According to popular media and scholarship, Detroit, the once-vibrant city that crumbled with the departure of the auto industry, is where dreams can be reborn. It is a place that, like America itself, is gritty and determined. It has faced the worst kind of adversity, and supposedly now it’s back. But what does this narrative of “new Detroit” leave out? Beautiful Wasteland reveals that the contemporary story of Detroit’s rebirth is an upcycled version of the American Dream, which has long imagined access to work, home, and upward mobility as race-neutral projects. They’re not. As Rebecca J. Kinney shows, the narratives of Detroit’s rise, decline, and potential to rise again are deeply steeped in material and ideological investments in whiteness. By remapping the narratives of contemporary Detroit through an extension of America’s frontier mythology, Kinney analyzes a cross-section of twentieth and twenty-first century cultural locations—an Internet forum, ruin photography, advertising, documentary film, and print and online media. She illuminates how the stories we tell about Detroit as a frontier of possibility enable the erasure of white privilege and systemic racism. By situating Detroit as a “beautiful wasteland,” both desirable and distressed, this shows how the narrative of ruin and possibility form a mutually constituted relationship: the city is possible precisely because of its perceived ruin. Beautiful Wasteland tackles the key questions about the future of postindustrial America. As cities around the country reckon with their own postindustrial landscapes, Rebecca Kinney cautions that development that elides considerations of race and class will only continue to replicate uneven access to the city for the poor, working class, and people of color.

When Hurricane María unleashed its devastation onto Puerto Rico, thousands of lives were lost to the storm in what was the island's worst natural disaster on record. With so much of the recovery still underway and the scars still fresh, its citizens continue to contend with the reality that life on the island has fundamentally changed. In his first collection of poems written in English, La Torre Lagares journeys through his memory in an effort to recompose his shattered land. Together, these poems form a poignant, personal account of a man facing the tragic destinies of his family and his country in the aftermath of a natural disaster. For example, the deaths of the mother and the father are resignified as the death of the poet's personal relationship, which at the same time evokes the rupture between individuals and their sense of place. Drawing from both American and Latin American poetry, as well as global influences, to articulate a language of loss and devastation in search of a new identity, this collection illuminates a chaotic and confusing landscape that is not only physical but also cultural, social, and political. Taken together, this work serves as a stirring reminder of the dislocation and fractured attachment that speaks to many Americans, including transnationals and immigrants. Ultimately it speaks to coping with physical loss and emotional pain in the face of human adversity.

When you were a baby I sat very still to hold you. I could see the veins through your skin like a map to inside you. I stopped breathing so you wouldn't ... You were just a boy on a bed in a room, like a kaleidoscope is a tube full of bits of broken glass. But the way I saw you was pieces refracting the light, shifting into an infinite universe of flowers and rainbows and insects and planets, magical dividing cells, pictures no one else knew ... Your whole life you can be told something is wrong and so you believe it.

MAD GHOST COMICS presents a MONSTROUS 80 PAGES of all-new stories featuring GEIGER, as well as his allies and enemies! First, in an extra-sized lead story, GEOFF JOHNS & BRYAN HITCH introduce the mysterious man known as REDCOAT and reveal his bizarre ties to the American Revolution, the Unknown War, and Geiger himself. Then, discover the secrets of the Warlords of Las Vegas—Bonnie Borden! Goldbeard! Mr. Karloff! And more!—in a series of tales written and drawn by some of the greatest writers and artists today! Plus, the special origin tale of Geiger’s favorite two-headed dog, BARNEY, and a PREVIEW of GEOFF JOHNS & GARY FRANK’s new upcoming series: JUNKYARD JOE!

A half-demon obey his master and capture a girl that may be the key to his freedom from enslavement. Unfortunately, she has a tempting, beautiful Guardian that could hinder his plans.

Takahiro O’Leary has a very special job… …working for the Axon Corporation as an explorer of parallel timelines—as many and as varied as anyone could imagine. A great gig—until information he brought back gave Axon the means to maximize profits by changing the past, present, and future of this world. If Axon succeeds, Tak will lose Samira Moheb, the woman he has loved since high school—because her future will cease to exist. A veteran of the Iraq War suffering from post-traumatic stress disorder, Samira can barely function in her everyday life, much less deal with Tak’s ravings of multiple realities. The only way to save her is for Tak to use the time travel device he “borrowed” to transport them both to an alternate timeline. But what neither Tak nor Axon knows is that the actual inventor of the device is searching for a timeline called the Beautiful Land—and he intends to destroy every other possible present and future to find it. The switch is thrown, and reality begins to warp—horribly. And Tak realizes that to save Sam, he must save the entire world…

In an eloquent history of landscape and land use, Vittoria Di Palma takes on the “anti-picturesque”—how landscapes that elicit fear and disgust have shaped our conceptions of beauty and the sublime.