, at the remote crossroads of drug routes and smuggling corridors, tracking humans through blistering days and frigid nights across a vast terrain. He detains the exhausted and the parched. He hauls in the dead. He tries not to think where the stories go from there.He is descended from Mexican immigrants, so the border is in his blood. But the line he is sworn to defend is dissolving. Haunted by nightmares, he abandons the Patrol for civilian life. And when an immigrant friend is caught on the wrong side of the border, Canto faces a final confrontation with a world he believed he had escaped.The Line Becomes a Riveris timely and electrifying. It brings to life this landscape of sprawling borderlands and the countless people who risk their lives to cross it. Yet it takes us beyond one person?s experience to reveal truths about life on either side of an arbitrary line, wherever it is.
States restrict immigration on a massive scale. Governments fortify their borders with walls and fences, authorize border patrols, imprison migrants in detention centers, and deport large numbers of foreigners. Unjust Borders: Individuals and the Ethics of Immigration argues that immigration restrictions are systematically unjust and examines how individual actors should respond to this injustice. Javier Hidalgo maintains that individuals can rightfully resist immigration restrictions and often have strong moral reasons to subvert these laws. This book makes the case that unauthorized migrants can permissibly evade, deceive, and use defensive force against immigration agents, that smugglers can aid migrants in crossing borders, and that citizens should disobey laws that compel them to harm immigrants. Unjust Borders is a meditation on how individuals should act in the midst of pervasive injustice.
A dazzling triumph from the bestselling author of The Virgin Suicides--the astonishing tale of a gene that passes down through three generations of a Greek-American family and flowers in the body of a teenage girl. In the spring of 1974, Calliope Stephanides, a student at a girls' school in Grosse Pointe, finds herself drawn to a chain-smoking, strawberry blond clasmate with a gift for acting. The passion that furtively develops between them--along with Callie's failure to develop--leads Callie to suspect that she is not like other girls. In fact, she is not really a girl at all. The explanation for this shocking state of affairs takes us out of suburbia- back before the Detroit race riots of 1967, before the rise of the Motor City and Prohibition, to 1922, when the Turks sacked Smyrna and Callie's grandparents fled for their lives. Back to a tiny village in Asia Minor where two lovers, and one rare genetic mutation, set in motion the metamorphosis that will turn Callie into a being both mythical and perfectly real: a hermaphrodite. Spanning eight decades--and one unusually awkward adolescence- Jeffrey Eugenides's long-awaited second novel is a grand, utterly original fable of crossed bloodlines, the intricacies of gender, and the deep, untidy promptings of desire. It marks the fulfillment of a huge talent, named one of America's best young novelists by both Granta and The New Yorker. Middlesex is the winner of the 2003 Pulitzer Prize for Fiction.
A How-To manual for fishing river systems. Looks at cover, structure, equipment, tackle, techniques, strategies and many useful tools and tips.
This acclaimed novel reveals the life of a Vietnamese family in America through the knowing eyes of a child finding her place and voice in a new country. In 1978 six refugees—a girl, her father, and four “uncles”—are pulled from the sea to begin a new life in San Diego. In the child’s imagination, the world is transmuted into an unearthly realm: she sees everything intensely, hears the distress calls of inanimate objects, and waits for her mother to join her. But life loses none of its strangeness when the family is reunited. As the girl grows, her matter-of-fact innocence eddies increasingly around opaque and ghostly traumas: the cataclysm that engulfed her homeland, the memory of a brother who drowned and, most inescapable, her father’s hopeless rage.
For Thomas Pynchon, the characteristic features of late capitalism—the rise of the military-industrial complex, consumerism, bureaucratization and specialization in the workplace, standardization at all levels of social life, and the growing influence of the mass media—all point to a transformation in the way human beings experience time and duration. Focusing on Pynchon’s novels as representative artifacts of the postwar period, Stefan Mattessich analyzes this temporal transformation in relation not only to Pynchon’s work but also to its literary, cultural, and theoretical contexts. Mattessich theorizes a new kind of time—subjective displacement—dramatized in the parody, satire, and farce deployed through Pynchon’s oeuvre. In particular, he is interested in showing how this sense of time relates to the counterculture of the 1960s and 1970s. Examining this movement as an instance of flight or escape and exposing the beliefs behind it, Mattessich argues that the counterculture’s rejection of the dominant culture ultimately became an act of self-cancellation, a rebellion in which the counterculture found itself defined by the very order it sought to escape. He points to parallels in Pynchon’s attempts to dramatize and enact a similar experience of time in the doubling-back, crisscrossing, and erasure of his writing. Mattessich lays out a theory of cultural production centered on the ethical necessity of grasping one’s own susceptibility to discursive forms of determination.