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NOW A MAJOR FILM BY STEPHEN DALDRY AND RICHARD CURTIS Raphael is a dumpsite boy. He spends his days wading through mountains of steaming trash, sifting it, sorting it, breathing it, sleeping next to it. Then one unlucky-lucky day, Raphael's world turns upside down. A small leather bag falls into his hands. It's a bag of clues. It's a bag of hope. It's a bag that will change everything. Soon Raphael and his friends Gardo and Rat are running for their lives. Wanted by the police, it takes all their quick-thinking and fast-talking to stay ahead. As the net tightens, they uncover a dead man's mission to put right a terrible wrong. And now it's three street boys against the world...
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.
Vacant lots. Abandoned houses. Trash--lots of trash. Heidelberg Street was in trouble! Tyree Guyton loved his childhood home--that's where his grandpa Sam taught him to "paint the world." So he wanted to wake people up... to make them see Detroit's crumbling communities. Paintbrush in hand, Tyree cast his artistic spell, transforming everyday junk into magic trash. Soon local kids and families joined Tyree in rebuilding their neighborhood, discovering the healing power of art along the way. This picture book biography of Tyree Guyton, an urban environmental artist, shows how he transformed his decaying, crime-ridden neighborhood into the Heidelberg Project, an interactive sculpture park. The story spans from Tyree's childhood in 1950s Detroit to his early efforts to heal his community through art in the 1980s. Tyree's awards include Michigan Artist of the Year and International Artist. MAGIC TRASH offers strong themes of working together, the power of art, and the importance of inspiring community--especially kids--to affect action. The Heidelberg Project is internationally recognized for providing arts education to children and adults and for the ongoing development of several houses on Heidelberg Street. Not only does the Heidelberg Project prove that when a community works together it can rebuild itself, but it also addresses the issues of recycling, environmentalism, and community on a global level.
From the acclaimed author of Roll with It and Tune It Out comes a funny, moving, and “not to be missed” (Kirkus Reviews, starred review) middle grade novel about a boy who uses his unusual talent for decoding people’s trash to try to fit in at his new school. Hugo is not happy about being dragged halfway across the state of Colorado just because his dad had a midlife crisis and decided to become a ski instructor. It’d be different if Hugo weren’t so tiny, if girls didn’t think he was adorable like a puppy in a purse and guys didn’t call him “leprechaun” and rub his head for luck. But here he is, the tiny new kid on his first day of middle school. When his fellow students discover his remarkable talent for garbology, the science of studying trash to tell you anything you could ever want to know about a person, Hugo becomes the cool kid for the first time in his life. But what happens when it all goes to his head?
In the Age of Environment, the scale of waste management is geographic all while often relegating such undesired matter to invisibility as "matter out of place." Geographies of Trash reclaims the role of forms, technologies, economies and logistics of the waste system in the production of new aesthetics and politics of urbanism. Honored with a 2014 ACSA Faculty Design Award, the book charts the geographies of trash in Michigan across scales to propose five speculative projects that bring to visibility disciplinary controversies on the relations of technology, space and politics.
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.
Trash, Allison's landmark collection, laid the groundwork for her critically acclaimed Bastard Out of Carolina, the National Book Award finalist that was hailed by The New York Times Book Review as "simply stunning...a wonderful work of fiction by a major talent." In addition to Allison's classic stories, this new edition of Trash features "Stubborn Girls and Mean Stories," an introduction in which Allison discusses the writing of Trash and "Compassion," a never-before-published short story. First published in 1988, the award-winning Trash showcases Allison at her most fearlessly honest and startlingly vivid. The limitless scope of human emotion and experience are depicted in stories that give aching and eloquent voice to the terrible wounds we inflict on those closest to us. These are tales of loss and redemption; of shame and forgiveness; of love and abuse and the healing power of storytelling. A book that resonates with uncompromising candor and incandescence, Trash is sure to captivate Allison's legion of readers and win her a devoted new following.
Patterns of production and consumption are foundation stones of contemporary media studies. Trash Aesthetics takes the audience as its starting point in a collection which explores aspects of audience response, interaction and manipulation.
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.