There’s a crisis of trust in politics across the western world. Public anger is rising and faith in conventional political leaders and parties is falling. Anti-politics, and the anti-politicians, have arrived. In Enough Said, President and CEO of The New York Times Company Mark Thompson argues that one of the most significant causes of the crisis is the way our public language has changed. Enough Said tells the story of how we got from the language of FDR and Churchill to that of Donald Trump. It forensically examines the public language we’ve been left with: compressed, immediate, sometimes brilliantly impactful, but robbed of most of its explanatory power. It studies the rhetoric of western leaders from Reagan and Thatcher to Berlesconi, Blair, and today’s political elites on both sides of the Atlantic. And it charts how a changing public language has interacted with real world events – Iraq, the financial crash, the UK's surprising Brexit from the EU, immigration – and led to a mutual breakdown of trust between politicians and journalists, to leave ordinary citizens suspicious, bitter, and increasingly unwilling to believe anybody. Drawing from classical as well as contemporary examples and ranging across politics, business, science, technology, and the arts, Enough Said is a smart and shrewd look at the erosion of language by an author uniquely placed to measure its consequences.

"'Free speech' always has been limited by obstacles: national, state, or local laws, organizational rules, social restrictions, incomplete transmission via technology, and the limits of language itself. Now, with the advent of social media platforms such as Twitter, Facebook, Google Plus, and YouTube, a new era has emerged, and free speech has exploded. Never before have we enjoyed such free and diverse access to information, or more freedom to debate issues. But with such openness of language and opinion, we still have a generally poor understanding of the most important issues that we face today. Why? In Enough Said, New York Times CEO Mark Thompson argues that there is a widening gap between political power and the public, because public language is being misused or misunderstood. Drawing from classical rhetoric as well as contemporary political doublespeak, Thompson outlines the dangers of speech without accountability, while identifying positive trends in modern speech and exploring our new age of public engagement."--

If you make your bed, you lie in it, my parents used to say, growing up in a very traditional household with my father as the head and my mom, the caregiver. When I got married, I wanted moreI wanted some independence. My life took a turn when I discovered my marriage was a lie. In the midst of getting out, I was raped, got pregnant, and was trapped in the marriage. The situation got worse, and the battle to escape was a challenge that I do not wish on my worst enemy. Riddled with guilt of not wanting my son made me overcompensate for the injustice against this innocent child. I was determined to get out even if it meant I left the crime scene in a body bag. I remarried a loving and amazing man, but my past was an invisible obstacle which made me angry and happy on the same day. My battle to survive against all odds came at a pricepost-traumatic stress disorderand many sessions with a psychologist and psychiatrist helping me to have a better relationship with my son and to get to know myself better with the goal to heal.

This is the first systematic critique of Edward Said's influential work, Orientalism, a book that for almost three decades has received wide acclaim, voluminous commentary, and translation into more than fifteen languages. Said's main thesis was that the Western image of the East was heavily biased by colonialist attitudes, racism, and more than two centuries of political exploitation. Although Said's critique was controversial, the impact of his ideas has been a pervasive rethinking of Western perceptions of Eastern cultures, plus a tendency to view all scholarship in Oriental Studies as tainted by considerations of power and prejudice. In this thorough reconsideration of Said's famous work, Ibn Warraq argues that Said's case against the West is seriously flawed. Warraq accuses Said of not only willfully misinterpreting the work of many scholars, but also of systematically misrepresenting Western civilization as a whole. With example after example, he shows that ever since the Greeks Western civilization has always had a strand in its very makeup that has accepted non-Westerners with open arms and has ever been open to foreign ideas. The author also criticizes Said for inadequate methodology, incoherent arguments, and a faulty historical understanding. He points out, not only Said's tendentious interpretations, but historical howlers that would make a sophomore blush. Warraq further looks at the destructive influence of Said's study on the history of Western painting, especially of the 19th century, and shows how, once again, the epigones of Said have succeeded in relegating thousands of first-class paintings to the lofts and storage rooms of major museums. An extended appendix reconsiders the value of 18th- and 19th-century Orientalist scholars and artists, whose work fell into disrepute as a result of Said's work.

As the complicated relationship between music and theatre has evolved and changed in the modern and postmodern periods, music has continued to be immensely influential in key developments of theatrical practices. In this study of musicality in the theatre, David Roesner offers a revised view of the nature of the relationship. The new perspective results from two shifts in focus: on the one hand, Roesner concentrates in particular on theatre-making - that is the creation processes of theatre - and on the other, he traces a notion of ‘musicality’ in the historical and contemporary discourses as driver of theatrical innovation and aesthetic dispositif, focusing on musical qualities, metaphors and principles derived from a wide range of genres. Roesner looks in particular at the ways in which those who attempted to experiment with, advance or even revolutionize theatre often sought to use and integrate a sense of musicality in training and directing processes and in performances. His study reveals both the continuous changes in the understanding of music as model, method and metaphor for the theatre and how different notions of music had a vital impact on theatrical innovation in the past 150 years. Musicality thus becomes a complementary concept to theatricality, helping to highlight what is germane to an art form as well as to explain its traction in other art forms and areas of life. The theoretical scope of the book is developed from a wide range of case studies, some of which are re-readings of the classics of theatre history (Appia, Meyerhold, Artaud, Beckett), while others introduce or rediscover less-discussed practitioners such as Joe Chaikin, Thomas Bernhard, Elfriede Jelinek, Michael Thalheimer and Karin Beier.

Our past was painful and a lot of mistakes were made, but that was then - this is now.Mia wants a fight? I'll give her one.She wants to leave me? I'll make her stay.This is our future. She belongs to me.Our past wasn't just painful, it was soul-shattering, and no amount of time will change that.Adam wants a fight? Bring it.He won't let me leave? I'll make him pay.This is my future. I don't belong to him.Follow Adam and Mia's journey through the deliciously dysfunctional madness they like to call...marriage.Author's note: This is the third book in the This Can't be Happening Series, but it can be read as a stand-alone.Author's warning: Mature content, lots of cussing (as in, A LOT), a five-foot-three, redheaded, terror of a woman and a sexy, possessive, crazy, hot alpha cop.