NGOs set out to save lives, relieve suffering, and service basic human needs. They are committed to serving people across national borders and without regard to race, ethnicity, gender, or religion, and they offer crucial help during earthquakes, tsunamis, wars, and pandemics. But with so many ailing areas in need of assistance, how do these organizations decide where to go—and who gets the aid?

In The Good Project, Monika Krause dives into the intricacies of the decision-making process at NGOs and uncovers a basic truth: It may be the case that relief agencies try to help people but, in practical terms, the main focus of their work is to produce projects. Agencies sell projects to key institutional donors, and in the process the project and its beneficiaries become commodities. In an effort to guarantee a successful project, organizations are incentivized to help those who are easy to help, while those who are hardest to help often receive no assistance at all. The poorest of the world are made to compete against each other to become projects—and in exchange they offer legitimacy to aid agencies and donor governments. Sure to be controversial, The Good Project offers a provocative new perspective on how NGOs succeed and fail on a local and global level.

At his 1994 inauguration, South African president Nelson Mandela announced the “Rainbow Nation, at peace with itself and the world.” This national rainbow notably extended beyond the bounds of racial coexistence and reconciliation to include “sexual orientation” as a protected category in the Bill of Rights. Yet despite the promise of equality and dignity, the new government’s alliance with neoliberal interests and the devastation of the AIDS epidemic left South Africa an increasingly unequal society.
 
Prismatic Performances focuses on the queer embodiments that both reveal and animate the gaps between South Africa’s self-image and its lived realities. It argues that performance has become a key location where contradictions inherent to South Africa’s post-apartheid identity are negotiated. The book spans 30 years of cultural production and numerous social locations and includes: a team of black lesbian soccer players who reveal and redefine the gendered and sexed limitations of racialized “Africanness;” white gay performers who use drag and gender subversion to work through questions of racial and societal transformation; black artists across the arts who have developed aesthetics that place on display their audiences’ complicity in the problem of sexual violence; and a primarily heterosexual panAfrican online soap opera fandom community who, by combining new virtual spaces with old melodramatic tropes allow for extended deliberation and new paradigms through which African same-sex relationships are acceptable.
 
Prismatic Performances contends that when explicitly queer bodies emerge onto public stages, audiences are made intimately aware of their own bodies’ identifications and desires. As the sheen of the New South Africa began to fade, these performances revealed the inadequacy and, indeed, the violence, of the Rainbow Nation as an aspirational metaphor. Simultaneously they created space for imagining new radical configurations of belonging.

"We are becoming fluid and many-sided. Without quite realizing it, we have been evolving a sense of self appropriate to the restlessness and flux of our time. This mode of being differs radically from that of the past, and enables us to engage in continuous exploration and personal experiment. I have named it the 'protean self,' after Proteus, the Greek sea god of many forms."—from The Protean Self
 

Deftly deploying Derrida’s notion of the “unexperienced experience” and building on Paul Virilio’s ideas about the aesthetics of disappearance, Vanishing Points explores the aesthetic character of presence and absence as articulated in contemporary art, photography, film, and emerging media. Addressing works ranging from Robert Rauschenberg to Six Feet Under, Natasha Chuk emphasizes the notion that art is an accident, an event, which registers numerous overlapping, contradictory orientations, or vanishing points, between its own components and the viewers’ perspective—generating the power to create unexperienced experiences. It will be a must read for anyone interested in contemporary art and its intersection with philosophy.