Foreword by Howard Zinn. Text by Carol Mavor. Interviews by Catherine Lutz.

Elin O'Hara Slavick is an artist and a Professor of Visual Practice at the University of North Carolina, Chapel Hill. She is the author of two monographs - "Bomb After Bomb: A Violent Cartography" with a foreword by Howard Zinn, and "After Hiroshima", with an essay by James Elkins. Her visual work has been featured in the New York Times, Los Angeles Times, Images Magazine, FOAM, San Francisco Chronicle, Asia-Pacific Journal, and Photo-Eye, among other publications. Her Surrealist and Dadaist poems have been published in the Papers of Surrealism, Survision, and Lips.

"Family Tree Whakapapa brings together the work of four sisters: elin o'Hara Slavick, Madeleine Slavick, Sarah Slavick and Susanne Slavick. As curators, painters, photographers and writers, all have incorporated images of trees in social, political and environmental conditions -- trees that stand as refuge and livelihood, consumed and consuming, under assault and triumphant, as historical record and as harbinger of things to come. Family Tree Whakapapa offers perspectives both unsettling and soothing as nature increasingly reflects salient issues of our times. Based on experiences in Japan, elin presents photographic works that bear witness to the ongoing aftermath of atomic bombs in Hiroshima and Nagasaki and the nuclear power disaster in Fukushima. Madeleine's photographs decry the marginalisation of trees, they reveal dichotomies and their collapses in our experience of nature in environments both rural and urban. Sarah's paintings explore the underground life of trees in an elegiac series that conveys both grief and hope, for what is threatened and for what might survive through possible strategies that trees offer for all species on the planet. Susanne hand paints trees derived from 'tree of life' carpet designs over printed scenes of environmental destruction and depredation. These trees do not lie down like doormats; they rise up and persist, suggesting the possibility of recovery."--Aratoi website (accessed 3/02/2021).

Super-Readable Rollercoasters: Super authors, super accessible, simply super-readable fiction It's early 1945, war is nearly over and evacuees are coming home. Judy is excited to be back in London, but things have changed. Her house has been destroyed, her mum is distant and there are bombsites all around. As Judy explores, she finds that the bombsites are more than just rubble. Can they help her to remember what her home used to be like?

In Insurgent Aesthetics Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war.

Presents a photographic study of twenty-first century poverty, one that transcends class and race, profession and talent. A visual survey, these portraits capture the individuals who gather on Sunday mornings at a nondenominational, multicultural church that has been meeting below an Interstate overpass for sixteen years. Those who attend Waco, Texas's Church Under the Bridge have experienced periods of homelessness or incarceration, addiction to drugs or alcohol, mental illness, or profound poverty and, almost always, deep periods of hopelessness. From publisher description.

This work is filled with 350 works by well-known artists such as Joyce Kozloff, Ed Ruscha, Julian Schnabel, and Olafer Eliasson. All are wayfinders, charting the highways and byways of the spirit and the topography of the soul.