Take D Milk Nah

Jiv is "Canadian." And "Indian." And "Hindu." And "West Indian." "Trinidadian," too. Or maybe he's just colonized. He's not the "white boy" he was teased as within his immigrant household. Especially since his Nova Scotian neighbours seemed to think he was Black. Except for the Black people--they were pretty sure he wasn't. He's not an Arab, and allegedly not a Muslim--at least that's what he started claiming after 9/11. Whatever he is, the public education system was able to offer him the chance to learn about his culture from a coffee table book on "Eastern Mythology." And then he had a religious epiphany while delivering a calf in Trinidad. By now, Jiv's collected a lot of observations about trying to find your place in your world. In this funny, fresh, and skeptical take on the identity play, Jivesh Parasram blends personal storytelling and ritual to offer the Hin-dos and Hin-don'ts within the intersections of all of his highly hyphenated cultures. This story asks the gut-punching questions: What divides us? Who is served by the constructs of cultural identity? And what are we willing to accept in the desire to belong? Then again--it doesn't really matter, because we are all Jiv.

Are you a white person with questions about how race affects different situations, but you feel awkward, shy or afraid to ask the people of colour in your life? Are you a racialized person who is tired of answering the same questions over and over? This book is for you: a basic guide for people learning about racial privilege. In Frequently Asked White Questions, Drs. Alex Khasnabish and Ajay Parasram answer ten of the most common questions asked of them by people seeking to understand how race structures our every day. Drawing from their lived experiences as well as live sessions of their monthly YouTube series Safe Space for White Questions , the authors offer concise, accessible answers to questions such as, “Is it possible to be racist against white people?” or “Shouldn’t everyone be treated equally?” This book offers a thoughtful and respectful guide for anyone trying to figure out “woke” politics without jargon and judgement.

A play about strangers, racism, sexism, homophobia, and homesickness.

About the book: Billy Burton is a strange boy. Or, at least, that’s what everyone tells him. He lives inside his head; thinking and thinking and dreaming and scheming. But this year—1973—his twelfth year on earth, is like no other. He is constantly under threat from the school psychopath; his dad is under investigation by the Senate Select Committee on Watergate; the odd girl across the street has taken a keen interest in Billy (and him, in her); Bob Woodward is after his dad (unless Billy can stop him); his dog (Mr. Pooch) is out of control and cannot be found; Billy has come into possession of a book entitled “The Happy Hooker” (and intends to decipher the meaning of all things “sexy”); he realizes his new (and only) friend is a juvenile delinquent; and he has somehow come to know the iconoclastic physicist, Richard Feynman (Nobel Prize winner), whose motto is, “Damn the torpedoes!”—which has become Billy's motto too. 1973 is going to be a wild ride for one Billy Burton. About the author: Phil Joanou has directed feature films (“Three O’clock High”—“State of Grace”—“U2: Rattle and Hum” etc. etc.) as well as documentaries, commercials, some television and several music videos. This is his first novel.

Tempers would flare with the old man breaking his promises yet again. My anger would overcome me when I planned his demise that hed never hurt us ever again. With tall tales of Whiskey Holler and times gone past old Harry at ninety, would become a dear friend of mine. It was uplifting Calvins return and with a host of others to work the woods, especially with James falling in love and never being around when I needed him. The moon and stars reflecting in her eyes kindled my desire of a first kiss. The unexpected shock when the face a boy my age peered through the cars window, that of a half-brother? I yearned for the day that I might beat all others to feel a thin tape snap across my chest victorious once again. Id crawl no further wailing of my losses, thered be no miracle.

Set in rural Ireland in 1962, LAY ME DOWN SOFTLY takes us into the burlesque world of the boxing booth of Delaney's Travelling Roadshow, affectionately known as "The Academy". We dip down the shadowy, ropey avenues to the sound of the churning calliope, where we encounter the play's cast of dangerous characters: Theo, the charismatic, jealous, and violent ringmaster; his Carmen-esque lover, Lily; Peadas, Theo’s old, tired and not-so-trusted sidekick; the vain and boastful prize-fighter Dean; and the limping, Adonis-like Junior. Into this world comes Emer, a wounded waif of a girl who has come in search of her long-lost father. Her presence and the arrival of a professional boxer threaten to upset the already shaky equilibrium.

In a world of rising tensions between Russia and the United States, the Middle East and Europe, Sunnis and Shiites, Islamism and liberalism, Turkey is at the epicentre. And at the heart of Turkey is its right-wing populist president, Recep Tayyip Erdo?an. Since 2002, Erdo?an has consolidated his hold on domestic politics while using military and diplomatic means to solidify Turkey as a regional power. His crackdown has been brutal and consistent - scores of journalists arrested, academics officially banned from leaving the country, university deans fired and many of the highest-ranking military officers arrested. In some senses, the nefarious and failed 2016 coup has given Erdo?an the licence to make good on his repeated promise to bring order and stability under a 'strongman'. Here, leading Turkish expert Soner Cagaptay will look at Erdo?an's roots in Turkish history, what he believes in and how he has cemented his rule, as well as what this means for the world. The book will also unpick the 'threats' Erdogan has worked to combat - from the liberal Turks to the Gulen movement, from coup plotters to Kurdish nationalists - all of which have culminated in the crisis of modern Turkey.

From James Rosenquist, one of our most iconic pop artists—along with Andy Warhol, Jim Dine, Claes Oldenburg, and Roy Lichtenstein—comes this candid and fascinating memoir. Unlike these artists, Rosenquist often works in three-dimensional forms, with highly dramatic shifts in scale and a far more complex palette, including grisaille and Day-Glo colors. A skilled traditional painter, he avoided the stencils and silk screens of Warhol and Lichtenstein. His vast canvases full of brilliant, surreally juxtaposed images would influence both many of his contemporaries and younger generations, as well as revolutionize twentieth-century painting. Ronsequist writes about growing up in a tight-knit community of Scandinavian farmers in North Dakota and Minnesota in the late 1930s and early 1940s; about his mother, who was not only an amateur painter but, along with his father, a passionate aviator; and about leaving that flat midwestern landscape in 1955 for New York, where he had won a scholarship to the Art Students League. George Grosz, Edwin Dickinson, and Robert Beverly Hale were among his teachers, but his early life was a struggle until he discovered sign painting. He describes days suspended on scaffolding high over Broadway, painting movie or theater billboards, and nights at the Cedar Tavern with Willem de Kooning, Franz Kline, and the poet LeRoi Jones. His first major studio, on Coenties Slip, was in the thick of the new art world. Among his neighbors were Ellsworth Kelly, Robert Indiana, Agnes Martin, and Jack Youngerman, and his mentors Robert Rauschenberg and Jasper Johns. Rosenquist writes about his shows with the dealers Richard Bellamy, Ileana Sonnabend, and Leo Castelli, and about colorful collectors like Robert and Ethel Scull. We learn about the 1971 car crash that left his wife and son in a coma and his own life and work in shambles, his lobbying—along with Rauschenberg—for artists’ rights in Washington D.C., and how he got his work back on track. With his distinct voice, Roseqnuist writes about the ideas behind some of his major paintings, from the startling revelation that led to his first pop painting, Zone, to his masterpiece, F-III, a stunning critique of war and consumerism, to the cosmic reverie of Star Thief. This is James Rosenquist’s story in his own words—captivating and unexpected, a unique look inside the contemporary art world in the company of one of its most important painters.