Our culture has no concept of stopping. We continue to build motorways and airports for a future in which cars and planes may no longer exist. We’re converting our planet from a natural one to an artificial one in which the quantity of man-made objects – houses, asphalt, cars, plastic, computers and so on – now exceeds the totality of living matter. And while biomass continues to decline due to deforestation and species extinction, the mass of man-made objects is growing faster than ever. We’re on a treadmill to disaster. To get off this treadmill, argues Harald Welzer, we need to learn how to stop: as individuals and as societies, we need to stop doing what we’re doing and say ‘enough’. We find it hard to do this because our culture has trained us to regard endless escalation as desirable, and we’re reluctant to surrender the material benefits of growth. But as long as the expansive cultural model continues to prevail, there will be no change of course in favour of sustainable and climate-friendly practices and lifestyles. We need a cultural model in which the beauty of stopping is given the recognition needed for the project of civilization to continue. Optimizing processes that are heading in the wrong direction only makes matters worse. Stopping is imperative: it is a human cultural technique that we must re-learn. Only then can we achieve a new beginning.

A Westerner's travels among the persecuted and displaced Christian remnant in Iraq and Syria teach him much about faith under fire. Gold Medal Winner, 2018 IPPY Book of the Year Award Silver Medal Winner, 2018 Benjamin Franklin Award Finalist, 2018 ECPA Christian Book Award Inside Syria and Iraq, and even along the refugee trail, they're a religious minority persecuted for their Christian faith. Outside the Middle East, they're suspect because of their nationality. A small remnant of Christians is on the run from the Islamic State. If they are wiped out, or scattered to the corners of the earth, the language that Jesus spoke may be lost forever - along with the witness of a church that has modeled Jesus' way of nonviolence and enemy-love for two millennia. The kidnapping, enslavement, torture, and murder of Christians by the Islamic State, or ISIS, have been detailed by journalists, as have the jihadists' deliberate efforts to destroy the cultural heritage of a region that is the cradle of Christianity. But some stories run deep, and without a better understanding of the religious and historical roots of the present conflict, history will keep repeating itself century after century. Andreas Knapp, a priest who works with refugees in Germany, travelled to camps for displaced people in the Kurdish region of northern Iraq to collect stories of survivors - and to seek answers to troubling questions about the link between religion and violence. He found Christians who today still speak Syriac, a dialect of Aramaic, the language of Jesus. The uprooted remnant of ancient churches, they doggedly continue to practice their faith despite the odds. Their devastating eyewitness reports make it clear why millions are fleeing the Middle East. Yet, remarkably, though these last Christians hold little hope of ever returning to their homes, they also harbor no thirst for revenge. Could it be that they - along with the Christians of the West, whose interest will determine their fate - hold the key to breaking the cycle of violence in the region? Includes sixteen pages of color photographs.

Historians have mainly seen the ghettos established by the Nazis in German-occupied Eastern Europe as spaces marked by brutality, tyranny, and the systematic murder of the Jewish population. Drawing on examples from the Warsaw, Lodz, and Vilna ghettos, Dance on the Razor's Edge explores how, in fact, highly improvised legal spheres emerged in these coerced and heterogeneous ghetto communities. Looking at sources from multiple archives and countries, Svenja Bethke investigates how the Jewish Councils, set up on German orders and composed of ghetto inhabitants, formulated new definitions of criminal offenses and established legal institutions on their own initiative, as a desperate attempt to ensure the survival of the ghetto communities. Bethke explores how people under these circumstances tried to make sense of everyday lives that had been turned upside down, bringing with them pre-war notions of justice and morality, and she considers the extent to which this rupture led to new judgments on human behaviour. In doing so, Bethke aims to understand how people attempted to use their very limited scope for action in order to survive. Set against the background of a Holocaust historiography that often still seeks for clear categories of "good" and "bad" behaviours, Dance on the Razor's Edge calls for a new understanding of the ghettos as complex communities in an unprecedented emergency situation.

Contemporary capitalism produces more and more money, debt, and inequality. These three trends have a common cause: the privilege of private banks to create money by means of accounting - by the stroke of a key. Why was this privilege not addressed politically for so long - and who benefited from it? At the heart of the answer lies the realization that the power to create money has been hidden by the way we commonly think and talk about capitalism. The book traces the omission of money creation from theories of capitalism and maps its consequences. By expanding the manoeuvring space for the banks to use their privilege, the capitalist countries have financed a transformation of the economy known as financialization. As a result, the real economy and private households became a debt supplier to a monetary system whose returns accumulate at the top. It is not simply "the markets" but money itself that transfers economic benefits from the masses to a minority. Increasing inequality of income and wealth can therefore only be combated if one does not only correct distributive results of markets-redistribution-, but addresses predistribution: the modalities of money creation.

Historians have mainly seen the ghettos established by the Nazis in German-occupied Eastern Europe as spaces marked by brutality, tyranny, and the systematic murder of the Jewish population. Drawing on examples from the Warsaw, Lodz, and Vilna ghettos, Dance on the Razor's Edge explores how, in fact, highly improvised legal spheres emerged in these coerced and heterogeneous ghetto communities. Looking at sources from multiple archives and countries, Svenja Bethke investigates how the Jewish Councils, set up on German orders and composed of ghetto inhabitants, formulated new definitions of criminal offenses and established legal institutions on their own initiative, as a desperate attempt to ensure the survival of the ghetto communities. Bethke explores how people under these circumstances tried to make sense of everyday lives that had been turned upside down, bringing with them pre-war notions of justice and morality, and she considers the extent to which this rupture led to new judgments on human behaviour. In doing so, Bethke aims to understand how people attempted to use their very limited scope for action in order to survive. Set against the background of a Holocaust historiography that often still seeks for clear categories of "good" and "bad" behaviours, Dance on the Razor's Edge calls for a new understanding of the ghettos as complex communities in an unprecedented emergency situation.