A View from the Bridge

'In the first minute following her death, Tequila Leila's consciousness began to ebb, slowly and steadily, like a tide receding from the shore...'

For Leila, each minute after her death recalls a sensuous memory: spiced goat stew, sacrificed by her father to celebrate the birth of a yearned-for son; bubbling vats of lemon and sugar to wax women's legs while men are at prayer; the cardamom coffee she shares with a handsome student in the brothel where she works. Each fading memory brings back the friends she made in her bittersweet life - friends who are now desperately trying to find her . . .

"Carte Blanche" for the commissioned works between art and commerce
Helmut Newton did not distinguish compositionally or stylistically between his magazine work and assignments for commercial clients. He ironically referred to himself as “a gun for hire.” That was also the title of June Newton's legendary book about his commercial photography, which is now available in a new edition revised by the Helmut Newton Foundation.

"Some people's photography is an art. Mine is not. If they happen to be exhibited in a gallery or a museum, that's fine. But that's not why I do them. I'm a gun for hire," Helmut Newton told Newsweek in 2004. This prosaic proclamation from one of the 20th century's most celebrated photographers may be perceived as shocking. Still it firmly positions Newton as the no-frills image-maker that he was. His work is so powerful and striking, that it defies categorization. In refusing to call his work "art," Newton leaves us free to do so. Judging from the amount of museum and gallery shows that have featured his work, it is clear that the option has been widely exercised.

A Gun for Hire brings together a selection of Newton's fashion catalog work from the early 1960s to 2003 including work for BiBA (the first fashion catalog in 1962), Chanel, Yves Saint Laurent, Versace, Thierry Mugler, Blumarine, Villeroy & Boch and Absolut Vodka, as well as his last editorial photographs for US and Italian Vogue—encompassing the body of work he made as a "gun for hire."

With an introduction by Matthias Harder and statements by Pierre Bergé, Tom Ford, Josephine Hart, June Newton, and Anna Wintour.

Most of us believe that feminism is a force for good. In the past 200 years, it has paved the way for women to advance economically, increasing their safety and their power in society, and advocating for their needs and experiences. But not for all women.

If you are poor, if you are an immigrant to the West or (even worse!) don't live here at all, and above all if your skin is not white, the door to mainstream feminism has been shut to you from day one. This is not oversight or an accident. It is an active and sustained strategy to advance white women at the expense of everyone else. And what makes this con especially dangerous - and especially effective - is how most of us have no idea we are participating in it.

In Against White Feminism, lawyer, academic and human rights activist Rafia Zakaria traces the connections between feminism and white supremacy from the first suffrage movements right up to the world we inherit today, demonstrating how a coalition supposedly based on equality is in fact riddled with inequality and exploitation. And she issues a powerful call to every reader to build a new kind of feminism, lighting the path to emancipation for all.

O Salem, dzięki książkom i filmom wiemy sporo. A co wiemy o słowackich Podunajskich Biskupicach, w których mieszkała Agáta? Denisa Fulmeková przynosi opowieść ze słowiańskiego podwórka, opowieść z czasów, gdy kobiety praktykujące ziołolecznictwo, przygotowujące zdrowotne nalewki i napary, lub po prostu kobiety niezamężne były surowo dyscyplinowane i okrutnie karane. Rozgrywająca się w XVII wieku powieść porusza wciąż aktualne kwestie lęku przed kobietami, ich siłą, wiedzą i samodzielnością. Oszczędna w środkach Agáta to smutna i przerażająca historia ubogiej zielarki skazanej na śmierć „za czary”. Opowieść, która, pomimo tragicznego zakończenia, niesie nadzieję na wygraną w walce o prawo do ciała i życia kobiet. Po lekturze Agáty Denisy Fulmekovej myślę o ostrym słońcu, które padało na udręczoną i poniżoną bohaterkę, gdy w maju 1624 roku dopełnił się jej los. Myślę jeszcze o krzywdzie, której nie sposób wybaczyć, i o żalu, że się nie odstanie. Denisa Fulmeková w oszczędny, niemal kronikarski sposób opisuje losy Agáty oskarżonej o czary. Pokazuje, jak działa mechanizm władzy i przemocy wobec kobiet, a także pozornie nieszkodliwe rzucanie oszczerstw. Fulmeková tworzy zimny, surowy świat, w którym potrzeba miłości, bliskości i bezpieczeństwa nigdy nie zostanie zaspokojona. Agáta – tak jak przez całe życie – w sądnym dniu była bowiem sama. Współczucie i zrozumienie natomiast płynie tylko z jednej strony – od czytelnika. Urszula Honek

Kontynuacja losów Jana poznanego w pierwszej części Turystów Polservisu. Trzy lata po powrocie z Tunezji Jan po nieudanych próbach poprawy bytu w schyłkowym okresie PRL-u podejmuje decyzję o podjęciu pracy w Algierii. Trafia wraz z rodziną na uczelnię do Laghouatu, miasta położonego na skraju Sahary, w niespokojnych czasach przejęcia władzy przez islamistów. Jan, humorysta, uważający się za kontynuatora kodeksu Legii Cudzoziemskiej, wskrzesza ducha solidarności wśród arabskich i sowieckich wykładowców i lotników. To jedyna skuteczna metoda przetrwania w pracy z buntowniczymi studentami w trudnym klimacie pustyni. W książce przeczytamy między innymi o zwyczajach i kulturze Arabów i Berberów. Nie brak też opisów podróży niezbyt sprawnym samochodem po egzotycznym kraju.

A powerful debut YA memoir-manifesto about growing up Black and queer in America from journalist and LGBTQIA+ activist George M. Johnson.

This powerful YA memoir-manifesto follows journalist and LGBTQ+ activist George M. Johnson as they explore their childhood, adolescence, and college years, growing up under the duality of being black and queer. From memories of getting their teeth kicked out by bullies at age five to their loving relationship with their grandmother, to their first sexual experience, the stories wrestle with triumph and tragedy and cover topics such as gender identity, toxic masculinity, brotherhood, family, inequality, consent, and Black joy.