Contemporary craft, art and design are inseparable from the flows of production and consumption under global capitalism. The New Politics of the Handmade features twenty-three voices who critically rethink the handmade in this dramatically shifting economy. The authors examine craft within the conditions of extreme material and economic disparity; a renewed focus on labour and materiality in contemporary art and museums; the political dimensions of craftivism, neoliberalism, and state power; efforts toward urban renewal and sustainability; the use of digital technologies; and craft's connections to race, cultural identity and sovereignty in texts that criss-cross five continents. They claim contemporary craft as a dynamic critical position for understanding the most immediate political and aesthetic issues of our time.

Contemporary craft, art and design are inseparable from the flows of production and consumption under global capitalism. The New Politics of the Handmade features twenty-three voices who critically rethink the handmade in this dramatically shifting economy. The authors examine craft within the conditions of extreme material and economic disparity; a renewed focus on labour and materiality in contemporary art and museums; the political dimensions of craftivism, neoliberalism, and state power; efforts toward urban renewal and sustainability; the use of digital technologies; and craft's connections to race, cultural identity and sovereignty in texts that criss-cross five continents. They claim contemporary craft as a dynamic critical position for understanding the most immediate political and aesthetic issues of our time.

This powerful examination of the present and future of American politics, by one of America's most distinguished political journalists, reveals how the Republican Party has gained a long-term institutional advantage that allows it to shrug off apparent setbacks like the 2006 elections. Building Red America takes us deeper than any previous book into the operations of the power brokers and issues that galvanize voters.

Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalisation, is overdue. A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicised craft.

Our ideas about national security have changed radically over the last five years. It has become a political tool, a "wedge issue," a symbol of pride and fear. It is also the one issue above all others that can make or break an election. And this is why the Democratic Party has been steadily losing power since 2001. In Hard Power, Michael O'Hanlon, an expert on foreign policy at the Brookings Institution, and Kurt Campbell, an authority on international security at the Center for Strategic and International Studies, explain how the Democrats lost credibility on issues of security and foreign policy, how they can get it back--and why they must. They recall the successful Democratic military legacy of past decades, as well as recent Democratic innovations--like the Homeland Security Office and the idea of nation-building--that have been successfully co-opted by the Republican administration. And, most importantly, they develop a broad national security vision for America, including specific defense policies and a strategy to win the war on terror.

Most critics claim that Edith Wharton's creative achievement peaked with her novels The House of Mirth and The Age of Innocence, dismissing her later fiction as reactionary, sensationalistic and aesthetically inferior. In Edith Wharton's Brave New Politics, Dale M. Bauer overturns these traditional conclusions. She shows that Wharton's post-World War I writings are acutely engaged with the cultural debates of her day - from reproductive control, to authoritarian politics, to mass culture and its ramifications.

Hyperpartisanship is as old as American democracy. But now, acrimony is not confined to a moment; it's a permanent state of affairs and has seeped into every part of the political process. Identifying the overriding problems that have led Congress—and the United States—to the brink of institutional collapse, It's Even Worse Than It Looks profoundly altered the debate about why America's government has become so dysfunctional. Through a new preface and afterword, Thomas Mann and Norman Ornstein bring the story forward, examining the 2012 presidential campaign and exploring the prospects of a less dysfunctional government. As provocative and controversial as ever, It's Even Worse Than It Looks will continue to set the terms of our political debate in the years to come.