From the prizewinning rising legal star, the deeply researched and definitive book on the way the media and police distract us from what matters "Alec Karakatsanis is a leading voice in the legal struggle to dismantle mass incarceration. . . . What he says cannot be ignored." --James Forman' Jr. "Copaganda," as defined by Alec Karakatsanis, describes a special kind of propaganda, employed by police and news media, that shapes our fears and influences the social investments we make to address those fears. In a country that incarcerates five times more people per capita than it used to, and far more than other countries, the sprawling punishment bureaucracy spends a lot of time and money to manipulate public perception. This results in a distorted version of threat, crime, punishment, and safety in the news, which, for example, highlights crimes committed by marginalized people while ignoring more significant harms like wage theft, environmental crime, and deaths that result from harmful behavior like corporate fraud or cigarette smoke (which make the number of violent crimes pale in comparison). The news also suggests to us that increased government repression through police, prosecution, probation, parole, and prisons is the best response, as opposed to addressing the root causes of harm. In the spirit of Noam Chomsky's Manufacturing Consent, Copaganda includes chapters on "What Is News?," "Public Relations Spending by the Police," "Whose Perspective? How Sources Shape News," "How the News Uses Experts," "How to Smuggle Ideology into the News," and "Academic Copaganda." Recognized by Teen Vogue as "one of the most prominent voices" in contemporary discourse about the criminal legal system and featured on The Daily Show with Trevor Noah and The Breakfast Club, Karakatsanis brings his legal expertise, humor, personal stories, and analytical skills to delve into one of the most critical topics in our society today.

From the prizewinning rising legal star, the deeply researched and definitive book on the way the media and police distract us from what matters "Alec Karakatsanis is a leading voice in the legal struggle to dismantle mass incarceration. . . . What he says cannot be ignored." --James Forman' Jr. "Copaganda," as defined by Alec Karakatsanis, describes a special kind of propaganda, employed by police and news media, that shapes our fears and influences the social investments we make to address those fears. In a country that incarcerates five times more people per capita than it used to, and far more than other countries, the sprawling punishment bureaucracy spends a lot of time and money to manipulate public perception. This results in a distorted version of threat, crime, punishment, and safety in the news, which, for example, highlights crimes committed by marginalized people while ignoring more significant harms like wage theft, environmental crime, and deaths that result from harmful behavior like corporate fraud or cigarette smoke (which make the number of violent crimes pale in comparison). The news also suggests to us that increased government repression through police, prosecution, probation, parole, and prisons is the best response, as opposed to addressing the root causes of harm. In the spirit of Noam Chomsky's Manufacturing Consent, Copaganda includes chapters on "What Is News?," "Public Relations Spending by the Police," "Whose Perspective? How Sources Shape News," "How the News Uses Experts," "How to Smuggle Ideology into the News," and "Academic Copaganda." Recognized by Teen Vogue as "one of the most prominent voices" in contemporary discourse about the criminal legal system and featured on The Daily Show with Trevor Noah and The Breakfast Club, Karakatsanis brings his legal expertise, humor, personal stories, and analytical skills to delve into one of the most critical topics in our society today.

From the prizewinning rising legal star, the deeply researched and definitive book on the way the media and police distract us from what matters "Alec Karakatsanis is a leading voice in the legal struggle to dismantle mass incarceration. . . . What he says cannot be ignored." --James Forman' Jr. "Copaganda," as defined by Alec Karakatsanis, describes a special kind of propaganda, employed by police and news media, that shapes our fears and influences the social investments we make to address those fears. In a country that incarcerates five times more people per capita than it used to, and far more than other countries, the sprawling punishment bureaucracy spends a lot of time and money to manipulate public perception. This results in a distorted version of threat, crime, punishment, and safety in the news, which, for example, highlights crimes committed by marginalized people while ignoring more significant harms like wage theft, environmental crime, and deaths that result from harmful behavior like corporate fraud or cigarette smoke (which make the number of violent crimes pale in comparison). The news also suggests to us that increased government repression through police, prosecution, probation, parole, and prisons is the best response, as opposed to addressing the root causes of harm. In the spirit of Noam Chomsky's Manufacturing Consent, Copaganda includes chapters on "What Is News?," "Public Relations Spending by the Police," "Whose Perspective? How Sources Shape News," "How the News Uses Experts," "How to Smuggle Ideology into the News," and "Academic Copaganda." Recognized by Teen Vogue as "one of the most prominent voices" in contemporary discourse about the criminal legal system and featured on The Daily Show with Trevor Noah and The Breakfast Club, Karakatsanis brings his legal expertise, humor, personal stories, and analytical skills to delve into one of the most critical topics in our society today.

From the prizewinning rising legal star, the deeply researched and definitive book on the way the media and police distract us from what matters "Alec Karakatsanis is a leading voice in the legal struggle to dismantle mass incarceration. . . . What he says cannot be ignored." --James Forman' Jr. "Copaganda," as defined by Alec Karakatsanis, describes a special kind of propaganda, employed by police and news media, that shapes our fears and influences the social investments we make to address those fears. In a country that incarcerates five times more people per capita than it used to, and far more than other countries, the sprawling punishment bureaucracy spends a lot of time and money to manipulate public perception. This results in a distorted version of threat, crime, punishment, and safety in the news, which, for example, highlights crimes committed by marginalized people while ignoring more significant harms like wage theft, environmental crime, and deaths that result from harmful behavior like corporate fraud or cigarette smoke (which make the number of violent crimes pale in comparison). The news also suggests to us that increased government repression through police, prosecution, probation, parole, and prisons is the best response, as opposed to addressing the root causes of harm. In the spirit of Noam Chomsky's Manufacturing Consent, Copaganda includes chapters on "What Is News?," "Public Relations Spending by the Police," "Whose Perspective? How Sources Shape News," "How the News Uses Experts," "How to Smuggle Ideology into the News," and "Academic Copaganda." Recognized by Teen Vogue as "one of the most prominent voices" in contemporary discourse about the criminal legal system and featured on The Daily Show with Trevor Noah and The Breakfast Club, Karakatsanis brings his legal expertise, humor, personal stories, and analytical skills to delve into one of the most critical topics in our society today.

From the prizewinning rising legal star, the deeply researched and definitive book on the way the media and police distract us from what matters "Alec Karakatsanis is a leading voice in the legal struggle to dismantle mass incarceration. . . . What he says cannot be ignored." --James Forman' Jr. "Copaganda," as defined by Alec Karakatsanis, describes a special kind of propaganda, employed by police and news media, that shapes our fears and influences the social investments we make to address those fears. In a country that incarcerates five times more people per capita than it used to, and far more than other countries, the sprawling punishment bureaucracy spends a lot of time and money to manipulate public perception. This results in a distorted version of threat, crime, punishment, and safety in the news, which, for example, highlights crimes committed by marginalized people while ignoring more significant harms like wage theft, environmental crime, and deaths that result from harmful behavior like corporate fraud or cigarette smoke (which make the number of violent crimes pale in comparison). The news also suggests to us that increased government repression through police, prosecution, probation, parole, and prisons is the best response, as opposed to addressing the root causes of harm. In the spirit of Noam Chomsky's Manufacturing Consent, Copaganda includes chapters on "What Is News?," "Public Relations Spending by the Police," "Whose Perspective? How Sources Shape News," "How the News Uses Experts," "How to Smuggle Ideology into the News," and "Academic Copaganda." Recognized by Teen Vogue as "one of the most prominent voices" in contemporary discourse about the criminal legal system and featured on The Daily Show with Trevor Noah and The Breakfast Club, Karakatsanis brings his legal expertise, humor, personal stories, and analytical skills to delve into one of the most critical topics in our society today.

From the prizewinning rising legal star, the deeply researched and definitive book on the way the media and police distract us from what matters "Alec Karakatsanis is a leading voice in the legal struggle to dismantle mass incarceration. . . . What he says cannot be ignored." --James Forman' Jr. "Copaganda," as defined by Alec Karakatsanis, describes a special kind of propaganda, employed by police and news media, that shapes our fears and influences the social investments we make to address those fears. In a country that incarcerates five times more people per capita than it used to, and far more than other countries, the sprawling punishment bureaucracy spends a lot of time and money to manipulate public perception. This results in a distorted version of threat, crime, punishment, and safety in the news, which, for example, highlights crimes committed by marginalized people while ignoring more significant harms like wage theft, environmental crime, and deaths that result from harmful behavior like corporate fraud or cigarette smoke (which make the number of violent crimes pale in comparison). The news also suggests to us that increased government repression through police, prosecution, probation, parole, and prisons is the best response, as opposed to addressing the root causes of harm. In the spirit of Noam Chomsky's Manufacturing Consent, Copaganda includes chapters on "What Is News?," "Public Relations Spending by the Police," "Whose Perspective? How Sources Shape News," "How the News Uses Experts," "How to Smuggle Ideology into the News," and "Academic Copaganda." Recognized by Teen Vogue as "one of the most prominent voices" in contemporary discourse about the criminal legal system and featured on The Daily Show with Trevor Noah and The Breakfast Club, Karakatsanis brings his legal expertise, humor, personal stories, and analytical skills to delve into one of the most critical topics in our society today.

From the prizewinning rising legal star, the deeply researched and definitive book on the way the media and police distract us from what matters "Alec Karakatsanis is a leading voice in the legal struggle to dismantle mass incarceration. . . . What he says cannot be ignored." --James Forman' Jr. "Copaganda," as defined by Alec Karakatsanis, describes a special kind of propaganda, employed by police and news media, that shapes our fears and influences the social investments we make to address those fears. In a country that incarcerates five times more people per capita than it used to, and far more than other countries, the sprawling punishment bureaucracy spends a lot of time and money to manipulate public perception. This results in a distorted version of threat, crime, punishment, and safety in the news, which, for example, highlights crimes committed by marginalized people while ignoring more significant harms like wage theft, environmental crime, and deaths that result from harmful behavior like corporate fraud or cigarette smoke (which make the number of violent crimes pale in comparison). The news also suggests to us that increased government repression through police, prosecution, probation, parole, and prisons is the best response, as opposed to addressing the root causes of harm. In the spirit of Noam Chomsky's Manufacturing Consent, Copaganda includes chapters on "What Is News?," "Public Relations Spending by the Police," "Whose Perspective? How Sources Shape News," "How the News Uses Experts," "How to Smuggle Ideology into the News," and "Academic Copaganda." Recognized by Teen Vogue as "one of the most prominent voices" in contemporary discourse about the criminal legal system and featured on The Daily Show with Trevor Noah and The Breakfast Club, Karakatsanis brings his legal expertise, humor, personal stories, and analytical skills to delve into one of the most critical topics in our society today.

A novel of breathtaking sweep and emotional power that traces three hundred years in Ghana and along the way also becomes a truly great American novel. Extraordinary for its exquisite language, its implacable sorrow, its soaring beauty, and for its monumental portrait of the forces that shape families and nations, Homegoing heralds the arrival ofa major new voice in contemporary fiction. Two half sisters, Effia and Esi, are born into different villages in eighteenth-century Ghana. Effia is married off to an Englishman and lives in comfort in the palatial rooms of Cape Coast Castle. Unbeknownst to Effia, her sister, Esi, is imprisoned beneath her in the castle's dungeons, sold with thousands of others into the Gold Coast's booming slave trade, and shipped off to America, where her children and grandchildren will be raised in slavery. One thread of Homegoing follows Effia's descendants through centuries of warfare in Ghana, as the Fante and Asante nations wrestle with the slave trade and British colonization. The other thread follows ESi and her children into America. From the plantations of the South to the Civil War and the Great Migration, from the coal mines of Pratt City, Alabama, to the jazz clubs and dope houses of twentieth-century Harlem, right up through the present day, Homegoing makes history visceral, and captures, with singular and stunning immediacy, how the memory of captivity came to be inscribed in the soul ofa nation. Generation after generation, Yaa Gyasi's magisterial first novel sets the fate of the individual against the obliterating movements of time, delivering unforgettable characters whose lives were shaped by historical forces beyond their control. Homegoing is a tremendous reading experience, not to be missed, by an astonishingly gifted young writer. --back cover

For readers who would like a quick reminder of the book and its main storyline, here is a summary of The Little Prince’s travels and those he met along the way. If Saint-Exupéry is to be believed The Little Prince is a book for children written for grown-ups. It can be read on many different levels to provide pleasure and food for thought for readers of all ages. The author, an aviator, crashes with his aeroplane in the middle of the Sahara desert. While he is trying to repair his aeroplane, a little boy appears and asks him to draw a sheep. The author learns that The Little Prince comes from asteroid B-612 where he has left behind three volcanoes and a rose. Before reaching Earth, he has visited other planets and met some very odd people: a king, a conceited man, a drunkard, a lamplighter, a geographer… Since arriving on Earth, he has spoken to a fox who has taught him that to know someone or something, you must « tame » them, and that makes them unique. « What is essential is invisible to the eye, says the fox. » In order to return to his planet and his rose, The Little Prince allows himself to be bitten by a poisonous snake: his planet is too far away, he cannot take his « shell ». The aviator, who has succeeded in repairing his plane, also quits the desert. He still hopes The Little Prince will return one day and asks us to write and tell him if ever we should meet his friend.

For readers who would like a quick reminder of the book and its main storyline, here is a summary of The Little Prince’s travels and those he met along the way. If Saint-Exupéry is to be believed The Little Prince is a book for children written for grown-ups. It can be read on many different levels to provide pleasure and food for thought for readers of all ages. The author, an aviator, crashes with his aeroplane in the middle of the Sahara desert. While he is trying to repair his aeroplane, a little boy appears and asks him to draw a sheep. The author learns that The Little Prince comes from asteroid B-612 where he has left behind three volcanoes and a rose. Before reaching Earth, he has visited other planets and met some very odd people: a king, a conceited man, a drunkard, a lamplighter, a geographer… Since arriving on Earth, he has spoken to a fox who has taught him that to know someone or something, you must « tame » them, and that makes them unique. « What is essential is invisible to the eye, says the fox. » In order to return to his planet and his rose, The Little Prince allows himself to be bitten by a poisonous snake: his planet is too far away, he cannot take his « shell ». The aviator, who has succeeded in repairing his plane, also quits the desert. He still hopes The Little Prince will return one day and asks us to write and tell him if ever we should meet his friend.

For readers who would like a quick reminder of the book and its main storyline, here is a summary of The Little Prince’s travels and those he met along the way. If Saint-Exupéry is to be believed The Little Prince is a book for children written for grown-ups. It can be read on many different levels to provide pleasure and food for thought for readers of all ages. The author, an aviator, crashes with his aeroplane in the middle of the Sahara desert. While he is trying to repair his aeroplane, a little boy appears and asks him to draw a sheep. The author learns that The Little Prince comes from asteroid B-612 where he has left behind three volcanoes and a rose. Before reaching Earth, he has visited other planets and met some very odd people: a king, a conceited man, a drunkard, a lamplighter, a geographer… Since arriving on Earth, he has spoken to a fox who has taught him that to know someone or something, you must « tame » them, and that makes them unique. « What is essential is invisible to the eye, says the fox. » In order to return to his planet and his rose, The Little Prince allows himself to be bitten by a poisonous snake: his planet is too far away, he cannot take his « shell ». The aviator, who has succeeded in repairing his plane, also quits the desert. He still hopes The Little Prince will return one day and asks us to write and tell him if ever we should meet his friend.

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No, we're not lost. The wind knows my name. And yours too. Vienna, 1938. Samuel Adler is five years old when his father disappears during Kristallnacht - the night their family loses everything. As her child's safety seems ever harder to guarantee, Samuel's mother secures a spot for him on the last Kindertransport train out of Nazi-occupied Austria to England. He boards alone, carrying nothing but a change of clothes and his violin. Arizona, 2019. Eight decades later, Anita Diaz and her mother board another train, fleeing looming danger in El Salvador and seeking refuge in the United States. But their arrival coincides with the new family separation policy, and seven-year-old Anita finds herself alone at a camp in Nogales. She escapes her tenuous reality through her trips to Azabahar, a magical world of the imagination. Meanwhile, Selena Duran, a young social worker, enlists the help of a successful lawyer in hopes of tracking down Anita's mother. Intertwining past and present, The Wind Knows My Name tells the tale of these two unforgettable characters, both in search of family and home. It is both a testament to the sacrifices that parents make, and a love letter to the children who survive the most unfathomable dangers - and never stop dreaming.

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