Ethnic studies / Ethnicity Books

Book SynopsisIn Feels Right Kemi Adeyemi presents an ethnography of how black queer women in Chicago use dance to assert their physical and affective rights to the city. Adeyemi stages the book in queer dance parties in gentrifying neighborhoods, where good feelings are good business. But feeling good is elusive for black queer women whose nightlives are undercut by white people, heterosexuality, neoliberal capitalism, burnout, and other buzzkills. Adeyemi documents how black queer women respond to these conditions: how they destroy DJ booths, argue with one another, dance slowly, and stop partying altogether. Their practices complicate our expectations that life at night, on the queer dance floor, or among black queer community simply feels good. Adeyemi’s framework of “feeling right” instead offers a closer, kinesthetic look at how black queer women adroitly manage feeling itself as a complex right they should be afforded in cities that violently structure their movementsTrade Review“Adeyemi’s rich ethnographic observations on Black queer women’s parties in Chicago demonstrate why the dance floor is much more than just a utopian promise of happiness within a hostile socio-political environment. . . . Through dancing and choreography, queerness is not only performed but also learned and experienced by people who may not have encountered it before.” -- Yener Bayramoglu * Ethnic and Racial Studies *"What is innovative about Adeyemi’s text ... is that she carves out a scholarly field that reflects her interest in queer nightlife in the most expansive definition of the phrase. ... Feels Right is a political project that aims to drive many Black queer women to return to nightlife even if their pleasure is contested on the dance floor and in the city." -- Marietta Kosma * European Journal of American Studies *Table of ContentsPreface ix Acknowledgments xiii Introduction 1 1. Slo ‘Mo and the Pace of Black Queer Life 39 2. Where’s the Joy in Accountability? Black Joy at Its Limits 62 3. Ordinary E N E R G Y 96 Conclusion: An Oral History of the Future of Burnout 120 Notes 143 Bibliography 159 Index 171

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Book SynopsisJohn Klaess tells the story of rap’s emergence on New York City’s airwaves by examining how artists and broadcasters adapted hip hop’s performance culture to radio.Trade Review"Not to be missed, musicologist Klaess has written a fascinating chronicle of hip-hop radio stations. . . . Klaess’s book is a must-read for all those interested in tracing hip-hop’s sociopolitical/racial chord back to its airwaves origins." -- Alessandro Cimino * Library Journal *"This is a book about radio as a medium, not the music that flows through it, and it deserves praise for shining a light on the people behind the tapes who have been underappreciated by more conventional histories." -- Peter Shapiro * The Wire *"A book that tells the story of rap on New York City’s airwaves, Breaks in the Air is mandatory reading for anyone with an interest in hip hop history and elements of that history that aren’t readily considered, including figures responsible for its early dissemination. As well as providing a meticulous account of the first stations to air rap music, Klaess’ book offers a unique insight into the sociopolitical power of broadcast media and how alongside the growing popularity of hip hop, radio provided a valuable new avenue for Black expression." -- Arusa Qureshi * The Quietus *"Breaks in the Air has a lot to offer anyone interested in hip-hop’s rise, as well as anyone fascinated with the larger stories of Black music and American radio." -- Michaelangelo Matos * Beat Connection *Table of ContentsPreface ix Acknowledgments xiii Introduction. Breaks in the Air 1 1. Deregulating Radio 19 2. Sounding Black Progress in the Post-Civil Rights Era 32 3. Commercializing Rap with Mr. Magic’s Rap Attack 63 4. Programming the Street at WRKS 88 5. Broadcasting the Zulu Nation 116 6. Listening to the Labor of The Awesome 2 Show 139 Epilogue 162 Notes 175 Bibliography 193 Index 215

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Book SynopsisAnaLouise Keating provides a comprehensive investigation of the foundational theories, methods, and philosophies of Gloria E. Anzaldúa.Table of ContentsGiving Thanks xi Introduction: Writing (About) Anzaldúa, Introducing This Book 1 I. Prelude to Theorizing: Contexts and Methods 13 1. Risking the Personal, Redux: A Biographical-Intellectual Sketch 15 2. Writing as Ritual, Habit, Mission, Partner, and Joy: Anzaldúa’s Writing Process 46 3. How the Theories Emerged: Haciendo Teorías Con Gloria 64 II. The Theories Themselves 77 How to Read Part II 80 4. Eighteen Anzaldúan Theories 81 III. Excavating the Future: The Archives and Beyond 211 5. The Gloria Evangelina Anzaldúa Papers: Creation Story, Treasure Map, and More 213 6. Anzaldúa’s Archival Manuscripts: Overview, Insights, Annotations 225 Postscript: Working with Anzaldúa and Her Theories 303 Notes 309 References 319 Index 323

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Book SynopsisWhen the Smoke Cleared contains poetry written by incarcerated poets in Attica Prison and journal entries and poetry by Celes Tisdale, who led poetry workshops following the uprising there in 1971.Trade Review"When the Smoke Cleared . . . beautifully documents what it means to bear witness while teaching, and the great responsibility that comes with ushering voices from the inside of prison walls to the outside. . . . When the Smoke Cleared is a time capsule of the sharp minds, open hearts, and courageous souls of men brutalized by the United States criminal justice system." -- Malcolm Tariq * PEN America *"When the Smoke Cleared . . . reveals a great deal about survival in the wake of state violence and about the uses of prison education. . . . Supporting efforts like Tisdale’s are important, not because they reform the institution, but because they can aid incarcerated people in building inside-outside relations and solidaristic organizing across facilities." -- Elias Rodriques * Dissent *"Among the many strengths of this anthology is a blunt acknowledgment of the uprising as part of much larger historical mechanisms: namely, the last gasps of the civil rights movement and the nation’s violent reaction to Black liberation. . . . The poems serve as a bulwark against the forgetting of the Attica uprising itself, but they also document the inner life and creative expression of the incarcerated—making for a visceral and intimate argument in favor of prison abolition." -- J. Howard Rosier * The Nation *"A riveting contribution to contemporary literary history and recent social histories of the uprising. This volume poses far-reaching questions about prisons as sites of cultural production and the mobilization of Black political subjectivity at the beginning of what we now call the age of mass incarceration." -- David Sherman * Los Angeles Review of Books *"A valuable glimpse into the beginnings of prison and justice writing programs in the US, especially ones focused on the African American experience, as well as a reminder of the historical and continued importance of such workshops in transforming the US carceral system." -- Timothy Bradford * World Literature Today *Table of ContentsPreface ix Introduction: Celes Tisdale’s Poetry Workshop at Attica / Mark Nowak 1 Introduction to the Original Printing of Betcha Ain’t: Poems from Attica (Detroit: Broadside Press, 1974 / Celes Tisdale 25 Betcha Ain’t: Poems from Attica 29 Celes Tisdale’s Attica Poem and Journals 71 When the Smoke Cleared: More Poems from Attica 103 Epilogue: Remember This 133 Acknowledgments 135 Appendix: Workshop Documents 137

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Book SynopsisDespite the fact that most of jazz's major innovators and performers have been African American, the overwhelming majority of jazz journalists, critics, and authors have been and continue to be white men. No major mainstream jazz publication has ever had a black editor or publisher. Ain't But a Few of Us presents over two dozen candid dialogues with black jazz critics and journalists ranging from Greg Tate, Farah Jasmine Griffin, and Robin D. G. Kelley to Tammy Kernodle, Ron Welburn, and John Murph. They discuss the obstacles to access for black jazz journalists, outline how they contend with the world of jazz writing dominated by white men, and point out that these racial disparities are not confined to jazz but hamper their efforts at writing about other music genres as well. Ain't But a Few of Us also includes an anthology section, which reprints classic essays and articles from black writers and musicians such as LeRoi Jones, Archie Shepp, A. B. Spellman, and Herbie Nichols. Contributors Eric Arnold, Bridget Arnwine, Angelika Beener, Playthell Benjamin, Herb Boyd, Bill Brower, Jo Ann Cheatham, Karen Chilton, Janine Coveney, Marc Crawford, Stanley Crouch, Anthony Dean-Harris, Jordannah Elizabeth, Lofton Emenari III, Bill Francis, Barbara Gardner, Farah Jasmine Griffin, Jim Harrison, Eugene Holley Jr., Haybert Houston, Robin James, Willard Jenkins, Martin Johnson, LeRoi Jones, Robin D. G. Kelley, Tammy Kernodle, Steve Monroe, Rahsaan Clark Morris, John Murph, Herbie Nichols, Don Palmer, Bill Quinn, Guthrie P. Ramsey Jr., Ron Scott, Gene Seymour, Archie Shepp, Wayne Shorter, A. B. Spellman, Rex Stewart, Greg Tate, Billy Taylor, Greg Thomas, Robin Washington, Ron Welburn, Hollie West, K. Leander Williams, Ron WynnTrade Review"With the conductive virtuosity of Butch Morris, Jenkins . . . assembles an impressive paean to the Black writers who’ve dedicated their lives to capturing in language what jazz musicians conjure in a split second. With more than two dozen thoughtful profiles, this is a fascinating dive into the sociopolitical realities of being a Black writer—in this case, Black writers who love jazz and express that love in vivid prose. . . . A memorable love letter to Black art, Black joy, and the writers who have sought to tell it like it really is." * Kirkus Reviews *"A modern, fresh collection of interviews. . . . A triumphantly panoramic view of the visceral experience of Black jazz journalists and those who choose to cover the music successfully, by being published widely and regularly throughout their careers." -- Jordannah Elizabeth * New York Amsterdam News *"The spectrum of vibrant Black voices in Ain’t But a Few of Us is broad, relaying their experiences in the trenches of the jazz media field—from cub reporters to trailblazers.. . . . The book serves as a testament to the experiences of a rare few, proof-positive that Black writers and editors are not alone." -- Ayana Contreras * Downbeat *"To say that this book is an essential read is an understatement. It is essential not only to enjoy the eloquence and grace of the writing, the depth of knowledge, expertise and experience of these writers, but because things must change. Jazz needs more black voices. The world needs more black voices." -- Fiona Ross * Kind of Jazz *"For jazz buffs and those interested in American culture, this is a spellbinding read and quite impossible to put down. This is an open invitation for the curious wanting an aural adventure." -- Robert Fleming * African American Literature Book Club *"The importance of Willard’s new book Ain’t But A Few of Us cannot be underestimated. A collection of journeys – lived experiences – from the voices of 49 truly inspirational black writers. It is groundbreaking for many reasons. Groundbreaking because never before has the lack of black jazz journalists been documented. Groundbreaking because never before has such an inspirational collection of writers been given a platform to share their experiences. Willard has given a long overdue platform to incredible voices." -- Fiona Ross * Jazz in Europe *"Revelatory, inspiring, passionate, damning and sobering." -- Raymond Cummings * The Wire *"Ain't But a Few of Us should be considered required reading for high school and college students, particularly those pursuing careers in music or journalism. . . . For students, each writer offers a personal history of their lives with shared commonalities in their insights, the importance of inclusion and diversity, and, regardless of barriers and disparities, giving up is never an option." -- Ron Scott * New York Amsterdam News *Table of ContentsAcknowledgments ix Introduction / Willard Jenkins 1 1. Roundtable / Eric Arnold, Jordannah Elizabeth, Bill Francis, Steve Monroe, Rahsaan Clark Morris, Robin Washington, and K. Leander Williams 15 2. The Authors / Playthell Benjamin, Herb Boyd, Karen Chilton, Farah Jasmine Griffin, Robin D. G. Kelley, Tammy Kernodle, Guthrie P. Ramsey Jr., Gene Seymour, A. B. Spellman, and Greg Tate 27 3. Black Jazz Magazine Editors and Publishers / Jo Ann Cheatham (Pure Jazz), Jim Harrison (Jazz Spotlite News), Haybert Houston (Jazz Now), and Ron Welburn (The Grackle) 89 4. Black Dispatch Contributors / Robin James and Ron Scott 111 5. Magazine Freelancers / Bill Brower, Janine Coveney, Lofton Emenari III, Eugene Holley Jr., John Murph, Don Palmer, and Ron Wynn 125 6. Newspaper Writers and Columnists / Martin Johnson, Greg Thomas, and Hollie West 167 7. The New Breed (Online) / Bridget Arnwine, Angelika Beener, and Anthony Dean-Harris 189 8. Anthology 209 Classics “Jazz and the White Critic,” LeRoi Jones (DownBeat, 1963) 209 “Requiem for a Heavyweight,” Marc Crawford (Transition, 1966) 216 “Inside the Horace Silver Quintet,” Barbara Gardner (DownBeat, 1963) 220 “Trane + 7 = a Wild Night at the Gate,” A. B. Spellman (DownBeat, 1965) 226 “The Testimony: An Interview with Alto Saxophonist Bunky Green,” Bill Quinn (DownBeat, 1966) 229 On Jazz and Race “Putting the White Man in Charge,” Stanley Crouch (JazzTimes, 2003) 236 “My Bill Evans Problem—Jaded Visions of Jazz and Race,” Eugene Holley Jr. (New Music Box, 2013) 238 “Where's the Black Audience?”, Ron Wynn (JazzTimes, 2013) 243 “Whither the Black Voices,” Anthony Dean-Harris (Nextbop, 2013) 249 “Brooklyn's Jazz Renaissance,” Robin D. G. Kelley (ISAM Newsletter, 2004) 251 Additional Ain’t But a Few of Us Contributors “Wynton Is the Greatest!,” Playthell Benjamin (Commentaries on the Times, 2016) 255 “Jazz Is . . . Free . . . ?,” Ron Welburn (The Grackle, 1976) 259 “Why Jazz Will Always Be Relevant,” Greg Tate (The Fader, 2016) 264 “Rhapsody in Rainbow: Jazz and the Queer Aesthetic,” John Murph (JazzTimes, 2010) 268 Black Musician Writers “Billy Taylor Replies to Art Tatum Critics,” Billy Taylor (DownBeat, 1955) 274 “Creativity and Change,” Wayne Shorter (DownBeat, 1968) 276 “An Artist Speaks Bluntly,” Archie Shepp (DownBeat, 1965) 286 “The Jazz Pianist-Purist,” Herbie Nichols (Rhythm, 1946) 288 “Smack! Memories of Fletcher Henderson,” Rex Stewart (DownBeat, 1965) 290 Index 299

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Book SynopsisChérie N. Rivers shows how colonial systems of normalized violence condition the way we see and, through collaboration with contemporary Congolese artists, imagines ways we might learn to see differently.Table of ContentsPreface xvi 1. Elegy of Nsala 1 2. To See Nsala's Daughter 3 3. To Decompose 9 4. To Replicate 29 5. To Contradict 47 6. To Create 65 7. To Love Nsala's Daughter 81 Gratitude 89 Notes 93 Bibliography 99 Index 101 Illustration Credits 105

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Book SynopsisLiza Taylor examines how U.S. women of color feminists’ coalitional collective politics of the 1960s, 70s, and 80s is an indispensable resource to contemporary political theory, feminist studies, and intersectional social justice activism.Trade Review"This well-written and clearly organized book challenges the reader to explore effective activism over time with directions for the future. Thus, the book would be ideal for undergraduate and graduate courses in sociology, women’s studies, and criminal justice that include contemporary political theory, feminist studies, and intersectional social justice. The 'call to action' structure of the book creates a platform for the facilitator to really engage the student in the option of taking an actual step to make change within the current politically diverse arena. Exercises such as this makes the book unique within this discipline and a must have within the classroom." -- Shauntey James * Ethnic and Racial Studies *"Taylor is a feminist political theorist who offers sophisticated arguments about philosophical principles and feminist practices together with an accessible discussion of core texts from women of color. She writes for multidisciplinary feminist readers already familiar with classics such as position papers from the Combahee River Collective and essays by Audre Lorde but does so with sufficient attention to explaining these and other arguments from the rich field of feminist theorizing. Students just becoming aware of this area of study will get a vibrant introduction, and more knowledgeable readers will find this an innovative and helpful approach. . . . Highly recommended. General readers through faculty; professionals." -- M. M. Ferree * Choice *Table of ContentsAcknowledgments ix Introduction 1 1. From Rosa Luxemburg to the Combahee River Collective: Spontaneous Coalition as a Precursor to Intersectional Marxism and Politico-Ethical Coalition Politics 33 2. Women of Color Feminism and Politico-Ethical Coalition Politics: Recentering the Politics of Coalition with Reagon, Smith, Combahee, and Lorde 67 3. Coalition from the Inside Out: Struggling toward Coalitional Identity and Developing a Coalitional Consciousness with Lode, Anzaldúa, Sandoval, and Pratt 106 4. Writing Feminist Theory, Doing Feminist Politics: Rethinking Collective Feminist Authorship with This Bridge Called My Back 150 5. The Women's March on Washington and Politico-Ethical Coalitional Opportunities in the Age of Trump 189 Conclusion: Lessons for Contemporary and Future Feminist Activists 225 Notes 249 References 259 Index 277

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Book SynopsisThe contributors to Crip Genealogies reorient the field of disability studies by centering the work of transnational feminism, queer of color critique, and trans scholarship and activism. They challenge the white, Western, and Northern rights-based genealogy of disability studies, showing how a single coherent narrative of the field is a mode of exclusion that relies on logics of whiteness and imperialism. The contributors examine how disability justice activists work in concert with other social justice projects, explore crip environments, create alternate disciplinary genealogies, and reject notions of the model minority. Throughout, they demonstrate how the mandate for a single genealogy of the discipline whitewashes disability and continues forms of violence. By cripping disability studies, the contributors allow for divergent histories, the coexistence of anti-ableist and antiracist theorizing, and a radically just and capacious understanding of disability. ContTrade Review"This is an essential anthology that challenges the existing (white, Western/Northern, imperialist) frameworks of disability studies in favor of lenses focused on transnational feminism and queer/trans of color critique and activism." -- Karla J. Strand * Ms. *

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Book SynopsisMejdulene Bernard Shomali examines homoeroticism and nonnormative sexualities between Arab women in transnational Arab literature, art, and film to show how women, femmes, and nonbinary people disrupt stereotypical and Orientalist representations of the Arab woman.Table of ContentsAcknowledgments ix Introduction 1 1. A Thousand and One Scheherazades: Arab Femininities and Foreclosing Discourses 27 2. Between Women: Homoeroticism in Golden Era Egyptian Cinema 58 3. Longing in Arabic: Ambivalent Identities in Arabic Novels 90 4. Love Letters: Queer Intimacies and the Arabic Language 119 5. Sahq: Queer Femme Futures 138 Notes 175 Bibliography 187 Index 199

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Book SynopsisIn The Williamsburg Avant-Garde Cisco Bradley chronicles the rise and fall of the underground music and art scene in the Williamsburg neighborhood of Brooklyn between the late 1980s and the early 2010s. Drawing on interviews, archival collections, musical recordings, videos, photos, and other ephemera, Bradley explores the scene’s social, cultural, and economic dynamics. Building on the neighborhood’s punk DIY approach and aesthetic, Williamsburg''s free jazz, postpunk, and noise musicians and groups---from Mary Halvorson, Zs, and Nate Wooley to Matana Roberts, Peter Evans, and Darius Jones---produced shows in a variety of unlicensed venues as well as in clubs and cafes. At the same time, pirate radio station free103point9 and music festivals made Williamsburg an epicenter of New York’s experimental culture. In 2005, New York’s rezoning act devastated the community as gentrification displaced its participants farther afield in Brooklyn and in Queens. WithTrade Review"The Williamsburg Avant-Garde is the most comprehensive study to date of one of the most important music scenes of the past 30-plus years." -- Dave Mandl * The Wire *"Well-researched. . . . Drawing on these first-hand accounts as well as on his access to the personal archives of some of the artists involved, Bradley provides a lively account of the neighborhood’s vital experimental music movement from its underground beginnings in various squats and abandoned industrial sites to its eventual dissolution in the face of rising rents and gentrification." -- Daniel Barbiero * Point of Departure *"One of the most important strengths of The Williamsburg Avant-Garde is that it elaborates with equal care, regardless of idiom or generation, on the intentions, ideas and aesthetic strategies of the highly diverse range of artists who could find a platform there. . . . What makes Bradley’s archeology at the same time so urgently contemporary is that so many of the artists covered are alive and active right now, even if a good number of them may still be underground." -- Patrick Brennan * Arteidolia *Table of ContentsAcknowledgments ix Introduction. Locating the Williamsburg Avant-Garde 1 Part I. Utopian Spaces for Sound 1. The Emergence of the Williamsburg Scene: Warehouses, Squatter Parties, and Punk Roots, 1988–1994 21 2. Pirate Radio and Jumping the River: The Williamsburg Loft Scene, 1997–2004 55 3. Art Galleries, Clubs, and Bohemian Cafés: The Williamsburg DIY, 2001–2006 100 Part II. Commercial DIY and the Last Underground Venues 4. A Point of Confluence: The Downtown Scene Comes to Zebulon, 2004–2006 145 5. A New Generation Emerges: Zebulon, 2005–2012 189 6. A Fractured Landscape: The Last Avant-Garde Music Spaces of Williamsburg, 2005–2014 228 Afterword. Art, Experiment, and Capital 263 Notes 271 Art Sources for the Williamsburg Avant-Garde 335 Bibliography 343 Index 367

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Book SynopsisDrawing on memoir, creative writing, theoretical analysis, and ethnography in Santo Domingo, Havana, and New Jersey, Carlos Ulises Decena examines transnational black Caribbean immigrant queer life and spirit.Table of ContentsGratitudes ix Part 0. Orígenes (Origins) Pensar Maricón (Faggotology): An Introduction 1 1. Re-membered Life: A Composition for Egun 23 Part I. Caminos 2. Bridge Crónica: A Triptych, with Elegguá 33 3. Experiencing the Evidence 57 Part II. Dos Puentes, Tránsitos 4. Loving Stones: A Transnational Patakí 81 5. ¡Santo! Repurposed Flesh and the Suspension of the Mirror in Santería Initiation 102 Part III. Trances 6. Indecent Conocimientos: A Suite Rasanblaj in Funny Keys 125 Epístola al Futuro/An Epistle to the Future 155 Notes 159 Bibliography 175 Index

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Book SynopsisMoon Charania explores feminine dispossession and the brown diaspora through a reflection on the life of her mother, recovering otherwise silenced modes of brown mothers' survival, disobedience and meaning-making that are often only lived out in invisible, intimate spaces.Trade Review“Moon Charania’s rearticulations of the now-sedimented tropes of nation, gender, and patriarchy are very moving. I found myself with an entirely new set of questions about my own theorizing, feminism, and prejudices in regard to not only decolonial and gender studies, but my family history as well. While Archive of Tongues is deeply personal, it productively unsettles what much of Western feminism continues to take for granted, if not reify, about women in the Global South, Pakistani women, brown women, and migrant women. This book will be so important to feminist, decolonial, and transnational thinkers and writers as a coming-of-age feminist diasporic perspective on grappling with gendered and raced intergenerational trauma and violence.” -- Jasbir K. Puar, author of * The Right to Maim: Debility, Capacity, Disability *“Archive of Tongues is lively, taut, and wickedly smart. Moon Charania unflinchingly guides the reader through biographical, anecdotal, and theoretical interventions. The stakes of her project are major: the reorientation and decolonization of knowledge. Making tangible the depth and instability of bodily/lived knowledge, this compelling book will contribute to psychoanalysis, critical ethnic studies, women of color feminisms, queer studies, and affect studies.” -- Amber Jamilla Musser, author of * Sensual Excess: Queer Femininity and Brown Jouissance *Table of ContentsPreface ix Gratitudes xv Prologue xxi Introduction. A Story on Tongues 1 1. Abject Tongues 27 2. Forked Tongues 63 3. Promiscuous Tongues 89 4. The Other End of the Tongue 122 Afterword 139 Notes 143 Bibliography 155 Index 163

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Book SynopsisLara Langer Cohen excavates the long history of the underground in nineteenth-century US literature, showing how these formations of the underground can inspire new forms of political resistance.Table of ContentsAcknowledgments vii Introduction: A Basement Shut Off and Forgotten during the Nineteenth Century 1 1. The “Blackness of Darkness” in Mammoth Cave 25 2. Early Black Radical Undergrounds 46 3. The Underground Railroad’s Undergrounds 74 4. The Depths of Astonishment: City Mysteries and Subterranean Unknowability 104 5. “To Drop beneath the Floors of the Outer World”: Paschal Beverly Randolph’s Occult Undergrounds 133 6. Subterranean Fire: Anarchist Visions of the Underground 166 Epilogue: Staying Underground 198 Notes 205 Bibliography 245 Index 267

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Book SynopsisIn Puta Life, Juana María Rodríguez probes the ways that sexual labor and Latina sexuality become visual phenomena. Drawing on state archives, illustrated biographies, documentary films, photojournalistic essays, graphic novels, and digital spaces, she focuses on the figure of the puta—the whore, that phantasmatic figure of Latinized feminine excess. Rodríguez’s eclectic archive features the faces and stories of women whose lives have been mediated by sex work''s stigmatization and criminalization—washerwomen and masked wrestlers, porn stars and sexiles. Rodríguez examines how visual tropes of racial and sexual deviance expose feminine subjects to misogyny and violence, attuning our gaze to how visual documentation shapes perceptions of sexual labor. Throughout this poignant and personal text, Rodríguez brings the language of affect and aesthetics to bear upon understandings of gender, age, race, sexuality, labor, disability,Trade Review"Puta Life is a rigorous and nuanced contribution to affirming sex workers’ lives. This is reason alone to read it. But I cherish Puta Life because it offered me a new way of sensing my mother’s painful past and my own history of abuse beyond exposure. Above all, Puta Life gifted me with a deep respect for all I can never know about other women’s lives." -- Elizabeth Hall * Full Stop *Table of ContentsAcknowledgments vii Introduction 1 Part I. Archival Encounters and Affective Traces: Visual Genealogies of Puta Life 1. Women in Public: Biopolitics, Portraiture, and Poetics 37 2. Colonial Echoes and Aesthetic Allure: Tracking the Genres of Puta Life 68 Part II. Visions, Voices, and Impressions Left Behind: Representing Puta Life 3. Carnal Knowledge, Interpretive Practices: Authorizing Vanessa del Rio 107 4. Touching Alterity: The Women of Casa Xochiquetzal 140 5. Seeing, Sensing, Feeling: Adela Vázquez’s Amazing Past 180 Epilogue: Toward a Conclusion That Does Not Die or a Subject That Is Allowed to Live 211 Notes 215 References 243 Index 259

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Book SynopsisIn Disappearing Rooms Michelle Castañeda lays bare the criminalization of race enacted every day in US immigration courts and detention centers. She uses a performance studies perspective to show how the theatrical concept of mise-en-scène offers new insights about immigration law and the absurdist dynamics of carceral space. Castañeda draws upon her experiences in immigration trials as an interpreter and courtroom companion to analyze the scenography—lighting, staging, framing, gesture, speech, and choreography—of specific rooms within the immigration enforcement system. Castañeda’s ethnographies of proceedings in a “removal” office in New York City, a detention center courtroom in Texas, and an asylum office in the Northeast reveal the depersonalizing violence enacted in immigration law through its embodied, ritualistic, and affective components. She shows how the creative practices of detained and disappeared people liTrade Review"The book … is a quintessential one in times of increasing hatred towards immigrants. This timely book will help the reader understand the intensity of immigration crises and the need for the growth of a humanitarian world than a world with borders." -- T.S. Gangothri * Social Identities *Table of ContentsAcknowledgments ix Introduction 1 1. Removal Room: Disappearance and the Practice of Accompaniment 19 2. The Prison-Courtroom: No-Show Justice in Family Detention 56 3. Bring Me the Room: Tragic Recognition and the Right Not to Tell Your Story 91 Coda 129 Notes 135 References 159 Index 177

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Book SynopsisIn The Latinx Guide to Graduate School Genevieve Negrón-Gonzales and Magdalena L. Barrera provide prospective and current Latinx graduate students in the humanities and social sciences fields with a roadmap for surviving and thriving in advanced-degree programs. They document the unwritten rules of graduate education that impact Latinx students, demystifying and clarifying the essential requirements for navigating graduate school that Latinx students may not know because they are often the first in their families to walk that path. Topics range from identifying the purpose of graduate research, finding the right program, and putting together a strong application to developing a graduate student identity, cultivating professional and personal relationships, and mapping out a post--graduate school career. The book also includes resources for undocumented students. Equal parts how-to guide, personal reflection, manifesto, and academic musing, this book gives a culturally resonant perspective that speaks to the unique Latinx graduate student experience.Table of ContentsAcknowledgments xi Introduction: You Thought You Were Buying a How-to Book but Ended Up Getting a Love Letter, Manifesto, and Flashlight 1 1. To Grad School or Not to Grad School? 23 2. Learning to Be a Grad Student 59 3. Essential Skills in Graduate School 77 4. Unwritten Rules of the Academy: Navigating the Gray Area 121 5. Navigating Professional Relationships in Graduate School 145 6. Navigating Personal Relationships in Graduate School 180 7. Life after Graduate School 205 Conclusion: Five Mandamientos for Remaking the Academy 224 UndocuGrads: Undocumeneted and Applying to Grad School (FAQs) / Carolina Valdivia 229 Glossary of Terms 233 Notes 237 Bibliography 243 Index 253

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Book SynopsisIn Strolling in the Ruins Faith Smith engages with a period in the history of the Anglophone Caribbean often overlooked as nondescript, quiet, and embarrassingly pro-imperial within the larger narrative of Jamaican and Trinidadian nationalism. Between the 1865 Morant Bay Rebellion and World War I, British imperialism was taken for granted among both elites and ordinary people, while nationalist discourses would not begin to shape political imagination in the West Indies for decades. Smith argues that this moment, far from being uneventful, disrupts the inevitability of nationhood in the mid-twentieth century and anticipates the Caribbean’s present-day relationship to global power. Smith assembles and analyzes a diverse set of texts, from Carnival songs, poems, and novels to newspapers, photographs, and gardens, to examine theoretical and literary-historiographic questions concerning time and temporality, empire and diaspora, immigration and indigeneity, gender and the poliTable of ContentsAcknowledgments ix Introduction. Introducing a Quiet Period 1 1. Cuba, South Africa, and the Anglophone Caribbean’s New Imperial Century 33 2. Ruination’s Intimate Architecture 68 3. Photography’s “Typical Negro” 118 4. Plotting Inheritance 144 Coda 186 Notes 191 Bibliography 229 Index 257

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Book SynopsisIn Trafficking in Antiblackness Lyndsey P. Beutin analyzes how campaigns to end human trafficking—often described as “modern-day slavery”—invoke the memory of transatlantic slavery to support positions ultimately grounded in antiblackness. Drawing on contemporary antitrafficking visual culture and media discourse, she shows how a constellation of media, philanthropic, NGO, and government actors invested in ending human trafficking repurpose the history of transatlantic slavery and abolition in ways that undermine contemporary struggles for racial justice and slavery reparations. The recurring narratives, images, and figures such as “slavery in Africa,” “Arab slave traders,” and “Black incapacity for self-governance” discursively turn Black people across the diaspora into the enslavers of the past and present in place of white Americans and Europeans. Doing so, Beutin contends, creates a rhetorical defense against beingTable of ContentsAcknowledgments ix Introduction 1 1. Reparations and the Rise of Antitrafficking Discourse 31 2. Blaming Black Mothers 61 Interlude: #FreeCyntoiaBrown 93 3. When Slavery’s Not Black 101 4. Deceptive Empiricism 133 Interlude: #Charlottesville 165 5. History Is Antiblackness 173 Afterword 193 Notes 197 Bibliography 237 Index 257

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Book SynopsisIn Insignificant Things Matthew Francis Rarey traces the history of the African-associated amulets that enslaved and other marginalized people carried as tools of survival in the Black Atlantic world from the seventeenth to the nineteenth centuries. Often considered visually benign by white Europeans, these amulet pouches, commonly known as “mandingas,” were used across Africa, Brazil, and Portugal and contained myriad objects, from herbs and Islamic prayers to shells and coins. Drawing on Arabic-language narratives from the West African Sahel, the archives of the Portuguese Inquisition, sixteenth- and seventeenth-century European travel and merchant accounts of the West African Coast, and early nineteenth-century Brazilian police records, Rarey shows how mandingas functioned as portable archives of their makers’ experiences of enslavement, displacement, and diaspora. He presents them as examples of the visual culture of enslavement and critical to conceptualizTable of ContentsAcknowledgments ix Introduction. Significance, Survival, and Silence 1 1. Labels 31 2. Contents 72 3. Markings 124 4. Revolts 171 Epilogue 208 Notes 217 Works Cited 249 Index 275

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Book SynopsisIn Poetic Operations artist and theorist micha cárdenas considers contemporary digital media, artwork, and poetry in order to articulate trans of color strategies for safety and survival. Drawing on decolonial theory, women of color feminism, media theory, and queer of color critique, cárdenas develops a method she calls algorithmic analysis. Understanding algorithms as sets of instructions designed to perform specific tasks (like a recipe), she breaks them into their component parts, called operations. By focusing on these operations, cárdenas identifies how trans and gender-non-conforming artists, especially artists of color, rewrite algorithms to counter violence and develop strategies for liberation. In her analyses of Giuseppe Campuzano''s holographic art, Esdras Parra''s and Kai Cheng Thom''s poetry, Mattie Brice''s digital games, Janelle Monáe''s music videos, and her own artistic practice, cárdenas shows how algorithmic analysis provideTrade Review“In this beautifully written book, micha cárdenas directs us to look at how the algorithm, as analytic and praxis, holds the possibility of trans of color survival. Deftly moving across numerous geographies, texts, and fields of inquiry, Poetic Operations is a bold contribution to trans of color studies.” -- C. Riley Snorton, author of * Black on Both Sides: A Racial History of Trans Identity *“micha cárdenas’s powerful new work extends intersectionality as a mode for understanding the relationships between race, class, gender identity, sexual orientation, disability, and other axes of power, oppression, and resistance. Doing important theoretical and analytical work in its analysis of trans of color media arts practice, Poetic Operations will be useful for those working in media studies, digital studies, trans studies, and art history, as well as anyone interested in interrogating power.” -- Sasha Costanza-Chock, author of * Design Justice: Community-Led Practices to Build the Worlds We Need *"Poetic Operations is arguably the first major academic work to deal with the subject matter in such detail. How cárdenas uses the term will likely become the standard by which other engagements with the term are measured.” -- Sofie Vlaad * Journal of Critical Race Inquiry *“Importantly, this book models theory developed from and for trans of color existence and models how scholars must critically reflect on how our theories have ramifications for people’s lives. . . . Poetic Operations provides methods for analysis and design that invite exciting and innovative projects that engage in decolonial trans of color survival and celebration.” -- Shano (Hongyuan) Liang and Michael Anthony DeAnda * Lateral *“cárdenas explores digital media, speculative design and technology, performance and visual arts, coding, activism, theory, games, and poetry across the geographies of the Americas and beyond, along with a deep self-reflective engagement with her own practice-based projects. . . . Centering Black, Indigenous, Latinx trans and travesti voices, PoeticOperations offers critical approaches to deploy digital technologies for decolonial futures.” -- Nishant Upadhyay * American Quarterly *"Poetic Operations is a clear, well-written, and creative first- and third-person account of trans of color existence in written, digital, and performed avenues of praxis. Ultimately, cárdenas provides a useful model of algorithms, exposing this tool as a survival method used by trans people for centuries and how it continues to prevent violence and provide safety and security for contemporary communities everywhere." -- Riana Slyter * Women's Studies in Communication *Table of ContentsAcknowledgments ix Introduction. Algorithmic Analysis 1 1. Trans of Color Poetics 26 2. The Decolonial Cut 43 3. The Shift 72 4. The Experience of Shifting 96 5. The Stitch 129 Conclusion. Visionary Trans of Color Futures 167 Notes 179 Bibliography 203 Index 213

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Book SynopsisNicole Charles frames the refusal of Afro-Barbadians to immunize their daughters with the HPV vaccine as suspicion, showing that this suspicion is based in concrete histories of government mistrust and coercive medical practices on colonized peoples.Trade Review“Suspicion is a compellingly written and superlatively theorized ethnography of public health, affect, and the persistence of racism in the Caribbean. Nicole Charles uses suspicion to understand the logic behind Black parents' decisions about whether to give their children vaccines, showing that their decisions are rooted not in ignorance and irrationality but within long histories of racial and sexual injury as well as hierarchies related to race, class, color, education, and authority. This is quite simply a remarkable book.” -- Deborah A. Thomas, author of * Political Life in the Wake of the Plantation: Sovereignty, Witnessing, Repair *“In this empirically rich account of HPV vaccine promotion and refusal in Barbados, Nicole Charles depathologizes and unsettles conventional understandings of vaccine hesitancy through the urgent conceptual framework of suspicion. Deeply informed by and contributing to plural interdisciplinary conversations in Black feminisms, transnational gender studies, science and technology studies, and the history and anthropology of the Caribbean, Charles listens closely to insightful interlocutors in Barbados to illuminate the embodied affective intensity of contemporary vaccine politics.” -- Anne Pollock, author of * Synthesizing Hope: Matter, Knowledge, and Place in South African Drug Discovery *"Charles provides us with a thoroughly researched examination of an important subject at a time when such research is urgently needed in the face of a deadly pandemic. She shows us that parents in Barbados are motivated by genuine fears regarding the health of their children, and reasonable suspicion about the motivations of the state, and of vaccine manufacturers. That is significant for understanding how black Caribbean people evaluate technologies that affect health." -- F.S.J. Ledgister * Caribbean Quarterly *"This interesting, theoretically engaging book explores vaccine hesitancy among adolescents and young women in the English-speaking Caribbean nation of Barbados. Feminist scholars, medical anthropologists, and health-care professionals in the Caribbean and other postcolonial settings will benefit greatly from exposure to the ideas outlined in this book. Highly recommended. Lower- and upper-division undergraduates. Graduate students, faculty, and professionals. General readers." -- F. H. Smith * Choice *“Suspicion is a richly documented and theoretically ambitious ethnography of HPV vaccination hesitancy in Barbados. . . . Charles persuasively shows that Barbadians’ suspicion toward the HPV vaccination should be taken seriously, as it constitutes a productive tool for social and cultural analysis. . . . [Suspicion] is a theoretically sophisticated book that charts new territory within the literature.” -- Cristina A. Pop * Gender & Society *“This remarkable book . . . makes an important contribution to international scholarship on vaccine hesitancy, linking personal and familial decision-making in Barbados with transnational economic trends, national health and economic policies, and local embodied experiences of postcoloniality. . . . Suspicion offers a necessary correction to current received wisdom about some people’s deeply felt discomfort about vaccines, which inevitably links vaccine hesitancy with irrationality and misinformation.” -- Bernice L. Hausman * Journal of Medical Humanities *“Although numerous studies have been undertaken on vaccine confidence and its social regulators, there has rarely been a work published in this area that provides such depth of feeling to the voiced concerns of a specific community. . . . The result is a beautifully rich understanding of the complexity of human decision-making and a recognition that, at least in the case of Afro-Barbadians, ‘suspicion’ is a far more apt description of collective vaccine response than ‘hesitancy.’” -- Paula Larsson * H-Sci-Med-Tech, H-Net Reviews *Table of ContentsAcknowledgments ix Suspicion: An Introduction 1 1. Circles of Suspicion 24 2. Risk and Suspicion: An Archive of Surveillance and Racialized Biopolitics in Barbados 45 3. (Hyper)Sexuality, Respectability, and the Language of Suspicion 66 4. Care, Embodiment, and Sensed Protection 94 5. Suspicion and Certainty 115 Conclusion: Toward Radical Care 148 Notes 155 Bibliography 175 Index 191

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Book SynopsisMarlon B. Ross explores the figure of the sissy as central to how Americans have imagined, articulated, and negotiated black masculinity from the 1880s to the present.Trade Review“In this remarkable work of African American intellectual history, Marlon B. Ross refuses to allow the sloppy modes of thought that have us tripping over the distinction between gender conduct and sexual orientation. He is vigilant about the matter of maintaining a distinction between the sissy and the homosexual. This long-overdue study will have a very large impact on queer studies, masculinity studies, and African American studies.” -- Robert F. Reid-Pharr, author of * Archives of Flesh: African America, Spain, and Post-humanist Critique *“Sissy Insurgencies is a model of careful historical and literary analysis from a scholar who has made an indelible mark on masculinity studies, black studies, and queer of color critique. Ambitious and far reaching in scope, this book is a stunning work of sissy insurgent genius.” -- C. Riley Snorton, author of * Black on Both Sides: A Racial History of Trans Identity *"Including considerations of and references to works by Richard Wright, Langston Hughes, and Amiri Baraka, among others, Sissy Insurgencies is as much a provocative literary study of African-American fiction and autobiography as it is an examination of the role of the sissy in Black and mainstream American culture." -- Reginald Harris * Gay and Lesbian Review *Table of ContentsPreamble. Sissies Everywhere ix 1. Can the Sissy Be Insurgent? 1 2. Sissy Housekeeping: Cleanliness, Gender Dissonance, and the Spoils of Political Patronage at Washington's Tuskegee 51 3. Un/fit Manliness: Evading Masculine Brutality in James Weldon Johnson's Sissy Narratives 111 4. Baldwin's Sissy Heroics 165 5. Sissy but Not Gay: Anatomy of the Post-Civil Rights Straight Black Sissy 233 6. Gay but Not Sissy: Race and the Queering of the Professional Athlete 283 Postscript. Whatever Happened or Will Happen to the Sissy-Boy? 343 Notes 349 Bibliography 403 Index 433

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Book SynopsisAlexandra T. Vazquez listens to the music and history of Miami to explore the city's sonic cultures and its material and social realities.Trade Review“Alexandra T. Vazquez’s bold, brilliant, and refreshingly unconventional meditation on sonic placemaking in Florida is fearless and groundbreaking. Compressing the deep, wide, and volatile politics and poetics of the global South into a focused exploration of the “Sunshine State,” The Florida Room reminds readers of what daring, innovative, and challenging theory looks and sounds like. This luminous book opens up our notions of what counts as theory as well as who gets identified as theorists.” -- Daphne A. Brooks, author of * Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound *“Not only does The Florida Room come to us at just the right time in the history of Miami cultures, it arrives from a scholar who is a great interpreter of the interplay between music, performance, and the social. Alexandra T. Vazquez amasses an archive of fascinating materials, listens to them in every sense for what they say about themselves and that which circulates around them, and accounts for that creativity and thought in prose that is virtuosic and open to surprises. This singular book is a true gift.” -- Antonio López, author of * Unbecoming Blackness: The Diaspora Cultures of Afro-Cuban America *"As Vazquez identifies unexpected resonances and collaborations—snaking her way through singer Betty Wright, the Indigenous rock group Tiger Tiger, and Miami bass’s Luke Skyywalker Records—her prose is lively and darting, as if refusing to let a central narrative congeal. It's a loving and rich account of somewhere that exists both in real life and the imagination, too abundant to be contained." -- Cat Zhang * PItchfork, Best Music Books of 2022 *Table of ContentsPreface. Head for the Beach ix 1. The Florida Room 1 2. Miami from the Spoils 46 3. Drums Take Time 81 4. Bass is the Place 117 Afterword 156 Acknowledgments 159 Notes 165 Bibliography 203 Index 215

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Book SynopsisMary Pat Brady traces the figure of the captive and cast-off child over 150 years of Latinx/Chicanx literature as a critique of colonial modernity and the forms of confinement that underpin racialized citizenship.Trade Review“With its equally lyrical and incisive political commentary, Scales of Captivity rigorously explores how the (re)production of the US settler colonial racial state depends upon both a monopoly on violence and a monopoly on movement. It makes a crucial, timely, and pathbreaking intervention into literary and cultural studies, immigration studies, political geography, and ethnic, gender, and sexuality studies.” -- Kirstie A. Dorr, author of * On Site, In Sound: Performance Geographies in América Latina *“Mary Pat Brady has written a multilayered, bracing study with deep historical roots and startling contemporary resonance. She reanimates questions of citizenship and exclusion at the heart of Chicanx/Latinx studies, while simultaneously uncovering the inextricability of childhood, queer politics, and acts of witnessing. Brilliantly argued and compellingly written, this stellar work is the guidebook we desperately need to make sense of endlessly shifting borders and boundaries.” -- Richard T. Rodríguez, author of * Next of Kin: The Family in Chicano/a Cultural Politics *“As ambitious as it is thorough, Scales of Captivity scours over 150 years of philosophical, political, and literary history, supplying the reader with fascinating and pertinent insights into the creation and maintenance of the complex racial/social hierarchies that currently exist throughout the US-Mexican border complex. . . . The counter-theories that Brady offers to combat these systems of oppression are even more provocative, making it a must read for anyone seriously interested in border issues.” -- Chandler R. Thompson * Arizona Journal of Hispanic Cultural Studies *"Scholars of western American literature will find in Scales of Captivity a historically aware sketch of 175 years of the central role of capture in building Spanish/Mexican/US sovereignty in the West, as well as nuanced close readings of a broad selection of Latine cultural production situated in the region—which, Brady’s analyses remind us, has always been many regions." -- Sarah J. Ropp * Western American Literature *Table of ContentsAcknowledgments ix Introduction. The Scalar Lien 1 1. Captivating Ties: On Children without Childhoods 37 2. Plausible Deniability: Pursuing the Traces of Captivity 79 3. Submerged Captivities: Moving toward Queer Horizontality 119 4. N + 1: Sex and the Hypervisible (Invisible) Migrant 153 5. Misplaced: Peopling a Deportation Imaginary 197 Conclusion. Density's Resistance to Scale 239 Notes 249 Bibliography 275 Index 293

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Book SynopsisTodd Carmody explores how the idea that work is inherently meaningful was reinforced and tasked to those who lived on the margins and needed assistance during nineteenth-century America.Trade Review"Work Requirements is a creative, persuasive, and well-crafted analysis of the representational labor undergirding our “work society”. It is essential reading for anyone seeking to contest this mode of social organization." -- Karen M. Tani * International Journal of Social History *Table of ContentsIntroduction. Signs Taken for Work 1 1. The Pensioner’s Claim 33 2. The Beggar’s Case 74 3. The Work of the Image 119 4. Institutional Rhythms 172 Coda. Remaking Reciprocity 214 Acknowledgments 221 Notes 225 Bibliography 289 Index 315

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Book SynopsisThe contributors to this volume examine the artistic practice of Consuelo Jimenez Underwood, whose innovative art and urgent engagement with a range of pressing contemporary issues mark her as one of the most vital artists of our time.Trade Review"With the publication of the important book . . . art lovers are treated to a full account of the life, creative processes, vision, and accomplishments of a great Latina artist. . . . The editors . . . have greatly enhanced our knowledge of an important American artist of craft and fine arts." -- Ricardo Romo * Latinos in America *"It is a joy to see Jimenez Underwood’s work as a teacher addressed and to read about her influence on students. Essays are supported by excellent images and a strong introduction. A significant notes section points to additional research. This excellent resource will be good for courses that expand on the understandings of textile art and art history. Recommended. Upper-division undergraduates through faculty; professionals." -- L. L. Kriner * Choice *Table of ContentsList of Illustrations xi Preface. The Art of Necessity / Luis Valdez xv Acknowledgments xvii Introduction / Laura E. Pérez and Ann Marie Leimer 1 I. Spinning—Making Thread 1. The Hands of Consuelo Jimenez Underwood: A Filmmaker's Reflections / Carol Sauvion 25 2. Charged Objects: The Multivalent Fiber Art of Consuelo Jimenez Underwood / Christine Laffer 35 II. Weaving—Hand Work 3. History/Whose-Story? Postcoloniality and Contemporary Chicana Art / Constance Cortez 53 4. A Tear in the Curtain: Hilos y Cultura in the Art of Consuelo Jimenez Underwood / Amalia Mesa-Bains 71 5. Prayers for the Planet: Reweaving the Natural and the Social—Consuelo Jimenez Underwood's Welcome to Flower-Landia / Laura E. Pérez 80 6. Consuelo Jimenez Underwood: Welcome to Flower-Landia / María Ester Fernández 91 7. Between the Lines: Documenting Consuelo Jimenez Underwood's Fiber Pathways / Emily Zaiden 100 8. Flags, the Sacred, and a Different America in Consuelo Jimenez Underwood's Fiber Art / Clara Román-Odio 111 9. Garments for the Goddess of the Américas: The American Dress Triptych / Ann Marie Leimer 123 10. Space, Place, and Belonging in Borderlines: Countermapping in the Art of Consuelo Jimenez Underwood / Karen Mary Davalos 142 11. Decolonizing Aesthetics in Mexican and Xicana Fiber Art: The Art of Consuelo Jimenez Underwood and Georgina Santos / Cristina Serna 161 12. Reading Our Mothers: Decolonization and Cultural Identity in Consuelo Jimenez Underwood's Rebozos for Our Mothers / Carmen Febles 181 13. Weaving Water: Toward an Indigenous Method of Self- and Community Care / Jenell Navarro 198 III. Off the Loom—Into the World 14. Consuelo Jimenez Underwood: Artist, Educator, and Advocate / Robert Milnes 221 15. Being Chicanx Studies: Lessons for Racial Justice from the Work and Life of Consuelo Jimenez Underwood / Marcus Pizarro 239 16. Blue Río Tapestries / Verónica Reyes 244 Notes 261 Bibliography 290 Contributors 304 Index 311

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Book SynopsisKaysha Corinealdi traces the multigenerational activism of Afro-Caribbean Panamanians as they forged diasporic communities in Panama and the United States throughout the twentieth century.Trade Review"A widely appealing and valuable addition to diaspora studies, Central American and Caribbean historiography, and scholarly understandings of how individuals and groups navigate belonging in and beyond the nation." -- Elizabeth Manley * The Americas *"Panama in Black uncovers the complexities of Afro-Caribbean Panamanian identity across class, gender, and generational lines. Corinealdi’s account of Afro-diasporic world making reveals an ongoing practice in which Afro-Caribbean migrants shaped ideas of citizenship on the isthmus and throughout the Americas. As a result, this book is essential reading for those interested in the history of Caribbean migrations, the African diaspora, the Canal Zone, Panamanian nation formation, and citizenship in Latin America." -- Takkara Brunson * H-Caribbean *"Panama in Black demonstrates some of the reasons researchers, including myself, were drawn to these immigrants and their descendants. . . . I salute Kaysha Corinealdi for this latest addition to the bookshelf and look forward to more." -- Michael Conniff * ReVista *Table of ContentsList of Abbreviations ix Acknowledgments xi Introduction. Legacies of Exclusion and Afro-Caribbean Diasporic World Making 1 1. Panama as Diaspora: Documenting Afro-Caribbean Panamanian Histories, 1928–1936 29 2. Activist Formations: Fighting for Citizenship Rights and Forging Afro-Diasporic Alliances, 1940–1950 57 3. Todo por la Patria: Diplomacy, Anticommunism, and the Rhetoric of Assimilation, 1950–1954 93 4. To Be Panamanian: The Canal Zone, Nationalist Sacrifices, and the Price of Citizenship, 1954–1961 122 5. Panama in New York: Las Servidoras and Engendering an Educated Black Diaspora, 1953–1970 150 Conclusion. Afro-Caribbean Panamanians and the Future of Diasporic World Making 180 Notes 195 Bibliography 233 Index 253

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Book SynopsisIn Violent Utopia Jovan Scott Lewis retells the history and afterlife of the 1921 Tulsa race massacre, from the post-Reconstruction migration of Black people to Oklahoma Indian Territory to contemporary efforts to rebuild Black prosperity. He focuses on how the massacre in Tulsa’s Greenwood neighborhood—colloquially known as Black Wall Street—curtailed the freedom built there. Rather than framing the massacre as a one-off event, Lewis places it in a larger historical and social context of widespread patterns of anti-Black racism, segregation, and dispossession in Tulsa and beyond. He shows how the processes that led to the massacre, subsequent urban renewal, and intergenerational poverty shored up by nonprofits constitute a form of continuous slow violence. Now, in their attempts to redevelop resources for self-determination, Black Tulsans must reconcile a double inheritance: the massacre’s violence and the historical freedom and prosperity that GreenwoodTrade Review"Violent Utopia’s findings shed a searching light on Oklahoman history but are not limited to or by it. Whilst humble enough to only define itself as a ‘minor contribution’ to the reparations movement, Violent Utopia’s great strength is an analytical dexterity that studiously balances the dialectical dance of anti-Black violence and Black freedom dreams." -- Thomas Cryer * LSE Review of Books *“This thought-provoking book is worth reading. It shows that much can be learned from studying Black communities from a critical race perspective.” -- Robert L. Boyd * Ethnic and Racial Studies *"Skillfully incorporates the tools of geography, ethnography, and history to investigate issues surrounding reparations and what they might accomplish for the African American community. . . . Highly recommended. Graduate students, faculty, and professionals." * Choice *"Lewis's Violent Utopia offers a fresh and nuanced perspective on the 1921 Tulsa Race Massacre and its legacies. ... The book is a stellar ethnohistorical model for scholars." -- Jajuan Johnson * Journal of Southern History *Table of ContentsAcknowledgments ix Introduction 1 1. Violence 21 2. Inheritance 55 3. Restoration 93 4. Repair 131 5. Territory 174 Conclusion 210 Notes 223 Bibliography 239 Index 251

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Book SynopsisIn A Kiss across the Ocean Richard T. Rodríguez examines the relationship between British post-punk musicians and their Latinx audiences in the United States since the 1980s. Melding memoir with cultural criticism, Rodríguez spotlights a host of influential bands and performers including Siouxsie and the Banshees, Adam Ant, Bauhaus, Soft Cell, Frankie Goes to Hollywood, and Pet Shop Boys. He recounts these bands’ importance for him and other Latinx kids and discusses their frequent identification with these bands’ glamorous performance of difference. Whether it was Siouxsie Sioux drawing inspiration from Latinx contemporaries and cultural practices or how Soft Cell singer Marc Almond’s lyrics were attuned to the vibrancy of queer Latinidad, Rodríguez shows how Latinx culture helped shape British post-punk. He traces the fandom networks that link these groups across space and time to illuminate how popular music establishes and facilitates iTrade Review"This at-once scholarly and personal book is a moving tribute to the escapism and comfort that music can give to the most marginalized members of society: Rodríguez provides well-researched analysis of the influences on and of post-punk bands, in realms from racial politics to ethnic cultural dynamics, and also writes of his own experiences as a young fan searching for belonging. Rodríguez’s book successfully balances an intellectual understanding of the cultural ramifications of post-punk music with poignant and alluring background stories, appealing to scholars and fans alike." -- Lisa Henry * Library Journal *"In this part-memoir, part-ethnography of England and SoCal in the 1980s, author Rodríguez, a professor of media and cultural studies and English at UC Riverside, investigates what binds these two seemingly disparate cultures. Starting with his own tween-age fandom of Boy George and the Culture Club, Rodríguez plumbs the depths of the passionate, sometimes tainted love affair between British post-punks and the Latinos who worship at their altar." -- Suzy Exposito * Los Angeles Times *"Extremely well written and researched the book is a fantastic exploration into the wider reaches of UK post-punk and compulsive reading for those with an interest in subculture studies and the post-punk scene itself." -- Lee Powell * Vive Le Rock *"Rodríguez could’ve easily ripped into a press corps that still largely thinks Latinos only listen to Spanish-language music backed by either accordions or congas. He does critique them but limits the bile in favor of a warm, poignant memoir-analysis, which he writes is 'animated by a deep investigative labor propelled by fannish investment.'" -- GustavoArellano * Los Angeles Times *"An intriguing study of how music builds connections between different communities, and how pop desire translates over time and space." -- Rob Sheffield * Rolling Stone *"Ultimately, Rodriguez’s book is a tribute to the music that not only provided a soundtrack to his teenage years but also enabled him to navigate his way through the thorny questions of identity." -- Gilbert Garcia * San Antonio Express-News *"Tender, wry, delicate, and rich, A Kiss across the Ocean is a love letter to the theatrically potent musical and visual gestures of the artists and bands of the British postpunk scene that made a difference in the mid-1980s and continue to do so today, even when people may have forgotten some of the bands’ names." -- Caridad Svich * Theatre Survey *"In seven short chapters, the author’s intertwining of autobiography and a deeply researched history is a winning approach for articulating the equally intertwined friendships, influence and politics of British post-punk and Latin American cultures." -- Maria Elena Buszek * Punk & Post-Punk *"The book is valuable in furthering a grasp of the deeply nuanced cultural hybridity, orientation and style sensibilities that have informed U.S. Latinx life from its very beginnings, and how this community has in turn been pivotal in determining artistic output beyond our borders and into the mainstream. . . . , Rodriguez opens up vistas from personal experience and lifelong research to chart dizzying connections across fandom, fantasy and friendships, showing influences from Latinos on both U.S. coasts on recording artists who received and processed Latinx culture in tandem with their trans-Atlantic careers." -- Benjamin Ortiz * New Lines Magazine *Table of ContentsAcknowledgments ix A Kiss Across the Ocean: An Introduction 1 1. Red over White 27 2. Touching Prince Charming 48 3. Darker Entries 67 4. The Shining Sinners 85 5. Zoot Suits and Secondhand Knowledge 104 6. Mexican Americanos 128 7. Latin/o American Party 147 Conclusion. Dedicated to the One I Love 164 Notes 175 References 207 Index 231

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Book SynopsisIn Feels Right Kemi Adeyemi presents an ethnography of how black queer women in Chicago use dance to assert their physical and affective rights to the city. Adeyemi stages the book in queer dance parties in gentrifying neighborhoods, where good feelings are good business. But feeling good is elusive for black queer women whose nightlives are undercut by white people, heterosexuality, neoliberal capitalism, burnout, and other buzzkills. Adeyemi documents how black queer women respond to these conditions: how they destroy DJ booths, argue with one another, dance slowly, and stop partying altogether. Their practices complicate our expectations that life at night, on the queer dance floor, or among black queer community simply feels good. Adeyemi’s framework of “feeling right” instead offers a closer, kinesthetic look at how black queer women adroitly manage feeling itself as a complex right they should be afforded in cities that violently structure their movementsTrade Review“Adeyemi’s rich ethnographic observations on Black queer women’s parties in Chicago demonstrate why the dance floor is much more than just a utopian promise of happiness within a hostile socio-political environment. . . . Through dancing and choreography, queerness is not only performed but also learned and experienced by people who may not have encountered it before.” -- Yener Bayramoglu * Ethnic and Racial Studies *"What is innovative about Adeyemi’s text ... is that she carves out a scholarly field that reflects her interest in queer nightlife in the most expansive definition of the phrase. ... Feels Right is a political project that aims to drive many Black queer women to return to nightlife even if their pleasure is contested on the dance floor and in the city." -- Marietta Kosma * European Journal of American Studies *Table of ContentsPreface ix Acknowledgments xiii Introduction 1 1. Slo ‘Mo and the Pace of Black Queer Life 39 2. Where’s the Joy in Accountability? Black Joy at Its Limits 62 3. Ordinary E N E R G Y 96 Conclusion: An Oral History of the Future of Burnout 120 Notes 143 Bibliography 159 Index 171

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Book SynopsisAnaLouise Keating provides a comprehensive investigation of the foundational theories, methods, and philosophies of Gloria E. Anzaldúa.Table of ContentsGiving Thanks xi Introduction: Writing (About) Anzaldúa, Introducing This Book 1 I. Prelude to Theorizing: Contexts and Methods 13 1. Risking the Personal, Redux: A Biographical-Intellectual Sketch 15 2. Writing as Ritual, Habit, Mission, Partner, and Joy: Anzaldúa’s Writing Process 46 3. How the Theories Emerged: Haciendo Teorías Con Gloria 64 II. The Theories Themselves 77 How to Read Part II 80 4. Eighteen Anzaldúan Theories 81 III. Excavating the Future: The Archives and Beyond 211 5. The Gloria Evangelina Anzaldúa Papers: Creation Story, Treasure Map, and More 213 6. Anzaldúa’s Archival Manuscripts: Overview, Insights, Annotations 225 Postscript: Working with Anzaldúa and Her Theories 303 Notes 309 References 319 Index 323

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Book SynopsisWhen the Smoke Cleared contains poetry written by incarcerated poets in Attica Prison and journal entries and poetry by Celes Tisdale, who led poetry workshops following the uprising there in 1971.Trade Review"When the Smoke Cleared . . . beautifully documents what it means to bear witness while teaching, and the great responsibility that comes with ushering voices from the inside of prison walls to the outside. . . . When the Smoke Cleared is a time capsule of the sharp minds, open hearts, and courageous souls of men brutalized by the United States criminal justice system." -- Malcolm Tariq * PEN America *"When the Smoke Cleared . . . reveals a great deal about survival in the wake of state violence and about the uses of prison education. . . . Supporting efforts like Tisdale’s are important, not because they reform the institution, but because they can aid incarcerated people in building inside-outside relations and solidaristic organizing across facilities." -- Elias Rodriques * Dissent *"Among the many strengths of this anthology is a blunt acknowledgment of the uprising as part of much larger historical mechanisms: namely, the last gasps of the civil rights movement and the nation’s violent reaction to Black liberation. . . . The poems serve as a bulwark against the forgetting of the Attica uprising itself, but they also document the inner life and creative expression of the incarcerated—making for a visceral and intimate argument in favor of prison abolition." -- J. Howard Rosier * The Nation *"A riveting contribution to contemporary literary history and recent social histories of the uprising. This volume poses far-reaching questions about prisons as sites of cultural production and the mobilization of Black political subjectivity at the beginning of what we now call the age of mass incarceration." -- David Sherman * Los Angeles Review of Books *"A valuable glimpse into the beginnings of prison and justice writing programs in the US, especially ones focused on the African American experience, as well as a reminder of the historical and continued importance of such workshops in transforming the US carceral system." -- Timothy Bradford * World Literature Today *Table of ContentsPreface ix Introduction: Celes Tisdale’s Poetry Workshop at Attica / Mark Nowak 1 Introduction to the Original Printing of Betcha Ain’t: Poems from Attica (Detroit: Broadside Press, 1974 / Celes Tisdale 25 Betcha Ain’t: Poems from Attica 29 Celes Tisdale’s Attica Poem and Journals 71 When the Smoke Cleared: More Poems from Attica 103 Epilogue: Remember This 133 Acknowledgments 135 Appendix: Workshop Documents 137

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Book SynopsisAin't But a Few of Us presents over two dozen candid dialogues with Black jazz critics and journalists who discuss the barriers to access for Black jazz critics and how they contend with the world of jazz writing dominated by white men.Trade Review"With the conductive virtuosity of Butch Morris, Jenkins . . . assembles an impressive paean to the Black writers who’ve dedicated their lives to capturing in language what jazz musicians conjure in a split second. With more than two dozen thoughtful profiles, this is a fascinating dive into the sociopolitical realities of being a Black writer—in this case, Black writers who love jazz and express that love in vivid prose. . . . A memorable love letter to Black art, Black joy, and the writers who have sought to tell it like it really is." * Kirkus Reviews *"A modern, fresh collection of interviews. . . . A triumphantly panoramic view of the visceral experience of Black jazz journalists and those who choose to cover the music successfully, by being published widely and regularly throughout their careers." -- Jordannah Elizabeth * New York Amsterdam News *"The spectrum of vibrant Black voices in Ain’t But a Few of Us is broad, relaying their experiences in the trenches of the jazz media field—from cub reporters to trailblazers.. . . . The book serves as a testament to the experiences of a rare few, proof-positive that Black writers and editors are not alone." -- Ayana Contreras * Downbeat *"To say that this book is an essential read is an understatement. It is essential not only to enjoy the eloquence and grace of the writing, the depth of knowledge, expertise and experience of these writers, but because things must change. Jazz needs more black voices. The world needs more black voices." -- Fiona Ross * Kind of Jazz *"For jazz buffs and those interested in American culture, this is a spellbinding read and quite impossible to put down. This is an open invitation for the curious wanting an aural adventure." -- Robert Fleming * African American Literature Book Club *"The importance of Willard’s new book Ain’t But A Few of Us cannot be underestimated. A collection of journeys – lived experiences – from the voices of 49 truly inspirational black writers. It is groundbreaking for many reasons. Groundbreaking because never before has the lack of black jazz journalists been documented. Groundbreaking because never before has such an inspirational collection of writers been given a platform to share their experiences. Willard has given a long overdue platform to incredible voices." -- Fiona Ross * Jazz in Europe *"Revelatory, inspiring, passionate, damning and sobering." -- Raymond Cummings * The Wire *"Ain't But a Few of Us should be considered required reading for high school and college students, particularly those pursuing careers in music or journalism. . . . For students, each writer offers a personal history of their lives with shared commonalities in their insights, the importance of inclusion and diversity, and, regardless of barriers and disparities, giving up is never an option." -- Ron Scott * New York Amsterdam News *Table of ContentsAcknowledgments ix Introduction / Willard Jenkins 1 1. Roundtable / Eric Arnold, Jordannah Elizabeth, Bill Francis, Steve Monroe, Rahsaan Clark Morris, Robin Washington, and K. Leander Williams 15 2. The Authors / Playthell Benjamin, Herb Boyd, Karen Chilton, Farah Jasmine Griffin, Robin D. G. Kelley, Tammy Kernodle, Guthrie P. Ramsey Jr., Gene Seymour, A. B. Spellman, and Greg Tate 27 3. Black Jazz Magazine Editors and Publishers / Jo Ann Cheatham (Pure Jazz), Jim Harrison (Jazz Spotlite News), Haybert Houston (Jazz Now), and Ron Welburn (The Grackle) 89 4. Black Dispatch Contributors / Robin James and Ron Scott 111 5. Magazine Freelancers / Bill Brower, Janine Coveney, Lofton Emenari III, Eugene Holley Jr., John Murph, Don Palmer, and Ron Wynn 125 6. Newspaper Writers and Columnists / Martin Johnson, Greg Thomas, and Hollie West 167 7. The New Breed (Online) / Bridget Arnwine, Angelika Beener, and Anthony Dean-Harris 189 8. Anthology 209 Classics “Jazz and the White Critic,” LeRoi Jones (DownBeat, 1963) 209 “Requiem for a Heavyweight,” Marc Crawford (Transition, 1966) 216 “Inside the Horace Silver Quintet,” Barbara Gardner (DownBeat, 1963) 220 “Trane + 7 = a Wild Night at the Gate,” A. B. Spellman (DownBeat, 1965) 226 “The Testimony: An Interview with Alto Saxophonist Bunky Green,” Bill Quinn (DownBeat, 1966) 229 On Jazz and Race “Putting the White Man in Charge,” Stanley Crouch (JazzTimes, 2003) 236 “My Bill Evans Problem—Jaded Visions of Jazz and Race,” Eugene Holley Jr. (New Music Box, 2013) 238 “Where's the Black Audience?”, Ron Wynn (JazzTimes, 2013) 243 “Whither the Black Voices,” Anthony Dean-Harris (Nextbop, 2013) 249 “Brooklyn's Jazz Renaissance,” Robin D. G. Kelley (ISAM Newsletter, 2004) 251 Additional Ain’t But a Few of Us Contributors “Wynton Is the Greatest!,” Playthell Benjamin (Commentaries on the Times, 2016) 255 “Jazz Is . . . Free . . . ?,” Ron Welburn (The Grackle, 1976) 259 “Why Jazz Will Always Be Relevant,” Greg Tate (The Fader, 2016) 264 “Rhapsody in Rainbow: Jazz and the Queer Aesthetic,” John Murph (JazzTimes, 2010) 268 Black Musician Writers “Billy Taylor Replies to Art Tatum Critics,” Billy Taylor (DownBeat, 1955) 274 “Creativity and Change,” Wayne Shorter (DownBeat, 1968) 276 “An Artist Speaks Bluntly,” Archie Shepp (DownBeat, 1965) 286 “The Jazz Pianist-Purist,” Herbie Nichols (Rhythm, 1946) 288 “Smack! Memories of Fletcher Henderson,” Rex Stewart (DownBeat, 1965) 290 Index 299

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Book SynopsisChérie N. Rivers shows how colonial systems of normalized violence condition the way we see and, through collaboration with contemporary Congolese artists, imagines ways we might learn to see differently.Table of ContentsPreface xvi 1. Elegy of Nsala 1 2. To See Nsala's Daughter 3 3. To Decompose 9 4. To Replicate 29 5. To Contradict 47 6. To Create 65 7. To Love Nsala's Daughter 81 Gratitude 89 Notes 93 Bibliography 99 Index 101 Illustration Credits 105

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Book SynopsisLiza Taylor examines how U.S. women of color feminists' coalitional collective politics of the 1960s, 70s, and 80s is an indispensable resource to contemporary political theory, feminist studies, and intersectional social justice activism.Trade Review"This well-written and clearly organized book challenges the reader to explore effective activism over time with directions for the future. Thus, the book would be ideal for undergraduate and graduate courses in sociology, women’s studies, and criminal justice that include contemporary political theory, feminist studies, and intersectional social justice. The 'call to action' structure of the book creates a platform for the facilitator to really engage the student in the option of taking an actual step to make change within the current politically diverse arena. Exercises such as this makes the book unique within this discipline and a must have within the classroom." -- Shauntey James * Ethnic and Racial Studies *"Taylor is a feminist political theorist who offers sophisticated arguments about philosophical principles and feminist practices together with an accessible discussion of core texts from women of color. She writes for multidisciplinary feminist readers already familiar with classics such as position papers from the Combahee River Collective and essays by Audre Lorde but does so with sufficient attention to explaining these and other arguments from the rich field of feminist theorizing. Students just becoming aware of this area of study will get a vibrant introduction, and more knowledgeable readers will find this an innovative and helpful approach. . . . Highly recommended. General readers through faculty; professionals." -- M. M. Ferree * Choice *Table of ContentsAcknowledgments ix Introduction 1 1. From Rosa Luxemburg to the Combahee River Collective: Spontaneous Coalition as a Precursor to Intersectional Marxism and Politico-Ethical Coalition Politics 33 2. Women of Color Feminism and Politico-Ethical Coalition Politics: Recentering the Politics of Coalition with Reagon, Smith, Combahee, and Lorde 67 3. Coalition from the Inside Out: Struggling toward Coalitional Identity and Developing a Coalitional Consciousness with Lode, Anzaldúa, Sandoval, and Pratt 106 4. Writing Feminist Theory, Doing Feminist Politics: Rethinking Collective Feminist Authorship with This Bridge Called My Back 150 5. The Women's March on Washington and Politico-Ethical Coalitional Opportunities in the Age of Trump 189 Conclusion: Lessons for Contemporary and Future Feminist Activists 225 Notes 249 References 259 Index 277

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Book SynopsisIn Death’s Futurity Sampada Aranke examines the importance of representations of death to Black liberation. Aranke analyzes posters, photographs, journalism, and films that focus on the murders of Black Panther Party members Lil’ Bobby Hutton, Fred Hampton, and George Jackson to construct a visual history of the 1960s and 1970s Black Power era. She shows how Black radicals used these murders to engage in political action that imagined Black futurity from the position of death. Photographs of Hutton that appeared on flyers and posters called attention to the condition of his death while the 1971 documentary The Murder of Fred Hampton enabled the consideration of Hampton’s afterlife through visual meditations on his murder. Printmaking and political posters surrounding Jackson’s murder marked the transition from Black Power to the prison abolition movement in ways that highlighted the relationship between surveillance, policing, incarceration, and anTrade Review"The author’s close readings of the role of visual artifacts in generating consciousness, agency, and a sense of futurity about a better future in their audiences is both compelling and original, and her engaging prose makes it a pleasure to read." -- Simon Stow * European Journal of American Studies *"Aranke provides a lyrical and materially nuanced account of how the Black Panther Party for Self-Defense mobilized a range of visual media, objects, and tactics. . . . In the process, Aranke not only reorients our understanding of 'the political' in art of the 1960s, but also puts tremendous pressure on art-historical conceits such as 'the curatorial,' which in the Panthers’ hands does not mean protecting priceless artworks within neoliberal institutions, but rather involves preserving the bloodstained objects left in [Fred] Hampton’s apartment in order to make visible the anti-Black violence that enables the coherence of American 'civil society" and the ongoing expansion of the carceral state undergirding it." * Artforum *Table of ContentsAcknowledgments vii Introduction. The Visual Life of Black Power 1 1. “1,000 Bobby Huttons” 21 2. Fred Hampton and the Political Life of Objects 53 3. George Jackson’s Murder and Fugitive Imaginaries 90 Epilogue. The United States of Attica 135 Notes 147 Bibliography 171 Index 181

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Book SynopsisIn The Williamsburg Avant-Garde Cisco Bradley chronicles the rise and fall of the underground music and art scene in the Williamsburg neighborhood of Brooklyn between the late 1980s and the early 2010s. Drawing on interviews, archival collections, musical recordings, videos, photos, and other ephemera, Bradley explores the scene’s social, cultural, and economic dynamics. Building on the neighborhood’s punk DIY approach and aesthetic, Williamsburg''s free jazz, postpunk, and noise musicians and groups---from Mary Halvorson, Zs, and Nate Wooley to Matana Roberts, Peter Evans, and Darius Jones---produced shows in a variety of unlicensed venues as well as in clubs and cafes. At the same time, pirate radio station free103point9 and music festivals made Williamsburg an epicenter of New York’s experimental culture. In 2005, New York’s rezoning act devastated the community as gentrification displaced its participants farther afield in Brooklyn and in Queens. WithTrade Review"The Williamsburg Avant-Garde is the most comprehensive study to date of one of the most important music scenes of the past 30-plus years." -- Dave Mandl * The Wire *"Well-researched. . . . Drawing on these first-hand accounts as well as on his access to the personal archives of some of the artists involved, Bradley provides a lively account of the neighborhood’s vital experimental music movement from its underground beginnings in various squats and abandoned industrial sites to its eventual dissolution in the face of rising rents and gentrification." -- Daniel Barbiero * Point of Departure *"One of the most important strengths of The Williamsburg Avant-Garde is that it elaborates with equal care, regardless of idiom or generation, on the intentions, ideas and aesthetic strategies of the highly diverse range of artists who could find a platform there. . . . What makes Bradley’s archeology at the same time so urgently contemporary is that so many of the artists covered are alive and active right now, even if a good number of them may still be underground." -- Patrick Brennan * Arteidolia *Table of ContentsAcknowledgments ix Introduction. Locating the Williamsburg Avant-Garde 1 Part I. Utopian Spaces for Sound 1. The Emergence of the Williamsburg Scene: Warehouses, Squatter Parties, and Punk Roots, 1988–1994 21 2. Pirate Radio and Jumping the River: The Williamsburg Loft Scene, 1997–2004 55 3. Art Galleries, Clubs, and Bohemian Cafés: The Williamsburg DIY, 2001–2006 100 Part II. Commercial DIY and the Last Underground Venues 4. A Point of Confluence: The Downtown Scene Comes to Zebulon, 2004–2006 145 5. A New Generation Emerges: Zebulon, 2005–2012 189 6. A Fractured Landscape: The Last Avant-Garde Music Spaces of Williamsburg, 2005–2014 228 Afterword. Art, Experiment, and Capital 263 Notes 271 Art Sources for the Williamsburg Avant-Garde 335 Bibliography 343 Index 367

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Book SynopsisDrawing on memoir, creative writing, theoretical analysis, and ethnography in Santo Domingo, Havana, and New Jersey, Carlos Ulises Decena examines transnational black Caribbean immigrant queer life and spirit.Table of ContentsGratitudes ix Part 0. Orígenes (Origins) Pensar Maricón (Faggotology): An Introduction 1 1. Re-membered Life: A Composition for Egun 23 Part I. Caminos 2. Bridge Crónica: A Triptych, with Elegguá 33 3. Experiencing the Evidence 57 Part II. Dos Puentes, Tránsitos 4. Loving Stones: A Transnational Patakí 81 5. ¡Santo! Repurposed Flesh and the Suspension of the Mirror in Santería Initiation 102 Part III. Trances 6. Indecent Conocimientos: A Suite Rasanblaj in Funny Keys 125 Epístola al Futuro/An Epistle to the Future 155 Notes 159 Bibliography 175 Index

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Book SynopsisMoon Charania explores feminine dispossession and the brown diaspora through a reflection on the life of her mother, recovering otherwise silenced modes of brown mothers' survival, disobedience and meaning-making that are often only lived out in invisible, intimate spaces.Trade Review“Moon Charania’s rearticulations of the now-sedimented tropes of nation, gender, and patriarchy are very moving. I found myself with an entirely new set of questions about my own theorizing, feminism, and prejudices in regard to not only decolonial and gender studies, but my family history as well. While Archive of Tongues is deeply personal, it productively unsettles what much of Western feminism continues to take for granted, if not reify, about women in the Global South, Pakistani women, brown women, and migrant women. This book will be so important to feminist, decolonial, and transnational thinkers and writers as a coming-of-age feminist diasporic perspective on grappling with gendered and raced intergenerational trauma and violence.” -- Jasbir K. Puar, author of * The Right to Maim: Debility, Capacity, Disability *“Archive of Tongues is lively, taut, and wickedly smart. Moon Charania unflinchingly guides the reader through biographical, anecdotal, and theoretical interventions. The stakes of her project are major: the reorientation and decolonization of knowledge. Making tangible the depth and instability of bodily/lived knowledge, this compelling book will contribute to psychoanalysis, critical ethnic studies, women of color feminisms, queer studies, and affect studies.” -- Amber Jamilla Musser, author of * Sensual Excess: Queer Femininity and Brown Jouissance *Table of ContentsPreface ix Gratitudes xv Prologue xxi Introduction. A Story on Tongues 1 1. Abject Tongues 27 2. Forked Tongues 63 3. Promiscuous Tongues 89 4. The Other End of the Tongue 122 Afterword 139 Notes 143 Bibliography 155 Index 163

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Book SynopsisLara Langer Cohen excavates the long history of the underground in nineteenth-century US literature, showing how these formations of the underground can inspire new forms of political resistance.Table of ContentsAcknowledgments vii Introduction: A Basement Shut Off and Forgotten during the Nineteenth Century 1 1. The “Blackness of Darkness” in Mammoth Cave 25 2. Early Black Radical Undergrounds 46 3. The Underground Railroad’s Undergrounds 74 4. The Depths of Astonishment: City Mysteries and Subterranean Unknowability 104 5. “To Drop beneath the Floors of the Outer World”: Paschal Beverly Randolph’s Occult Undergrounds 133 6. Subterranean Fire: Anarchist Visions of the Underground 166 Epilogue: Staying Underground 198 Notes 205 Bibliography 245 Index 267

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Book SynopsisIn Puta Life, Juana María Rodríguez probes the ways that sexual labor and Latina sexuality become visual phenomena. Drawing on state archives, illustrated biographies, documentary films, photojournalistic essays, graphic novels, and digital spaces, she focuses on the figure of the puta—the whore, that phantasmatic figure of Latinized feminine excess. Rodríguez’s eclectic archive features the faces and stories of women whose lives have been mediated by sex work''s stigmatization and criminalization—washerwomen and masked wrestlers, porn stars and sexiles. Rodríguez examines how visual tropes of racial and sexual deviance expose feminine subjects to misogyny and violence, attuning our gaze to how visual documentation shapes perceptions of sexual labor. Throughout this poignant and personal text, Rodríguez brings the language of affect and aesthetics to bear upon understandings of gender, age, race, sexuality, labor, disability,Trade Review"Puta Life is a rigorous and nuanced contribution to affirming sex workers’ lives. This is reason alone to read it. But I cherish Puta Life because it offered me a new way of sensing my mother’s painful past and my own history of abuse beyond exposure. Above all, Puta Life gifted me with a deep respect for all I can never know about other women’s lives." -- Elizabeth Hall * Full Stop *Table of ContentsAcknowledgments vii Introduction 1 Part I. Archival Encounters and Affective Traces: Visual Genealogies of Puta Life 1. Women in Public: Biopolitics, Portraiture, and Poetics 37 2. Colonial Echoes and Aesthetic Allure: Tracking the Genres of Puta Life 68 Part II. Visions, Voices, and Impressions Left Behind: Representing Puta Life 3. Carnal Knowledge, Interpretive Practices: Authorizing Vanessa del Rio 107 4. Touching Alterity: The Women of Casa Xochiquetzal 140 5. Seeing, Sensing, Feeling: Adela Vázquez’s Amazing Past 180 Epilogue: Toward a Conclusion That Does Not Die or a Subject That Is Allowed to Live 211 Notes 215 References 243 Index 259

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Book SynopsisIn Disappearing Rooms Michelle Castañeda lays bare the criminalization of race enacted every day in US immigration courts and detention centers. She uses a performance studies perspective to show how the theatrical concept of mise-en-scène offers new insights about immigration law and the absurdist dynamics of carceral space. Castañeda draws upon her experiences in immigration trials as an interpreter and courtroom companion to analyze the scenography—lighting, staging, framing, gesture, speech, and choreography—of specific rooms within the immigration enforcement system. Castañeda’s ethnographies of proceedings in a “removal” office in New York City, a detention center courtroom in Texas, and an asylum office in the Northeast reveal the depersonalizing violence enacted in immigration law through its embodied, ritualistic, and affective components. She shows how the creative practices of detained and disappeared people liTrade Review"The book … is a quintessential one in times of increasing hatred towards immigrants. This timely book will help the reader understand the intensity of immigration crises and the need for the growth of a humanitarian world than a world with borders." -- T.S. Gangothri * Social Identities *Table of ContentsAcknowledgments ix Introduction 1 1. Removal Room: Disappearance and the Practice of Accompaniment 19 2. The Prison-Courtroom: No-Show Justice in Family Detention 56 3. Bring Me the Room: Tragic Recognition and the Right Not to Tell Your Story 91 Coda 129 Notes 135 References 159 Index 177

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Book SynopsisIn The Latinx Guide to Graduate School Genevieve Negrón-Gonzales and Magdalena L. Barrera provide prospective and current Latinx graduate students in the humanities and social sciences fields with a roadmap for surviving and thriving in advanced degree programs.Table of ContentsAcknowledgments xi Introduction: You Thought You Were Buying a How-to Book but Ended Up Getting a Love Letter, Manifesto, and Flashlight 1 1. To Grad School or Not to Grad School? 23 2. Learning to Be a Grad Student 59 3. Essential Skills in Graduate School 77 4. Unwritten Rules of the Academy: Navigating the Gray Area 121 5. Navigating Professional Relationships in Graduate School 145 6. Navigating Personal Relationships in Graduate School 180 7. Life after Graduate School 205 Conclusion: Five Mandamientos for Remaking the Academy 224 UndocuGrads: Undocumeneted and Applying to Grad School (FAQs) / Carolina Valdivia 229 Glossary of Terms 233 Notes 237 Bibliography 243 Index 253

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Book SynopsisFaith Smith examines everyday voices in Jamaica and Trinidad during the quiet period between the 1865 Morant Bay Rebellion and World War I in the British Caribbean's history to discern sentiments about empire and nationhood.Table of ContentsAcknowledgments ix Introduction. Introducing a Quiet Period 1 1. Cuba, South Africa, and the Anglophone Caribbean’s New Imperial Century 33 2. Ruination’s Intimate Architecture 68 3. Photography’s “Typical Negro” 118 4. Plotting Inheritance 144 Coda 186 Notes 191 Bibliography 229 Index 257

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Book SynopsisIn Trafficking in Antiblackness Lyndsey P. Beutin analyzes how campaigns to end human trafficking—often described as “modern-day slavery”—invoke the memory of transatlantic slavery to support positions ultimately grounded in antiblackness. Drawing on contemporary antitrafficking visual culture and media discourse, she shows how a constellation of media, philanthropic, NGO, and government actors invested in ending human trafficking repurpose the history of transatlantic slavery and abolition in ways that undermine contemporary struggles for racial justice and slavery reparations. The recurring narratives, images, and figures such as “slavery in Africa,” “Arab slave traders,” and “Black incapacity for self-governance” discursively turn Black people across the diaspora into the enslavers of the past and present in place of white Americans and Europeans. Doing so, Beutin contends, creates a rhetorical defense against beingTable of ContentsAcknowledgments ix Introduction 1 1. Reparations and the Rise of Antitrafficking Discourse 31 2. Blaming Black Mothers 61 Interlude: #FreeCyntoiaBrown 93 3. When Slavery’s Not Black 101 4. Deceptive Empiricism 133 Interlude: #Charlottesville 165 5. History Is Antiblackness 173 Afterword 193 Notes 197 Bibliography 237 Index 257

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Book SynopsisIn Insignificant Things Matthew Francis Rarey traces the history of the African-associated amulets that enslaved and other marginalized people carried as tools of survival in the Black Atlantic world from the seventeenth to the nineteenth centuries. Often considered visually benign by white Europeans, these amulet pouches, commonly known as “mandingas,” were used across Africa, Brazil, and Portugal and contained myriad objects, from herbs and Islamic prayers to shells and coins. Drawing on Arabic-language narratives from the West African Sahel, the archives of the Portuguese Inquisition, sixteenth- and seventeenth-century European travel and merchant accounts of the West African Coast, and early nineteenth-century Brazilian police records, Rarey shows how mandingas functioned as portable archives of their makers’ experiences of enslavement, displacement, and diaspora. He presents them as examples of the visual culture of enslavement and critical to conceptualizTable of ContentsAcknowledgments ix Introduction. Significance, Survival, and Silence 1 1. Labels 31 2. Contents 72 3. Markings 124 4. Revolts 171 Epilogue 208 Notes 217 Works Cited 249 Index 275

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Book SynopsisJonathan Leal presents a new cultural history of jazz to show how the musical revolution of bebop proposed new futures for racialized and minoritized communities who grappled daily with state-sanctioned violence.Trade Review“With Dreams in Double Time, Jonathan Leal proves he has ‘something to say.’ I use this phrase in the prosaic sense that he contributes new understanding and opens fresh areas of inquiry, and in the sense associated with a jazz musician’s solo. Almost every page treats readers to surprising revelation and provocation, and the figures Leal focalizes his history through are compelling as subjects on their own. This book is a tremendous achievement, a gift to readers seeking cultural history and methodologically innovative work.” -- Anthony Reed, author of * Soundworks: Race, Sound, and Poetry in Production *“In this fascinating and compelling book, Jonathan Leal works against the grain of jazz criticism by focusing on three relatively unknown figures for whom bebop proposed new ways of being in the world. Leal’s ‘trio,’ as he calls them, offer readers a glimpse into a much larger population of marginalized, often poor people of color who heard bebop as a radical, creative challenge to the totalizing singularity of what ‘white’ stood for during the second half of the twentieth century.” -- Ronald Radano, coeditor of * Audible Empire: Music, Global Politics, Critique *"Deftly drawing together the major trends in recent jazz scholarship, Leal makes an important intervention. . . . By explicitly focusing on minor figures, putting them in relationship to one another, Leal draws attention to the other side of bebop musicking: its emphasis on collaboration and conversation. . . . In the words of James Baldwin’s “Sonny’s Blues,” a story to which Leal returns several times, Dreams in Double Time keeps both bebop and jazz writing 'new, at the risk of ruin, destruction, madness, and death, in order to find new ways to make us listen.'" -- Sam V. H. Reese * Los Angeles Review of Books *"If you’re interested in the relationship between jazz, sociology, racism and history, this book (a product of feeling as well as hard work) could prove highly rewarding." -- Graham Colombé * Jazz Journal *Table of ContentsAcknowledgments ix Introduction. Dreaming Otherwise 1 1. After-Hours 25 2. Layered Time 46 3. Quartered Notes 74 4. Among Others 114 Epilogue. Affinities 152 Notes 161 Bibliography 207 Index 227

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Book SynopsisSara Safransky explores how Detroit's recent classification of over one-third of the city's land as vacant or abandoned represents conflicting and complex understandings of property, foregrounding how the making ofand challenges tomodern property regimes have shaped urban policy and politics.Trade Review“By asking ‘What comes after property?’ Sara Safransky opens up a captivating and incisive mix of political economy and urban geography to think with and against dominant discourses on Detroit’s decline. The result is a refreshing take on the entanglements of property, race, and urban politics that adeptly weaves ethnographic and archival research with political theory and global struggles for freedom into a rich analysis that makes The City after Property essential reading for scholars of racial capitalism and urban change.” -- Kate Derickson, Associate Professor of Geography, University of MinnesotaTable of ContentsAbbreviations ix Acknowledgments xi Prologue xv 1. Unbuilding a City 3 2. On Our Own Ground 23 3. Stealing Home 57 4. White Picket Fences 85 5. Accounting for Unpayable Debt 103 6. Conjuring Terra Nullius 123 7. Political Ecologies of Austerity 149 8. The Garden Is a Weapon in the War 169 Epilogue. Reconstructing the World 197 Notes 201 Bibliography 259 Index 291

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