"A monumental work of nonfiction that gives a first-row seat to the epic power struggle between politics, money, media, and tech -- for fans of Maggie Haberman's Confidence Man and Jane Mayer's Dark Money. Marty Baron took charge of The Washington Post newsroom in 2013, after nearly a dozen years leading The Boston Globe. Just seven months into his new job, Baron received explosive news: Jeff Bezos, the founder of Amazon, would buy the Post, marking a sudden end to control by the venerated family that had presided over the paper for 80 years. Just over two years later, Donald Trump won the presidency. Now, the capital's newspaper, owned by one of the world's richest men, was tasked with reporting on a president who had campaigned against the press as the "lowest form of humanity." Pressures on Baron and his colleagues were immense and unrelenting, having to meet the demands of their new owner while contending with a president who waged a war of unprecedented vitriol and vengeance against the media. In the face of Trump's unceasing attacks, Baron steadfastly managed the Post's newsroom. Their groundbreaking and award-winning coverage included stories about Trump's purported charitable giving, misconduct by the Secret Service, and Roy Moore's troubling sexual history. At the same time, Baron managed a restive staff during a period of rapidly changing societal dynamics around gender and race. In Collision of Power, Baron recounts this with the tenacity of a reporter and the sure hand of an experienced editor. The result is elegant and revelatory-an urgent exploration of the nature of power in the 21st century"--

In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came before, and voraciously seeks out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practicing what she calls potential history, Azoulay argues that we can still refuse the original imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas at the moment of conquest to the Congo ruled by Belgium's brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions--an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums--to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as "past" and making the repair of torn worlds the substance of politics.