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A funny, fresh, and moving antidote to conventional attitudes about sex and the single womanEmily Witt is single and in her thirties. Up until a few years ago, she still envisioned her sexual experience “eventually reaching a terminus, like a monorail gliding to a stop at Epcot Center.” Like many people, she imagined herself disembarking, finding herself face-to-face with another human being, “and there we would remain in our permanent station in life: the future.”But, as many of us have found, things are more complicated than that. Love is rare and frequently unreciprocated. Sexual experience doesn’t necessarily lead to a future of traditional monogamy—and why should it? Have we given up too quickly on the alternatives?In Future Sex, Witt explores Internet dating, Internet pornography, polyamory, and avant-garde sexual subcultures as sites of possibility. She observes these scenes from within, capturing them in all their strangeness, ridiculousness, and beauty. The result is an open-minded, honest account of the contemporary pursuit of connection and pleasure.
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How did Nigeria create the second largest movie industry in the world?
Nollywood began in Nigeria in the 1990s and has grown into one of the most recognized cultural centers of the world, producing more movies every year than Hollywood and almost as many as Bollywood. Emily Witt travels to Nigeria to offer a vivid, rollicking tour of the industry today, from the back alleys of the marketplaces of Lagos to the glamour of a red-carpet premiere, from startups trying to digitalize what has been largely an economy based on piracy to the shooting of a historic epic in the northern city of Jos.
Amid electricity cuts, fuel scarcity, and countless other obstacles, Nigerians are pursuing the very real possibility that Nollywood dramas could become a global brand, as recognizable as the Bollywood musical, the Hong Kong kung fu flick, or the Hollywood blockbuster.
“Emily Witt blends monograph with vivid reportage in her latest offering: a short but sweet study of Nigerian cinema.” —Financial Times