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Book SynopsisAward-winning historian Amrita Chakrabarti Myers has recovered the riveting, troubling, and complicated story of Julia Ann Chinn (ca. 1779 1833), the enslaved wife of Richard Mentor Johnson, owner of Blue Spring Farm, veteran of the War of 1812, and US vice president under Martin Van Buren. Johnson never freed Chinn, but during his frequent absences from his estate, he delegated to her the management of his property, including Choctaw Academy, a boarding school for Indigenous men and boys on the grounds of the estate. This meant that Chinn, although enslaved herself, oversaw Blue Spring's slave labor force and had substantial control over economic, social, financial, and personal affairs within the couple's world. Chinn's relationship with Johnson was unlikely to have been consensual since she was never manumitted. What makes Chinn's life exceptional is the power that Johnson invested in her, the opportunities the couple's relationship afforded her and her daughters, and their community's tacit acceptance of the familyup to a point. When the family left their farm, they faced steep limits: pews at the rear of the church, burial in separate graveyards, exclusion from town dances, and more. Johnson's relationship with Chinn ruined his political career and Myers compellingly demonstrates that it wasn't interracial sex that led to his downfall but his refusal to keep itand Julia Chinnbehind closed doors.

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Book SynopsisThis is a revised, updated, and significantly augmented edition of a classic Carus Monograph (a bestseller for over 25 years) on the theory of functions of a real variable. Earlier editions of this classic Carus Monograph covered sets, metric spaces, continuous functions, and differentiable functions. The fourth edition adds sections on measurable sets and functions, the Lebesgue and Stieltjes integrals, and applications. The book retains the informal chatty style of the previous editions, remaining accessible to readers with some mathematical sophistication and a background in calculus. The book is, thus, suitable either for self-study or for supplemental reading in a course on advanced calculus or real analysis. Not intended as a systematic treatise, this book has more the character of a sequence of lectures on a variety of interesting topics connected with real functions. Many of these topics are not commonly encountered in undergraduate textbooks: e.g., the existence of continuous

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Book SynopsisProvides an introduction to hyperbolic geometry in dimension three, with motivation and applications arising from knot theory. The book was written to be interactive, with many examples and exercises. Some important results are left to guided exercises.

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Book Synopsis“Friend, asshole, angel, mutant,” singer-songwriter Vic Chesnutt “came along and made us gross and broken people seem . . . I dunno, cooler, I guess.” A quadriplegic who could play only simple chords on his guitar, Chesnutt recorded seventeen critically acclaimed albums before his death in 2009, including About to Choke, North Star Deserter, and At the Cut. In 2006, NPR placed him in the top five of the ten best living songwriters, along with Bob Dylan, Tom Waits, Paul McCartney, and Bruce Springsteen. Chesnutt’s songs have also been covered by many prominent artists, including Madonna, the Smashing Pumpkins, R.E.M., Sparklehorse, Fugazi, and Neutral Milk Hotel.Kristin Hersh toured with Chesnutt for nearly a decade and they became close friends, bonding over a love of songwriting and mutual struggles with mental health. In Don’t Suck, Don’t Die, she describes many seemingly small moments they shared, their Trade ReviewThe book's great sadness is matched by the skill and vitality of Hersh's writing; it will make treasured and troubled reading for fans of Chesnutt and the author alike. * Kirkus Reviews *Don't Suck, Don't Die is not only one of the best books of the year, it's one of the most beautiful rock memoirs ever written. Hersh is as stunningly talented an author as she is a musician, and her portrayal of Chesnutt is perfectly done. * NPR *A raw, poetic memoir . . . a last, wonderful example of Chesnutt at his most charismatically mischievous * The Guardian *Hersh’s language is vivid and conversational, as descriptive and elliptical as her own music. * Salon *[Hersh’s] observations . . . always ring with a harsh lyrical truth . . . an eloquent, heartbreaking testament. * Pitchfork *In under 200 little pages, it paints a more honest, insightful picture of the late singer-songwriter than any biography could . . . Beautifully, poetically told. * MOJO *A powerful and moving insight . . . A book that will move anyone who’s loved and lost, regardless of whether they’re a fan of the author of Chesnutt. * R2 *An intimate, complicated portrait of the artist as road warrior . . . a beautiful but often dark, heartbreaking read. * Atlanta Journal-Constitution *An ode, an elegy and an examination of the physics of friendship. * WABE 90.1 Atlanta *Through beautifully phrased, dark, honest prose, [Hersh] paints a poetic portrait of earnest struggle, friendship as significant savior, and learned empathy. * The Austin Chronicle *The music made by the late Vic Chesnutt was evocative, haunting and often heartbreaking. Kristin Hersh's book about the singer-songwriter shares all of these qualities . . . It's a book that gives a tremendous sense of what friendship with such a person was like, for good and for bad, and leaves the reader feeling his absence even more once the book has ended. * Rolling Stone *It’s messy and spiky and unforgiving, crushingly sad, sometimes funny, and humane . . . I couldn’t speak for a while after finishing Hersh’s book. * Inside Higher Ed *[I]n this haunting, poetic, musical road show memoir, singer/songwriter Kristin Hersh takes us inside her friendship with Chesnutt. Her experience is as insightful to a musician's life as it is to the human existence—constantly probing and reevaluating self-understanding along with her footing on the planet. . . . There are lines you'll never forget, and you can't help but love the adorable, self-sabotaging, curmudgeon Chesnutt revealed in these pages. You'll wish you'd been there to absorb his flak backstage or in the southern sun. On balance, this book stands as a testament to the sincerity of his songwriting. * The US Review of Books *[A] piercing chronicle...Hersh uses vivid, engaging prose to capture Chesnutt’s complicated nature...Don’t Suck, Don’t Die is a moving portrait of an artistic genius—and a vulnerable manual on how to navigate immense grief after the death of someone we love. * The A.V. Club, "The 15 most essential music bios (and autobiographies) so far this century" *Table of Contents Foreword by Amanda Petrusich I. Eat Candy II. Thickety Time III. Go Outside and Look at the Moon IV. First, Give V. See You in My Dreams Selected Discography

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Book SynopsisScholars explore the most significant trove of Nahua culture and language: an illustrated manuscript compiled after the Spanish conquest by a Franciscan friar with many indigenous authors and painters.Trade Review[The Florentine Codex] offers fresh insights into the production and conceptualization of the manuscript, as well as the nuanced interchanges that occurred among its many collaborators...This book will directly appeal to those interested in sixteenth-century manuscripts of central Mexico and Nahua culture more generally. It will be an essential source for those working on the Florentine Codex. * H-Net Reviews *[A] lavishly illustrated volume...This is a very engaging and useful compilation of essays that help to illuminate the Florentine Codex. It is essential for all scholars of the contact period in Mexico and will serve as a point of departure for much additional research. * The Americas *The overall innovative quality of this volume is impressive. Above all, this important new book enhances our understanding of the Florentine Codex’s third text, its illustrations, which were clearly 'eloquent images' that gave Nahuatl and Spanish alphabetic texts their enduring power. * Journal of Interdisciplinary History *The Florentine Codex provides a rich scholarly dialogue among the contributors. They commonly accept the alphabetic texts and images of the Florentine Codex as a bicultural product, but they differ in their approaches to the codex by emphasizing either indigenous or European tradition depending on their scholarly interest. Yet, their studies perfectly and harmoniously fit in the book by complementing one another. There is no doubt that this collection will serve as an important source for the scholars and students of pre-Hispanic and colonial Mexico for many years to come. * Bulletin of Spanish Studies *This book is an important contribution to Sahaguntine studies in its collection of insightful essays by established scholars, including revised versions of some now-classic scholarship. The relatively succinct chapters are well suited for university instruction, for both core curricula and specialized courses. It is a beautifully illustrated volume that will appeal to anyone interested in the early modern humanities. * Renaissance Quarterly *[A] rigorous, interdisciplinary, and engaging treatment of the most consequential manuscript on the Aztec or Nahua worlds…[The Florentine Codex] features contributions from exemplary specialists and is richly illustrated…superb. * Hispanic American Historical Review *[The Florentine Codex] will be an important source for those interested in better understanding the Nahua world before and after Spanish arrival. The volume’s goal of emphasizing the Florentine Codex’s paintings is well-served by the abundant images that fill the essays, all of them in color...by looking closely at the codex and asking new questions of it, each of the authors brings a distinct perspective and special insights to their task, providing a strong foundation and model for future studies of the Florentine Codex and the Nahua world. * American Historical Review *[A] lavishly illustrated edited volume…One thing that authors in the volume consistently do is pay close attention to both the Spanish and Nahuatl texts, always attentive to gaps and acts of translation—as well as censorship and resistance—between them... Even after all of the advances in this volume, there is still much more to learn about this fascinating document. * Latin American & Latinx Visual Culture *Table of Contents Preface and Acknowledgments Introduction. An Encyclopedia of Nahua Culture: Context and Content (Kevin Terraciano) Part I. The Art of Translation Chapter 1. Images in Translation: A Codex “Muy Historiado” (Jeanette Favrot Peterson) Chapter 2. On the Reception of the Florentine Codex: The First Italian Translation (Ida Giovanna Rao) Chapter 3. Reading between the Lines of Book 12 (Kevin Terraciano) Chapter 4. The Art of War, the Working Class, and Snowfall: Reflections on the Assimilation of Western Aesthetics (Pablo Escalante Gonzalbo) Part II. Lords: Royal and Sacred Chapter 5. Surviving Conquest: Depicting Aztec Deities in Sahagún’s Historia (Eloise Quiñones Keber) Chapter 6. Fashioning Conceptual Categories in the Florentine Codex: Old-World and Indigenous Foundations for the Rulers and the Gods (Elizabeth Hill Boone) Chapter 7. Teotl and Diablo: Indigenous and Christian Conceptions of Gods and Devils in the Florentine Codex (Guilhem Olivier) Part III. Ordering the Cosmos Chapter 8. Ecology and Leadership: Pantitlan and Other Erratic Phenomena (Barbara E. Mundy) Chapter 9. Bundling Natural History: Tlaquimilolli, Folk Biology, and Book 11 (Molly H. Bassett) Chapter 10. Powerful Words and Eloquent Images (Diana Magaloni Kerpel) Part IV. Social Discourse and Deviance Chapter 11: Rhetoric as Acculturation: The Anomalous Book 6 (Jeanette Favrot Peterson) Chapter 12. Flowers and Speech in Discourses on Deviance in Book 10 (Lisa Sousa) Chapter 13. Parts of the Body: Order and Disorder (Ellen T. Baird) Bibliography Contributors Index

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Book SynopsisHow a DJ’s innovative chopped and screwed technique changed the Houston hip-hop scene.Trade ReviewWeaving flashes of his own voice into an oral history featuring over 130 of Screw’s friends, family, heroes, students, and more, Walker stitches together a full picture of the iconic DJ’s legacy. -- Mankaprr Conteh * Rolling Stone *DJ Screw: A Life in Slow Revolution offers an overdue look at the life of this titan and his often-overlooked compatriots...the Screw bio lays out a historically informed, nuanced survey of the economic and technological factors that drove an artist’s creations and the Screwed Up Click’s career...A Life in Slow Revolution not only offers Screw the studied biographical record he deserves, but also puts so many of his fellow S.U.C. members, who’d never gotten a high-profile book of their own, squarely within the rap canon: Al-D, E.S.G., Big Pokey, Big Moe, and, of course, Big Floyd. -- Nitish Pahwa * Slate *This book is the ultimate word on both [DJ Screw] and his seismic imprint...Walker transubstantiates Screw’s lore into something more permanent and tangible, interviewing just about everyone that ever knew the DJ, along with a number of aficionados and famous fans of his that helped make the Screw tape the hip-hop fetish objects that they have become in the decades since Davis’s death. -- Israel Daramola * Vulture, "The 18 Best Books of the Year (So Far)" *DJ Screw: A Life in Slow Revolution is a worthwhile biography and oral history, even for those who already know the story of Screw's short, impactful life....this book is a worthy topography of Screw’s life, from its humble start to its tragic end. -- Chris Vognar * Texas Monthly *[DJ Screw] delivers not just the story of one individual but the birth of a culture and the rise of a movement. We get to feel the excitement, pitfalls, rivalries and triumphs of a young scene coming into its own...[DJ Screw is] a deeply researched and carefully curated work, devoting as much consideration to Screw’s own story as it does to those he influenced and those who influenced him...Walker’s extensive knowledge of and, more important, his great respect for his subject come across on the page...[Walker's] prose often has the rhythm and flow of poetry. -- Santi Elijah Holley * Washington Post *In this sensational oral history, hip-hop historian Walker (Houston Rap Tapes) offers a riveting look at why 'DJ Screw is the stuff of Texas legend'...Though [DJ Screw's] life was cut short, Walker’s meticulous account underscores the enduring legacy of the rapper’s pioneering music and his awe-inspiring ability to capture 'the sound of the streets.' This engrossing work will fascinate fans. * Publishers Weekly *An ambitious love letter to one of Houston’s beloved mixtape kings...An insightful portrait sure to engage DJ Screw’s longtime fans and newcomers alike. * Kirkus, Starred Review *[A] fascinating oral history chronicling the life of DJ Screw...Walker’s years of research and personal expertise about Houston’s music scene will help cement Screw’s legacy as an innovator who still inspires. * Library Journal *The 'chopped and screwed' sound has become such a staple of hip-hop that most fans probably don’t even wonder where the slowed-down, stop-start sonic approach came from—and thus, the late DJ Screw, a.k.a. Houston native Robert Earl Davis Jr., is one of the truly unsung heroes of the genre...he's finally receiving his due in the form of DJ Screw: A Life in Slow Revolution. -- Jem Aswad * Variety *The sort of history from below that Walker pursues [in DJ Screw], organised around dialogues with Screw's family and friends, and framed by some light touch narration, seems appropriate. This is the story, after all, of a folk hero who rarely left his hometown...and who resided outside the circuits of official culture...As a written form, oral history suits the circumstantial nature of Screw's artistic development too...It's a form that also serves here to dispel some enduring myths, especially the oft repeated function of Screw's sound to a function of intoxication. -- Paul Rekret * The Wire *To have created music so immersive, and sedated to the point of psychedelia, it was assumed [DJ Screw] had to have been out of his mind, operating in his infamous Wood Room home studio on a different time zone to the rest of us. I’ve honestly lost count of the internet posts I’ve read telling me Screw’s music doesn’t make sense unless you listen to it stoned. Yet what’s so great about veteran writer Lance Scott Walker’s long-awaited DJ Screw...is how it demystifies all this, treating its subject less like a mysterious campfire tale and more like a human being...[DJ Screw] is a breezy combination of biography and oral history. -- Thomas Hobbs * Okayplayer *DJ Screw single handedly created a hip-hop culture in Houston. Screw’s invention has inspired superstars like Drake, Kendrick Lamar, and A$AP Rocky. And via interviews from family, friends, and Chopped and Screwed nerds, he finally gets his due. -- Darryl Robertson * Esquire, "Best Music Books of 2022 (So Far)" *[DJ Screw is one] of the best books of this year...[breaks] every rule of the hip hop biography to rewrite them in a way that suggests something new, and more ambitious for the future of rap scholarship. -- Abe Beame * Passion of the Weiss *[A] sprawling story of the man who put Houston rap on the map...In talking to most of the Houston rap world, Walker is able to paint a portrait of the artist that hasn't really been seen before. -- Chris O'Connell * MySA *This book is an absolute powerhouse...Lance Scott Walker delivers a poignant and personal tale that should solidify and codify Screw’s place in the hip-hop pantheon while also never shying away from who he was as a person in everyday life. -- Adam P. Newton * Bearded Gentlemen Music *Walker...manages to harness the flashlike life and career [of DJ Screw] and slow it down to create a clearer representation of a crucial 20th-century artist. Through hundreds of interviews with family, friends and collaborators spanning thousands of hours, Walker presents Screw’s work not as an incredible moment of combustion but rather what the title implies: a slow revolution. -- Andrew Dansby * Houston Chronicle *DJ Screw: A Life in Slow Revolution is an essential book for any hip hop fan. Few artists changed hip hop the way that Screw did, creating a distinct production style that was immediately recognizable and quickly associated with the sound of Houston. As you read this book, you not only get a sense for how that happened and how DJ Screw worked, but you get a sense of how much the greater Houston area latched on to what he was building and made it a part of their identity. It’s a loving and well-researched book that fills in a gap on any hip hop lover’s book shelf. -- Chi Chi Thalken * Scratched Vinyl *[Walker] uses Davis’s story to cobble together the history of Houston hip-hop’s early days...he makes Screw an oral history, rounding up quotes (many from firsthand interviews) from the men and women who were there...Even in death, J Dilla and DJ Screw continue to be two of the most influential figures in hip-hop. And Charnas and Walker use their biographies to remind both diehards and novices why that is — and to give the performers hella flowers in the process. * Los Angeles Review of Books *Walker does scrupulous research in the form of a broad span of interviews with nearly everyone who knew the seminal Houston DJ. -- Jordannah Elizabeth * New York Amsterdam News *[Walker] has made the story of rap in Houston accessible for those who weren’t there to experience it...Walker is discreet, taking up only as much space as necessary to put order to his narratives and leaving the rest for witnesses and participants to fill in. His work is a portrait of a time hard to remember now, even for those of us who lived it...and it deserves a place alongside such classics of American oral history as Please Kill Me, The Other Hollywood, and Meet Me in the Bathroom. -- Adrian Nathan West * The Baffler *Every hip hop fan should know not just DJ Screw’s name, but also the deep influence he had on all of modern music...To get the full story of his extraordinary life, author Lance Scott Walker spoke to childhood friends, collaborators, and rap moguls to paint a picture of just how important he was to not just his community, but music as a whole. * VICE, "The Best Gifts for Every Music Lover" *An amalgam of firsthand accounts from the people closest to DJ Screw, from family and close friends to members of Screwed Up Click (the popular hip hop collective he founded)...While the book’s narrative ultimately ends in tragedy, readers are also exposed to the beauty, brotherhood, generosity, and passion for music that dominated DJ Screw’s life...Told in detailed and intimate language, each person Walker interviews helps personify the kind of man and artist DJ Screw was, no matter what name you might have known him by. -- Shelby Stewart * Houstonia Magazine *

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Book Synopsis

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Book Synopsis

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Book SynopsisTrade Review"I have also narrated the effort it took for me to access his work to illustrate the importance of the Selected Writings now being released by Duke University Press. It is an event of profound historical significance that a new generation will be able to begin its political and theoretical education with systematic access to Hall’s writing. . . . The two-volume Essential Essays shows the broad scope of his work." -- Asad Haider * The Point *

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Book SynopsisAnn Elias traces the history of two explorers whose photographs and films of tropical reefs in the 1920s cast corals and the sea as an unexplored territory to be exploited in ways that tied the tropics and reefs to colonialism, racism, and the human domination of nature.Trade Review"Coral Empire’s postcolonial jeremiad also registers the joyful endurance of surrealist visions of the submarine as a deliriously consciousness-altering realm." -- James Delbourgo * TLS *"[This] book shows that interdisciplinarity is possible. Elias combines the history of underwater cinematography and diving with attention to the surrealist art movement, natural history collecting, colonialism, and the history of tourism, and through this rich patchwork traces shifting popular interpretations of coral imagery in the early twentieth century." -- Antony Adler * Environmental History *"Ann Elias’ fascinating book couldn’t come at a better time. . . . Elias focuses on long neglected images from cinema, dioramas from museums, and illustrations from the press. She cleverly articulates them through a set of unexpected global connections that powerfully mobilise all the transforming ideas of empire, race, technology and nature at the time." -- Martyn Jolly * Australian Historical Studies *"This book is well written and the short chapters make it extremely readable. In addition, the book is beautifully printed, with black-and-white images embedded in chapters and their color counterparts inserted in the middle of the book. It is refreshing to see a book that relies on the reading of images paying such close attention to their reproduction in the text." -- Samantha Muka * H-Net Reviews *Table of ContentsAcknowledgments ix Introduction 1 Part I. The Coral Uncanny 1. Coral Empire 15 2. Mad Love 29 Part II. John Ernest Williamson and the Bahamas 3. Williamson and the Photosphere 49 4. The Field Museum—Williamson Undersea Expedition 68 5. Under the Sea 83 6. Williamson in Australia 97 Part III. Frank Hurley and the Great Barrier Reef 7. Hurley and the Floor of the Sea 117 8. Hurley and the Australian Museum Expedition 131 9. Pearls and Savages 147 10. Hurley and the Torres Strait Diver 165 Part IV. Hurley and Williamson 11. Explorers and Modern Media 185 12. Color and Tourism 199 Part V. The Great Acceleration 13. The Anthropocene 217 Conclusion 230 Notes 235 Bibliography 261 Index 277

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Book SynopsisIn 2007, the left came to power in Ecuador. In the years that followed, the “twenty-first-century socialist” government and a coalition of grassroots activists came to blows over the extraction of natural resources. Each side declared the other a perversion of leftism and the principles of socioeconomic equality, popular empowerment, and anti-imperialism. In Resource Radicals, Thea Riofrancos unpacks the conflict between these two leftisms: on the one hand, the administration''s resource nationalism and focus on economic development; and on the other, the anti-extractivism of grassroots activists who condemned the government''s disregard for nature and indigenous communities. In this archival and ethnographic study, Riofrancos expands the study of resource politics by decentering state resource policy and locating it in a field of political struggle populated by actors with conflicting visions of resource extraction. She demonstrates how Ecuador''s commodity-dependenTrade Review“Resource Radicals presents an insightful first-hand account of fierce political conflict over extractivism within the Ecuadorian Left during the era of Rafael Correa’s governance.... The book’s analysis...offers a timely contribution to critical scholarship.” -- Sibo Chen * Resilience *“Resource Radicals is an insightful and ultimately optimistic interpretation of social mobilization around natural resource extraction in Ecuador. Thea Riofrancos eschews simple resource curse theory, viewing mobilization as a potential pathway toward more productive modes of governing extractive industry. Sensitive to both anti-extractivist and ‘Pink Tide’ approaches to resource extraction, she offers a nuanced analysis of resource politics and the complex challenges facing regimes that seek to govern the subsoil for progressive change.” -- Anthony Bebbington, coauthor of * Governing Extractive Industries: Politics, Histories, Ideas *“This is a valuable, sensitive, and generous study of the new shapes that left politics has taken in the twenty-first century as crises of ecology and inequality swirl together. It's an essential basis for understanding the challenges ahead.” -- Jedediah Purdy, author of * This Land Is Our Land: The Struggle for a New Commonwealth *"[Resource Radicals] provide[s] important insights into Bolivia and Ecuador, and into fossil-fuel capitalism writ large." -- Kim Fortun & James Adams * Public Books *"[Riofranco's] scholarship is an example of internationalist solidarity in critical practice, the kind to which we may all aspire, and to which our current moment demands." -- Hilary Goodfriend * Jacobin Magazine *"A thoughtful analysis of the origins and ground-level dynamics of the divergence within the Ecuadorean left." -- Tony Wood * New Left Review *"By examining how activists envisioned a post-petroleum future, Riofrancos transcends the superficial debates on the legacy of the Pink Tide and, in turn, helps chart a path forward for creating a society as equitable as it is ecological." -- Jared Olson * Los Angeles Review of Books *"Resource Radicals will be a key text in the expanding genealogy of extractivism in the Americas, particularly for the light it sheds on how competing understandings of the state and of neoliberalization shape sociopolitical and ecological relationships to development." -- Donald V. Kingsbury * Latin American Research Review *“Resource Radicals presents an insightful first-hand account of fierce political conflict over extractivism within the Ecuadorian Left during the era of Rafael Correa’s governance.... The book’s analysis...offers a timely contribution to critical scholarship.” -- Sibo Chen * LSE Review of Books *"Resource Radicals’ surgical take captures what Riofrancos rightly defines as one of the greatest contributions to critical theory to come from this part of the world: the political economy of postmillennial extractivism and the capacity of an increasingly global, globalizing Left to imagine itself beyond it. Perhaps pitched at a level beyond general audiences, this is a rigorously researched, fundamentally interesting book." -- Juan M. del Nido * Economic Geography *“Through archival and ethnographic research, [Riofrancos] explores the conditions and consequences of the radical politicization of resource extraction in what she calls two leftisms.... She concludes with crucial reflections about the dilemmas of resource dependency for both the Left in power and the Left in resistance.” -- Nicole Fabricant * NACLA Report on the Americas *"This book is a theoretically original and empirically solid contribution." -- Jeffery Paige * The Americas *"A complex and nuanced understanding of the praxis of politics in Ecuador during this time-period…. A remarkable first-hand account of the internectine conflict within the left during the ten years that Rafael Correa was in power." -- Francis Adams * European Review of Latin American and Caribbean Studies *"A must-read book for scholars interested in issues of Indigenous rights, extractivist resistance, environmental justice, and the future of humanity." -- Roberta Rice * Perspectives on Politics *“Thea Riofrancos’ Resource Radicals is a powerful and important book, grounded in the deft navigation of demanding field research and political and theoretical complexity.” -- Geoff Mann * Society & Space *"Resource Radicals brings remarkable theoretical sophistication to bear on a wealth of empirical research in analyzing potential political problems. . . . [It is] a particularly timely and essential book." -- Alyssa Battistoni * H-Diplo *Table of ContentsAcknowledgments vii Introduction: Resource Radicalisms 1 1. From Neoliberalismo to Extractivismo: The Dialectic of Governance and Critique 29 2. Extractivismo as Grand Narrative of Resistance 57 3. Consulta Previa: The Political Life of a Constitutional Right 77 4. The Demos in Dispute 115 5. Governing the Future: "Information," Counter-Knowledge, and the Futuro Minero 138 6. Conclusion: The Dilemmas of the Pink Tide 164 Notes 185 Bibliography 227 Index

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Book SynopsisIn Around the Day in Eighty Worlds Martin Savransky calls for a radical politics of the pluriverse amid the ongoing devastation of the present. Responding to an epoch marked by the history of colonialism and ecological devastation, Savransky draws on the pragmatic pluralism of William James to develop what Savransky calls a “pluralistic realism”—an understanding of the world as simultaneously one and many, ongoing and unfinished, underway and yet to be made. Savransky explores the radical multifariousness of reality by weaving key aspects of James''s thought together with divergent worlds and stories: of Magellan''s circumnavigation, sorcery in Mozambique, God''s felt presence among a group of evangelicals in California, visible spirits in Zambia, and ghosts in the wake of the 2011 tsunami in Japan. Throughout, he experiments with these storied worlds to dramatize new ways of approaching the politics of radical difference and the possibility of transforming reaTrade Review“Martin Savransky's generative and intense book powerfully relays the living, burning demand at the heart of William James's pragmatism—that we learn to feel and think with a reality in the making of which we participate, whether we will it or not. Experimenting with this risky but transformative demand, Savransky reactivates a William James, calling contemporary thinkers to hold out a trusting hand to the manifold, adventurous commitments of today's activism.” -- Isabelle Stengers, author of * In Catastrophic Times: Resisting the Coming Barbarism *“With superior scholarship and clarity, Martin Savransky joins recent efforts to displace realist epistemologies and offer alternative analytical practices of the real. This succinct book moves conversations about the so-called ontological turn (and ontological openings) to a thought-ground that philosophically inclined scholars in all disciplines will find attractive to play in.” -- Marisol de la Cadena, author of * Earth Beings: Ecologies of Practice across Andean Worlds *"A succinct book, captivatingly structured, and thoughtfully written, Around the Day in Eighty Worlds is a generative contribution to the study and practice of pluriversal politics." -- David McKeown * European Journal of Social Theory *"Overall, this book offers scholars across disciplines a reconceptualized approach to analyzing social worlds. Recommended. Upper-division undergraduates through faculty." -- R. P. Lorenzo * Choice *Table of ContentsAcknowledgments vii 1. Ongoing and Unfinished 1 2. Runaway Metaphysics 25 3. Trust of a Held-out Hand 49 4. Worldquakes 70 5. Pragmatism in the Wake 91 6. The Insistence of the Pluriverse 113 Notes 133 Bibliography 163 Index 177

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Book SynopsisAdvances in LGBTQ rights in the recent past—marriage equality, the repeal of Don''t Ask, Don''t Tell, and the expansion of hate crimes legislation—have been accompanied by a rise in attacks against trans, queer and/or gender-nonconforming people of color. In Atmospheres of Violence, theorist and organizer Eric A. Stanley shows how this seeming contradiction reveals the central role of racialized and gendered violence in the United States. Rather than suggesting that such violence is evidence of individual phobias, Stanley shows how it is a structuring antagonism in our social world. Drawing on an archive of suicide notes, AIDS activist histories, surveillance tapes, and prison interviews, they offer a theory of anti-trans/queer violence in which inclusion and recognition are forms of harm rather than remedies to it. In calling for trans/queer organizing and worldmaking beyond these forms, Stanley points to abolitionist ways of life that might offer livable futures.Trade Review“Eric A. Stanley's Atmospheres of Violence animates trans/queer, young queer, and racially dominated lives never quite stamped out by a brittle white supremacist egosystem. Written with tenderness and passionate thunder, the book's brilliant storytelling circulates grief and hope for the governed who remain alive and ungovernable. Throughout, Stanley offers vital pedagogies of truancy and wicked survival for potential collective life.” -- Lauren Berlant, author of * Cruel Optimism *“Atmospheres of Violence offers a generous and generative reminder that queer and trans lives have always been bigger and more brilliant than the deadly state that tries to frighten and cajole us. Out of a devastating archive, Eric A. Stanley's queer and trans stories rise beyond assimilation, honoring our gorgeous survival and refusals as resistance.” -- Tourmaline, artist, activist, and writer"A must read for those interested in dismantling systems of oppression and in trans/queer liberation. Essential. Advanced undergraduates through faculty; professionals." -- A. N. Weiss * Choice *"A remarkable contribution to queer theory, an imperative analytic for abolitionist praxis, and a poignanttestament to enduring the present world in service of destroying the present world, Atmospheres of Violence is a vital text for those who look, labor, and long for livable lives on the horizon." -- Kerry Keith * Lateral: Journal of the Cultural Studies Association *"Atmospheres of Violence exposes the violent ruse of settling for equality within nested systems bent on widespread immiseration, precarity, and violence, and intricately theorizes near life as a space of inventive resistance, a lab for existential experiments in ungovernability." -- Hil Malatino * GLQ *"Atmospheres demands we recognize that a way out of shitholes of the here, now and forever require attention to the breaks and clefts where collective possibility of being together, unconfined, rageful, might give us a kind of shape of impossibility-- one where we might better carve out a life-giving world in the cinders of a colonial humanity." -- Ren-yo Hwang * Society and Space *"I am humbled by—or rather, humble before (because knowing their previous work, I certainly didn’t enter it with selfproud expectation, rather an interest in learning with)—Stanley’s clear-eyed determination to not only reevaluate the queer/trans station within/for and without the immanently violent social." -- Mel Y. Chen * Society and Space *Table of ContentsReading with Care ix Acknowledgments xi Introduction: River of Sorrow 1 1. Near Life: Overkill and Ontological Capture 21 2. Necrocapital: Blood's General Strike 41 3. Clocked: Surveillance, Opacity, and the Image of Force 67 4. Death Drop: Becoming the Universe at the End of the World 92 Coda: Becoming Ungovernable 114 Notes 125 Bibliography 161 Index 177

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Book SynopsisBiko Mandela Gray offers a philosophical eulogy for Aiyana Stanley-Jones, Tamir Rice, Alton Sterling, and Sandra Bland that attests to their irreducible significance in the face of unremitting police brutality.Trade Review“[Black Life Matter] is an incredible work examining the lost lives of four key figures in thepost-modern Civil Rights Movement, also known as Black Lives Matter. . . . Mandela Gray does an amazing job at demonstrating, and never forgetting, the recent atrocities and injustices of our culture.” -- Josh Barker * Amsterdam News *“Black Life Matter is a wonderful book that explores the meaning of Black bodies and their corporality as living matter. . . . This book works as an instrument to mourn, honour, and actively remember not only the lives and death of the four victims described in each of the chapters but any other Black life that has been stolen.” -- Felipe Agudelo * Ethnic and Racial Studies *Table of ContentsAcknowledgments ix Introduction 1 1. Hands and Braids 31 2. “What I Do?” 55 3. “I Am Irritated, I Really Am” 85 Conclusion 113 Notes 123 Bibliography 149 Index 159

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Book SynopsisNot long after her father died, Afsaneh Najmabadi discovered that her father had a secret second family and that she had a sister she never knew about. In Familial Undercurrents, Najmabadi uncovers her family's complex experiences of polygamous marriage to tell a larger story of the transformations of notions of love, marriage, and family life in mid-twentieth-century Iran. She traces how the idea of marrying for love and the desire for companionate, monogamous marriage acquired dominance in Tehran's emerging urban middle class. Considering the role played in that process by late nineteenth- and early twentieth-century romance novels, reformist newspapers, plays, and other literature, Najmabadi outlines the rituals and objects---such as wedding outfits, letter writing, and family portraits---that came to characterize the ideal companionate marriage. She reveals how in the course of one generation men's polygamy had evolved from an acceptable open practice to a taboo best kept secret. ATrade Review“Afsaneh Najmabadi’s creative mélange of history and memoir makes a compelling case for microhistory and even more specifically for personal history as a living document and an archive to be explored in uncovering Iranian social history. I greatly appreciate how Najmabadi has brought history to life.” -- Firoozeh Kashani-Sabet, author of * Conceiving Citizens: Women and the Politics of Motherhood in Iran *“Few scholars elevate the personal to the theoretical with the economy and elegance of Afsaneh Najmabadi. She translates a claim that her father had a secret second family into a journey of research, producing exquisite reflections on urban/space transformations that facilitated familial change. Stories are not just stories, as Najmabadi interrogates them to extract and advance their enduring theoretical significance. She sweeps into history and history making.” -- Suad Joseph, general editor of the * Encyclopedia of Women and Islamic Cultures *“This well-written book is both informative and entertaining. Recommended. General readers through faculty; professionals.” -- G. M. Farr * Choice *Table of ContentsCast of Characters ix Preface xi Acknowledgments xvii In Lieu of an Introduction 1 1. Marrying for Love 13 2. Objects: Letters, Wedding Clothes, and Photographs 41 3. Meanings of Marriage: Forming a Family or Providing Sexual Pleasure 75 4. Urban Transformations 111 Epilogue: Naming Marriage, Naming Kin 127 Notes 131 Bibliography 149 Index 155

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Book SynopsisIn The Politics of Vibration Marcus Boon explores music as a material practice of vibration. Focusing on the work of three contemporary musicians-Hindustani classical vocalist Pandit Pran Nath, Swedish drone composer and philosopher Catherine Christer Hennix, and Houston-based hip-hop musician DJ Screw-Boon outlines how music constructs a vibrational space of individual and collective transformation. Contributing to a new interdisciplinary field of vibration studies, he understands vibration as a mathematical and a physical concept, as a religious or ontological force, and as a psychological determinant of subjectivity. Boon contends that music, as a shaping of vibration, needs to be recognized as a cosmopolitical practice-in the sense introduced by Isabelle Stengers-in which what music is within a society depends on what kinds of access to vibration are permitted, and to whom. This politics of vibration constitutes the hidden ontology of contemporary music because the organization of vibration shapes individual music scenes as well as the ethical choices that participants in these scenes make about how they want to live in the world.Trade Review"The boldest aspect of Boon's argument . . . is his move to the level of ontology—to the nature of being or reality itself. For him music's social and racial significance operates not at the level of social codes or experience, but as an intervention in how reality itself is organised: 'music does tell us something about being.' His framework certainly allows a place for aspects of music-making that usually get screened out of modern criticism: its religious power, its role in many cultures' sense of the world's structure. . . ." -- Dan Barrow * The Wire *Table of ContentsIntroduction. Music as a Cosmopolitical Practice 1 1. Lord’s House, Nobody’s House: Pandit Pran Nath and Music as Sadhana 29 2. The Drone of the Real: The Sound-Works of Catherine Christer Hennix 75 3. Music and the Continuum 125 4. Slowed and Throwed: DJ Screw and the Decolonization of Time 179 Coda. July 2, 2020 227 Acknowledgments 231 Notes 235 Bibliography 255 Index 269

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Book SynopsisIn Crisis Vision, Torin Monahan explores how artists confront the racializing dimensions of contemporary surveillance. He focuses on artists ranging from Kai WiedenhÖfer, Paolo Cirio, and Hank Willis Thomas to Claudia Rankine and Dread Scott, who engage with what he calls crisis vision-the regimes of racializing surveillance that position black and brown bodies as targets for police and state violence. Many artists, Monahan contends, remain invested in frameworks that privilege transparency, universality, and individual responsibility in ways that often occlude racial difference. Other artists, however, disrupt crisis vision by confronting white supremacy and destabilizing hierarchies through the performance of opacity. Whether fostering a recognition of a shared responsibility and complicity for the violence of crisis vision or critiquing how vulnerable groups are constructed and treated globally, these artists emphasize ethical relations between strangers and ask viewers to question their own place within unjust social orders.Trade Review"A methodical and insightful account of the cultural production of differential systems of oppression that characterize the surveillant present. . . . What’s notable throughout is the incisiveness of Monahan’s critique which refuses to shy away from scrutiny even as he lauds each artwork for its investigation of crisis vision." -- Gary Kafer * Journal of Cultural Economy *Table of ContentsAcknowledgments ix Introduction 1 1. Avoidance 21 2. Transparency 43 3. Complicity 69 4. Violence 90 5. Disruption 115 Conclusion 139 Notes 147 Bibliography 179 Index 205

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Book SynopsisIn Breathing Aesthetics Jean-Thomas Tremblay argues that difficult breathing indexes the uneven distribution of risk in a contemporary era marked by the increasing contamination, weaponization, and monetization of air. Tremblay shows how biopolitical and necropolitical forces tied to the continuation of extractive capitalism, imperialism, and structural racism are embodied and experienced through respiration. They identify responses to the crisis in breathing in aesthetic practices ranging from the film work of Cuban American artist Ana Mendieta to the disability diaries of Bob Flanagan, to the Black queer speculative fiction of Renee Gladman. In readings of these and other minoritarian works of experimental film, endurance performance, ecopoetics, and cinema-vérité, Tremblay contends that articulations of survival now depend on the management and dispersal of respiratory hazards. In so doing, they reveal how an aesthetic attention to breathing generates historicalTrade Review“'Breathing is inevitably morbid,' reads the opening line of Jean-Thomas Tremblay’s exquisite new first monograph, Breathing Aesthetics. . . . By closely studying the writings and performances of Dodie Bellamy, CAConrad, and Bob Flanagan and Sheree Rose, Tremblay is attentive to breathing’s knotty role in the space of queer life in how it ‘organizes desire amid crises ranging from the personal to the planetary.’ Similarly, by surveying the Black and Indigenous feminist respiratory rituals outlined in the works of Toni Cade Bambara and Linda Hogan, Tremblay asks us to consider ‘minoritarian models of collective life inspired by respiration,’ those that exist outside of and beyond mainstream feminist spaces of organizing.” -- Ricky Varghese * Los Angeles Review of Books *“Tremblay’s text is an exercise in exchange, in permeability. It begins with an acknowledgement that ‘breathing for’ is in the action of ‘I breathe,’ a ritual Tremblay learns from the poet M. NourbeSe Philip. This acknowledgement of human autopoetic respiration discloses the multiplicity and vulnerability of breathing. . . . Exchange, I have said, includes an etymological link to bartering. And [Breathing Aesthetics is] a bartering with the unknown amidst all too knowable crises." -- Laurel V. McLaughlin * ASAP/Journal *"Tremblay’s book does for breath what scholars like Zoe Todd have done for broad concepts like climate change, which is to push back against the Platonic understanding of said concepts that cannot be confined to a single, material form. Breathing Aesthetics pushes back on the idea of a disembodied breath, of air as a vacuum-like space that surrounds us. . . . Not only are we breathing together, our individual forms part of an amorphous and often chaotic whole, but breath is also being negotiated in a variety of different ways, the morbid and the meditative existing side by side." -- Margaryta Golovchenko * Visual Studies *"What is perhaps most revelatory about Tremblay’s intervention is that there is no call for a full restoration of breath. Notwithstanding its impossibility for minoritarian communities, a return to optimal breathing could only work through a guise of self-determined liberation that masks persisting violence against and estrangement among those whose lives cannot be extricated from conditions of 'breathlessness.' Readers of Breathing Aesthetics will quickly find that Tremblay’s assertion that respiratory crises are contagious between survivor and spectator in that the latter is made to suffer shortages of breath also apply here." -- Jennifer Cho * ISLE *Table of ContentsAcknowledgments ix Introduction: Ecologies of the Particular 1 1. Breathing against Nature 33 2. Aesthetic Self-Medication (Three Regimens) 65 3. Feminist Breathing 94 4. Smog Sensing 113 5. Death in the Form of Life 139 Coda: A Queer Theory of Benign Respiratory Variations 158 Notes 163 Bibliography 197 Index 221

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Book SynopsisIn Climate Change and the New Polar Aesthetics, Lisa E. Bloom considers the ways artists, filmmakers, and activists engaged with the Arctic and Antarctic to represent our current environmental crises and reconstruct public understandings of them. Bloom engages feminist, Black, Indigenous, and non-Western perspectives to address the exigencies of the experience of the Anthropocene and its attendant ecosystem failures, rising sea levels, and climate-led migrations. As opposed to mainstream media depictions of climate change that feature apocalyptic spectacles of distant melting ice and desperate polar bears, artists such as Katja Aglert, Subhankar Banerjee, Joyce Campbell, Judit Hersko, Roni Horn, Isaac Julien, Zacharias Kunuk, Connie Samaras, and activist art collectives take a more complex poetic and political approach. In their films and visual and conceptual art, these artists link climate change to its social roots in colonialism and capitalism while challenging the suppression of information about environmental destruction and critiquing Western art institutions for their complicity. Bloom's examination and contextualization of new polar aesthetics makes environmental degradation more legible while demonstrating that our own political agency is central to imagining and constructing a better world.Trade Review“Ever since the publication of Gender on Ice, Lisa E. Bloom has been one of the most innovative scholars in the field of polar aesthetics and the cultural history of the polar regions. Working with an array of creative art practices, Bloom demonstrates how new ways of feeling, seeing, and thinking are integral to the current and future social, environmental, and geopolitical predicament. This is a book for dark times, but it is hopeful, resilient, and socially just.” -- Klaus Dodds, Professor of Geopolitics, Royal Holloway, University of London"An impressive and fascinating study which prompts further critical discussions in the field of polar art. The book is a must-read for any scholar interested in the aesthetics of climate change and will have a lasting impact within the field of Environmental Humanities." -- Anne Hemkendreis * ArtHist.net *“Lisa Bloom’s Climate Change and the New Aesthetics integrates text with imagery to highlight problems, not isolated to one location or a particular ethnicity. . . . Close scrutiny of artworks which contextualize Climate Change brings problems and hopefully solutions to the forefront without verbally scolding.” -- Jean Bundy * AICA E-MAG *“This is a book capable of expanding a reader’s understanding whether they are drawn to it from the worlds of art, activism, critical scholarship, or some combination thereof. Connecting what is often separated, Climate Change and the New Polar Aesthetics is a vital read for artists, activists, and academics alike.” -- Alice Oates * H-Environment, H-Net Reviews *"[T]hrough well-chosen examples, understandable text, an extensive bibliography, and detailed footnotes, Bloom’s scholarship makes an important contribution to the literature for institutions with graduate programs and/or libraries which aim to include diverse views of the global environmental crisis." -- Barbara Ann Opar * ARLIS-NA *"Climate Change and the New Polar Aesthetics marks an important intervention in aesthetic and environmental criticism. The book contributes to a growing body of scholarship that engages with climate change not merely as an ethical injunction but as an unavoidable facet of contemporary life." -- Elizabeth Berman * Journal of Postcolonial Writing *Table of ContentsList of Illustrations ix Acknowledgments xv Introduction. From the Heroic Sublime to Environments of Global Decline 1 I. Disappearing Landscapes: Feminist, Inuit, and Black Viewpoints 1. Antarctica and the Contemporary Sublime in Intersectional Feminist Art Practices 25 2. Reclaiming the Arctic through Feminist and Black Aesthetic Perspectives 54 3. At Memory's Edge: Collaborative Perspectives on Climate Trauma in Arctic Cinema 85 II. Archives of Knowledge and Loss 4. What is Unseen and Missing in the Circumpolar North: Contemporary Art and Indigenous Collaborative Approaches / Lisa E. Bloom and Elena Glasberg 105 5. Viewers as Citizen Scientists: Archiving Detritus / Lisa E. Bloom and Elena Glasberg 130 III. Climate Art and the Future of Art and Dissent 6. The Logic of Oil and Ice: Reimagining Documentary Cinema in the Capitalocene 153 7. Critical Polar Art Leads to Social Activism: Beyond the Disengaged Gaze 176 Epilogue. Seeing From the Future 195 Notes 201 Filmography 229 Bibliography 235 Index 253

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Book SynopsisIn Terracene Salar Mameni historicizes the popularization of the scientific notion of the Anthropocene alongside the emergence of the global war on terror. Mameni theorizes the Terracene as an epoch marked by a convergence of racialized militarism and environmental destruction. Both the Anthropocene and the war on terror centered the antagonist figures of the Anthropos and the terrorist as responsible for epochal changes in the new geological and geopolitical world orders. In response, Mameni shows how the Terracene requires radically new engagements with terra (the earth), whose intelligence resides in matters such as oil and phenomena like earthquakes and fires. Drawing on the work of artists whose practices interrogate histories of settler-colonial and imperial interests in land and resources in Iran, Iraq, Yemen, Kuwait, Syria, Palestine, and other regions most affected by the war on terror, Mameni offers speculative paths into the aesthetics of the Terracene.Trade Review“An innovative, timely, and eminently teachable book, Terracene is part of an exciting new wave of new materialist thought that challenges speciesism, decenters the human, and destabilizes the category of the human altogether. Salar Mameni writes beautifully, weaving memoir and personal vignettes with deep theorizing that demonstrates bright flashes of genius throughout. They bring together the best of critical race, Indigenous, and postcolonial scholarship to bear on the dystopian here and now of climate chaos and terrorized world-making. In short, Terracene is a sensation.” -- Ronak K. Kapadia, author of * Insurgent Aesthetics: Security and the Queer Life of the Forever War *“In compelling visual analysis, Salar Mameni shows us how the colonial construction of terror has violently homed in on racialized bodies and environments. Through an aesthetics of revolt forged in opposition to the pincer movement of the inhumane-inhuman, Mameni confronts the weaponization of environments in their narrativization.” -- Kathryn Yusoff, author of * A Billion Black Anthropocenes or None *Table of ContentsCreation Story 1 Part 1. Terracene 11 1. Terror and the Anthropocene 13 2. Anti-Colonial Critique of the Anthropocene 22 3. Provincializing the Anthropocene; or, Why Artists, Feminists, and Yemeni People Have Much to Say about the Cosmos 27 4. The Anthropocene Is a Work of Art 40 5. The Terracene 46 6. Sensing the Terracene 51 7. Crude Aesthetics 70 Part 2. The Sounds of Terracene 81 8. The Class Shattered at My Feet 83 9. Listening to the Terracene 85 10. Shelter 104 11. Silence 106 Part 3. Terran Deities: Oil, Fires, Fevers 111 12. Lamassu 113 13. Huma 126 14. Homa 15. Pazuzu 134 Part 4. Narrative Terrorism 141 16. The Red Star 143 17. Narrative Terrorism 146 Part 5. Crude Aesthetics 161 18. Texas Crude 163 19. A Fire! 171 20. The Devil's Excrement 185 Acknowledgments 189 Notes 193 Bibliography 211 Index 223

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Book SynopsisIn Deathlife, Anthony B. Pinn analyzes hip hop to explore how Blackness serves as a framework for defining and guiding the relationship between life and death in the United States. Pinn argues that white supremacy and white privilege operate based on the right to distinguish death from life. This distinction is produced and maintained through the construction of Blackness as deathlife. Drawing on Afropessimism and Black moralism, Pinn theorizes deathlife as a technology of whiteness that projects whites’ anxieties about the end of their lives onto the Black other. Examining the music of Jay-Z; Kendrick Lamar; Tyler, the Creator; and others, Pinn shows how hip hop configures the interconnection and dependence between death and life in such a way that death and life become indistinguishable. In so doing, Pinn demonstrates that hip hop presents an alternative to deathlife that challenges the white supremacist definitions of Blackness and anti-Blackness moTrade Review“Not since Orlando Patterson’s magisterial exploration of social death have we had as monumental an engagement with the ideas of life, death, and Blackness as Anthony Pinn delivers in his groundbreaking book Deathlife. Pinn uses hip hop’s struggles between life and death, and with life as death, to illumine both the white quest for immortality through slaying Blackness, and the Black hunger for meaning by staring nothingness in the eye. Deathlife captures the way that Blackness and being, and Blackness and nonbeing, have had no useful distinction in the lexicon of white supremacy, while brilliantly arguing for a rationale of Black existence that sees no value in separating life from death. A transcendent work of astonishing originality.” -- Michael Eric Dyson“Anthony B. Pinn shows how Black critical theory’s focus on the antagonism between the human and Blackness can be heard in hip hop and popular culture. His concept of deathlife—the merging together of death and life—underscores how the sphere of the (white) human relies on the fantasy of cordoning off life from death. Whiteness, Pinn argues, needs Black deathlife in order to understand life and death.” -- Joseph R. Winters, author of * Hope Draped in Black: Race, Melancholy, and the Agony of Progress *Table of ContentsAcknowledgments ix Introduction. Paradigms of Death (or Life) and Deathlife 1 Part I. Signifying Deathlife 1. The Orphic Hustler 45 2. The Anithero 73 Part II. Consuming Deathlife 3. Bacchic Intent 97 4. Zombic Hunger 125 Epilogue. Two Types of Melancholia 149 Notes 165 Discography 201 Bibliography 207 Index 223

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Book SynopsisIn Stay Black and Die, I. Augustus Durham examines melancholy and genius in black culture, letters, and media from the nineteenth century to the contemporary moment. Drawing on psychoanalysis, affect theory, and black studies, Durham explores the black mother as both a lost object and a found subject often obscured when constituting a cultural legacy of genius across history. He analyzes the works of Frederick Douglass, Ralph Ellison, Marvin Gaye, Octavia E. Butler, and Kendrick Lamar to show how black cultural practices and aesthetics abstract and reveal the lost mother through performance. Whether attributing Douglass’s intellect to his matrilineage, reading Gaye’s falsetto singing voice as a move to interpolate black female vocality, or examining the women in Ellison’s life who encouraged his aesthetic interests, Durham demonstrates that melancholy becomes the catalyst for genius and genius in turn is a signifier of the maternal. Using psychoanalysis to deveTrade Review“What haunts and inspires black creativity in an antiblack world? In Stay Black and Die, I. Augustus Durham offers a gendered vernacular psychoanalytic reading of this question, which is to say that he offers a lush blues of genius’s complicated sustenance and insistence. And right there in this blues is the centrality of black femaleness—the maternal—that dapples the engagement with the object that is and is not lost. This richly researched book showcases genius as a notion traced through its motherline and, as such, Durham’s brilliance is a stay in every sense of the word: a hold, a refusal, a plea, and an inhabitance, a longing in which one can linger.” -- Kevin Quashie, author of * Black Aliveness, or A Poetics of Being *“I. Augustus Durham adds a fundamentally new and truly insightful spin to studies in blackness and melancholy. Bringing melancholy into the realm of nonromanticized genius, he moves seamlessly between the study of literature and the study of music. His analysis of music videos also makes his approach to black melancholy and genius a deep study of affect that refuses any boundaries between the literary, the sonic, and the visual. I am certain that Durham’s theorization of melancholic genius will become a portable, widely cited idea.” -- Margo Natalie Crawford, author of * Black Post-Blackness: The Black Arts Movement and Twenty-First-Century Aesthetics *Table of ContentsFigures viii Echo | I xi Thank | You; or, Acknowledgments xix Color | Blackness 1 Read | Frederick 39 Travel | Ralph 79 Man | Marvin 117 Woman | Gan 151 Love | Kendrick 179 Study | Us 213 Notes 225 Bibliography 273 Index 309

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Book SynopsisIn the face of accelerating climate change, anticapitalist environmental justice activists and elite tech corporations increasingly see eye to eye. Both envision solar-powered futures where renewable energy redresses gentrification, systemic racism, and underemployment. However, as Myles Lennon argues in Subjects of the Sun, solar power is no less likely to exploit marginalized communities than dirtier forms of energy. Drawing from ethnographic research on clean energy corporations and community solar campaigns in New York City, Lennon argues that both groups overlook solar's extractive underside because they primarily experience energy from the sun in the virtual world of the cloud. He shows how the material properties of solar technology-its shiny surfaces, decentralized spatiality, and modularity-work closely with images, digital platforms, and quantitative graphics to shape utopic visions in which renewable energy can eradicate the constitutive tensions of racial capitalism. As a corrective to this virtual world, Lennon calls for an equitable energy transition that centers the senses and sensibilities neglected by screenwork: one's haptic care for their local environment; the full-bodied feel of infrastructural labor; and the sublime affect of the sun.

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Book SynopsisIn 1972, Ugandan president Idi Amin expelled close to 80,000 South Asians of Ugandan heritage from the country by dictatorial decree. In Insecurities of Expulsion, Anneeth Kaur Hundle revisits this weighty historical event, arguing that it is neither an exceptional nor a parochial event, neither a result of primordial Afro-South Asian racial conflict nor an opening into a redemptive search for Afro-South Asian interracial solidarities. Hundle explores the aftermaths and continuous nature of the expulsion event, examining its effects and affects; the images, representations, and differentiated experiences and memories of the event; and the tense and ambivalent practices of citizenship, sovereignty, and governance that have emerged in the decades following the expulsion. She examines Afro-Asian entanglements in what she describes as transcontinental Uganda through the lenses of race, ethnicity, class, caste, religion, gender, and sexuality. Throughout, Hundle argues for stronger attention to knowledge production on global Afro-South Asian connections and the continued dynamics of community, citizenship, and identity on the African Continent as central to envisioning Black African self-determinism, racial reconciliation, and interracial pluralisms during shifting imperial, postcolonial, nationalist, and geopolitical times.

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Book SynopsisIn An Unformed Map, Philip Janzen traces the intellectual trajectories of Caribbean people who joined the British and French colonial administrations in Africa between 1890 and 1930. Caribbean administrators grew up in colonial societies, saw themselves as British and French, and tended to look down on Africans. Once in Africa, however, they were doubly marginalized-excluded by Europeans and unwelcome among Africans. This marginalization was then reproduced in colonial archives, where their lives appear only in fragments. Drawing on sources beyond the archives of empire, from dictionaries and language exams to a suitcase full of poems, Janzen considers how Caribbean administrators reckoned with the profound effects of assimilation, racism, and dislocation. As they learned African languages, formed relationships with African intellectuals, and engaged with African cultures and histories, they began to rethink their positions in the British and French empires. They also created new geographies of belonging across the Atlantic, foundations from which others imagined new political horizons. Ultimately, Janzen offers a model for reading across sources and writing history in the face of archival fragmentation.

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Book SynopsisNathan Snaza brings contemporary feminist and queer popular culture's resurging interest in esoteric practices like tarot and witchcraft into conversation with Black feminist and new materialist thought to highlight new ways of rejecting the colonialist and racist mission of enlightenment modernity.

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Book SynopsisRachel H. Brown explores the overlooked labor of migrant workers in Israel's eldercare industry, showing that live-in eldercare in Palestine/Israel is an often invisible area where settler colonialism is reproduced.

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