In a near-future New York City in which both global warming and a tremendous economic divide are making the city unlivable for many, a huge superstorm hits, leaving behind only those who had nowhere else to go and no way to get out. Makayla is a twenty-four-year-old woman who works at the convenience store chain that’s taken over the city. Jesse, an eighteen-year-old, genderqueer, anarchist punk lives in an abandoned IRT station in the Bronx. Their paths cross in the aftermath of the storm when they, along with others devastated by the loss of their homes, carve out a small sanctuary in an abandoned luxury condo. In an attempt to bring hope to those who feel forsaken, an unnamed, mysterious street artist begins graffitiing colorful murals along the sides of buildings. But the castaways of the storm aren’t the only ones who find beauty in the art. When the media begins broadcasting the emergence of the murals and one appears on the building Makayla, Jesse, and their friends are living in, it is only a matter of time before those who own the building come back to claim what is theirs. All City is more than a novel, it’s a foreshadowing of the world to come.

A graffiti writer’s memoir: “A brave portrait of a highly criticized subculture and a look inside the reality of growing up in low-income Los Angeles.” —LA Weekly “We could have been called a lot of things: brazen vandals, scared kids, threats to social order, self-obsessed egomaniacs, marginalized youth, outsider artists, trend setters, and thrill seekers. But, to me, we were just regular kids growing up hard in America and making the city our own. Being ‘writers’ gave us something to live for and ‘going all city’ gave us something to strive for; and for some of my friends it was something to die for.” In the age of commissioned wall murals and trendy street art, it’s easy to forget graffiti’s complicated and often violent past in the United States. Though graffiti has become one of the most influential art forms of the twenty-first century, cities nationwide waged a war against it from the late 1970s to the early 2000s, complete with brutal police task forces. Who were the vilified taggers they targeted? Teenagers, usually, from low-income neighborhoods with little to their names except a few spray cans and a desperate need to be seen—to mark their presence on city walls and buildings even as their cities turned a blind eye to them. Going All City is the mesmerizing and painful story of these young graffiti writers, told by one of their own. Prolific LA writer Stefano Bloch came of age in the late 1990s amid constant violence, poverty, and vulnerability. He recounts vicious interactions with police; debating whether to take friends with gunshot wounds to the hospital; coping with his mother’s heroin addiction; instability and homelessness; and his dread that his stepfather would get out of jail and tip his unstable life into full-blown chaos. But he also recalls moments of peace and exhilaration: marking a fresh tag; the thrill of running with his crew at night; exploring the secret landscape of LA; the dream and success of going all city. Bloch holds nothing back in this fierce, poignant memoir—an unflinching portrait of a deeply maligned subculture and an unforgettable account of what writing on city walls means to the most vulnerable people living within them.

American metropolitan areas today are divided into neighborhoods of privilege and poverty, often along lines of ethnicity and race. City residents traveling through these neighborhoods move from feeling at home to feeling like tourists to feeling so out of place they fear for their security. As Gerald Frug shows, this divided and inhospitable urban landscape is not simply the result of individual choices about where to live or start a business. It is the product of government policies--and, in particular, the policies embedded in legal rules. A Harvard law professor and leading expert on urban affairs, Frug presents the first-ever analysis of how legal rules shape modern cities and outlines a set of alternatives to bring down the walls that now keep city dwellers apart. Frug begins by describing how American law treats cities as subdivisions of states and shows how this arrangement has encouraged the separation of metropolitan residents into different, sometimes hostile groups. He explains in clear, accessible language the divisive impact of rules about zoning, redevelopment, land use, and the organization of such city services as education and policing. He pays special attention to the underlying role of anxiety about strangers, the widespread desire for good schools, and the pervasive fear of crime. Ultimately, Frug calls for replacing the current legal definition of cities with an alternative based on what he calls "community building"--an alternative that gives cities within the same metropolitan region incentives to forge closer links with each other. An incisive study of the legal roots of today's urban problems, City Making is also an optimistic and compelling blueprint for enabling American cities once again to embrace their historic role of helping people reach an accommodation with those who live in the same geographic area, no matter how dissimilar they are.