Accra, 1958. Africa’s liberation leaders have gathered for a conference, full of strength, purpose and vision. Newly independent Ghana’s Kwame Nkrumah and Congo’s Patrice Lumumba strike up a close partnership. Everything seems possible. But, within a few years, both men will have been targeted by the CIA, and their dream of true African autonomy undermined. The United States, watching the Europeans withdraw from Africa, was determined to take control. Pan-Africanism was inspiring African Americans fighting for civil rights; the threat of Soviet influence over new African governments loomed; and the idea of an atomic reactor in black hands was unacceptable. The conclusion was simple: the US had to ‘recapture’ Africa, in the shadows, by any means necessary. Renowned historian Susan Williams dives into the archives, revealing new, shocking details of America’s covert programme in Africa. The CIA crawled over the continent, poisoning the hopes of 1958 with secret agents and informants; surreptitious UN lobbying; cultural infiltration and bribery; assassinations and coups. As the colonisers moved out, the Americans swept in—with bitter consequences that reverberate in Africa to this day

African Independence movements from former colonial powers were unsuccessful governments. But not because they lacked the skills. They were systematically undermined by one nation: the US. This is the sweeping history of how, over a few vital years, African Independence was strangled at birth. In 1958 in Accra, Ghana, the Hands Off Africa conference brought together the leading figures of African independence in a public show of political strength and purpose, inspired by the example of Ghana itself which, under the charismatic leadership of Kwame Nkrumah, had just thrown off the British colonial yoke - the first African nation to do so. It was moment heady with promise for independence movements across Africa, and for all those who believed colonialism was a moral aberration. Among the supporters of African independence were some of the leading figures of the American Civil Rights movement. Malcolm X was in Accra and Martin Luther King used Nkrumah's speech as the basis for his own "Free At Last" speech, so clear were the parallels between their own struggle for political equality in the US with that of the African Nations. W. E. B. Du Bois moved to Ghana, inspired by the future of independent Africa. Yet among the many official messages of support received by the conference one nation was conspicuously quiet, despite its historic and public opposition to colonialism. America had vowed to dismantle the British Empire. Yet it was strangely silent about Hands Off Africa. Vice President Nixon did attend the celebrations in Ghana and asked a group of black people, "How does it feel to be free?"They answered: "We wouldn't know. We're from Alabama". The conference was also attended by a slew of strange societies, most promising support for African independence. They, however, were not all they seemed. Many were fronts, and behind them was the CIA. The CIA was in favor of the end of the British Empire but much less sure about what it wanted to replace it. A pan-African independence movement, one susceptible to Soviet entreaties, looked like a security threat. So the agency prepared to move in as Africa's colonizers moved out. Their baleful influence would be felt from South Africa (they tipped off the apartheid regime so that Nelson Mandela was arrested in 1962) to Congo (where the firebrand prime minister Patrice Lumumba was murdered, one of any Africa leaders who died prematurely).

“Michael Malice is one of the most puzzling twenty-first century Americans I have ever met.” –Harvey Pekar Who’s Michael Malice, and how did he become the subject of a graphic novel by Harvey Pekar, the curmudgeon from Cleveland? First of all, Michael Malice is a real person. He’s 5’6” and weighs 130 pounds. Although on the cusp of thirty, he could easily pass for a scrawny teenager. One day Michael, a guy with a patchwork employment record and dreams as big as his ego, meets Harvey and begins to relay all these wild stories about his life. Simple as that. Harvey thinks the guy is bright but a bit of a riddle–though not the kind wrapped in an enigma. It’s strange. He seems like the type of person you meet every day, rather ordinary, until you really get to know him. Then you realize he’s exceptional, unusual, and contradictory. Pleasant one minute, really nasty the next. But isn’t cruelty part of human nature? We digress. . . . Harvey writes up and illustrates one of Michael Malice’s tales, “Fish Story,” which is part of American Splendor: Our Movie Year. It makes a splash and spawns this book, Harvey’s first hardcover, a graphic novel event about one guy’s life. Ego & Hubris relates how, a year and a half after his birth in the Ukraine, Michael Malice moved with his parents to Brooklyn. He’s an intransigent kid, a hard-ass–both a demon to and demonized by the people who cross his path. His life is a constant struggle for validation in a world where the machine keeps trying to break him down. But Michael has a way with people . . . or rather, has a way of getting even with people. Hey, if you can’t live up to your parents’ expectations, at least you can live up to your name. Michael had never come close to fulfilling his huge dreams–until now. And just as Harvey’s been the everyman for a certain generation of graphic-novel readers, Michael Malice will be the everyman for a new generation. From the Hardcover edition.

A “creepy, satisfying thriller” from the author of You Owe Me a Murder and One Lie Too Many (Entertainment Weekly, “8 Seriously Scary Summer Reads”). For fans of We Were Liars and The Girl on the Train comes a chilling, addictive psychological thriller about a teenage girl who cannot remember the last six weeks of her life. Eighteen-year-old Jill Charron’s senior trip to Italy was supposed to be the adventure of a lifetime. And then the accident happened. Waking up in a hospital room, her leg in a cast, stitches in her face, and a big blank canvas where the last six weeks should be, Jill comes to discover she was involved in a fatal accident in her travels abroad. She was jetted home by her affluent father in order to receive quality care. Care that includes a lawyer. And a press team. Because maybe the accident . . . wasn’t an accident. Wondering not just what happened but what she did, Jill tries to piece together the events of the past six weeks before she loses her thin hold on her once-perfect life. “This multimedia project is a perfect thriller to stow in your beach bag.”—Teen Vogue “Prepare for lots of twists, right up until the very last chapter.”—Seventeen “[A] page-turning psychological thriller.”—Bustle For those who like a suspenseful and riveting novel.”—Glitter Guide “This book will have you turning pages as you try and decide what you believe and who you can trust.”—Parade “Cinematic scene breaks and propulsive reveals will keep the pages furiously turning in this slow-burning but explosive thriller.”—Booklist (starred review)

The definitive firsthand account of the movement that permanently broke the American political consensus. What do internet trolls, economic populists, white nationalists, techno-anarchists and Alex Jones have in common? Nothing, except for an unremitting hatred of evangelical progressivism and the so-called “Cathedral” from whence it pours forth. Contrary to the dissembling explanations from the corporate press, this movement did not emerge overnight—nor are its varied subgroups in any sense interchangeable with one another. As united by their opposition as they are divided by their goals, the members of the New Right are willfully suspicious of those in the mainstream who would seek to tell their story. Fortunately, author Michael Malice was there from the very inception, and in The New Right recounts their tale from the beginning. Malice provides an authoritative and unbiased portrait of the New Right as a movement of ideas—ideas that he traces to surprisingly diverse ideological roots. From the heterodox right wing of the 1940s to the Buchanan/Rothbard alliance of 1992 and all the way through to what he witnessed personally in Charlottesville, The New Right is a thorough firsthand accounting of the concepts, characters and chronology of this widely misunderstood sociopolitical phenomenon. Today’s fringe is tomorrow’s orthodoxy. As entertaining as it is informative, The New Right is required reading for every American across the spectrum who would like to learn more about the past, present and future of our divided political culture.

Driven by her family’s devastating losses, Congolese expatriate Francisca Thelin embarks, with human rights activist Lisa J. Shannon, on a perilous journey back to her beloved homeland, now under the shadow of one of Africa’s most feared militias—Joseph Kony’s Lord’s Resistance Army. With gunmen camped at the edge of town, Francisca is forced to face a paralyzing clash between her life in America and her family’s rapidly evaporating world—and the reality that their rush to her family’s aid may backfire. Mama Koko and the Hundred Gunmen weaves Francisca’s journey with stories of the family’s harrowing encounters with gunmen and tales from their past to create a vivid, illuminating portrait of a place and its people. We hear of Mama Koko’s early life as a gap-toothed beauty plotting to escape her inevitable fate of wife and motherhood; of Papa Alexander’s empire of wives, each of whom he married because she cooked and cleaned and made good coffee; and of Francisca’s idyllic childhood, when she ran barefoot through the family’s coffee plantation gorging herself on mangoes and fish that “were the size of small children.” Offering compelling testimony to the strength of the human spirit and the beauty of human connection in the darkest of times, Mama Koko and the Hundred Gunmen also explores what it means and requires to truly make a difference in an unjust and often violent world.

White on Black is a compelling visual history of the development of European and American stereotypes of black people over the last two hundred years. Its purpose is to show the pervasiveness of prejudice against blacks throughout the western world as expressed in stock-in-trade racist imagery and caricature. Reproducing a wide range of illustrations--from engravings and lithographs to advertisements, candy wrappings, biscuit tins, dolls, posters, and comic strips--the book challenges the hidden assumptions of even those who view themselves as unprejudiced. Jan Nederveen Pieterse sets Western images of Africa and blacks in a chronological framework, including representations from medieval times, from the colonial period with its explorers, settlers, and missionaries, from the era of slavery and abolition, and from the multicultural societies of the present day. Pieterse shows that blacks have been routinely depicted throughout the West as servants, entertainers, and athletes, and that particular countries have developed their own comforting black stereotypes about blacks: Sambo and Uncle Tom in the United States, Golliwog in Britain, Bamboula in France, and Black Peter in the Netherlands. Looking at conventional portrayals of blacks in the nursery, in sexual arenas, and in commerce and advertising, Pieterse analyzes the conceptual roots of the stereotypes about them. The images that he presents have a direct and dramatic impact, and they raise questions about the expression of power within popular culture and the force of caricature, humor, and parody as instruments of oppression.