Search results for ""Duke University Press""

In Toward Camden, Mercy Romero writes about the relationships that make and sustain the largely African American and Puerto Rican Cramer Hill neighborhood in New Jersey where she grew up. She walks the city and writes outdoors to think about the collapse and transformation of property. She revisits lost and empty houses—her family's house, the Walt Whitman House, and the landscape of a vacant lot. Throughout, Romero engages with the aesthetics of fragment and ruin; her writing juts against idioms of redevelopment. She resists narratives of the city that are inextricable from crime and decline and witnesses everyday lives lived at the intersection of spatial and Puerto Rican diasporic memory. Toward Camden travels between what official reports say and what the city's vacant lots withhold. Duke University Press Scholars of Color First Book Award recipient

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For half a century Lydia Maria Child was a household name in the United States. Hardly a sphere of nineteenth-century life can be found in which Lydia Maria Child did not figure prominently as a pathbreaker. Although best known today for having edited Harriet A. Jacobs’s Incidents in the Life of a Slave Girl, she pioneered almost every department of nineteenth-century American letters—the historical novel, the short story, children’s literature, the domestic advice book, women’s history, antislavery fiction, journalism, and the literature of aging. Offering a panoramic view of a nation and culture in flux, this innovative cultural biography (originally published by Duke University Press in 1994) recreates the world as well as the life of a major nineteenth-figure whose career as a writer and social reformer encompassed issues central to American history.

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Beginning in the mid-1800s, Americans hauled frozen pond water, then glacial ice, and then ice machines to Hawaiʻi—all in an effort to reshape the islands in the service of Western pleasure and profit. Marketed as “essential” for white occupants of the nineteenth-century Pacific, ice quickly permeated the foodscape through advancements in freezing and refrigeration technologies. In Cooling the Tropics Hiʻilei Julia Kawehipuaakahaopulani Hobart charts the social history of ice in Hawaiʻi to show how the interlinked concepts of freshness and refreshment mark colonial relationships to the tropics. From chilled drinks and sweets to machinery, she shows how ice and refrigeration underpinned settler colonial ideas about race, environment, and the senses. By outlining how ice shaped Hawaiʻi’s food system in accordance with racial and environmental imaginaries, Hobart demonstrates that thermal technologies can—and must—be attended to in struggles for food sovereignty and political self-determination in Hawaiʻi and beyond. Duke University Press Scholars of Color First Book Award Recipient

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This special issue marks the recent English translation of the second volume of Peter Weiss’s The Aesthetics of Resistance, also published by Duke University Press, with new, future-oriented readings of the novel. While many of the novel’s images—migrants adrift on a surveilled and fortified Mediterranean and the rise of anti-democratic, antisemitic, and racist authoritarian movements, among others—echo contemporary issues and events, the contributors present the novel as a complex text at the intersection of art, literary, and political histories with special utility for grasping the present moment. Topics include the relationship between form and formlessness in the novel, its implications for the interpretation of art, how political encounters inform the engagement of political subjects, and Weiss’s thematization of Jewish identity and left antisemitism. The issue also includes a new translation of a 1966 public exchange between Peter Weiss and Hans Magnus Enzensberger. Contributors. Hans Magnus Enzensberger, Kai Evers, Julia Hell, Seth Howes, Stefan Jonsson, Kaisa Kaakinen, Richard Langston, Matthew D. Miller, Alex Potts, Caroline Rupprecht, Peter Weiss

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In 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 movements and energies. What emerges in Feels Right is a sensorial portrait of the critical, black queer geographies and collectivities that emerge in social dance settings and in the broader neoliberal city. Duke University Press Scholars of Color First Book Award recipient

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Since the 1970s, a “Polynesian Pipeline” has brought football players from American Sāmoa to Hawaii and the mainland United States to play at the collegiate and professional levels. In Gridiron Capital Lisa Uperesa charts the cultural and social dynamics that have made football so central to Samoan communities. For Samoan athletes, football is not just an opportunity for upward mobility; it is a way to contribute to, support, and represent their family, village, and nation. Drawing on ethnographic fieldwork, archival research, and media analysis, Uperesa shows how the Samoan ascendancy in football is underpinned by the legacies of US empire and a set of imperial formations that mark Indigenous Pacific peoples as racialized subjects of US economic aid and development. Samoan players succeed by becoming entrepreneurs: building and commodifying their bodies and brands to enhance their football stock and market value. Uperesa offers insights into the social and physical costs of pursuing a football career, the structures that compel Pacific Islander youth toward athletic labor, and the possibilities for safeguarding their health and wellbeing in the future. Duke University Press Scholars of Color First Book Award recipient

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In The Lettered Barriada, Jorell A. Meléndez-Badillo tells the story of how a cluster of self-educated workers burst into Puerto Rico's world of letters and navigated the colonial polity that emerged out of the 1898 US occupation. They did so by asserting themselves as citizens, producers of their own historical narratives, and learned minds. Disregarded by most of Puerto Rico's intellectual elite, these workers engaged in dialogue with international peers and imagined themselves as part of a global community. They also entered the world of politics through the creation of the Socialist Party, which became an electoral force in the first half of the twentieth century. Meléndez-Badillo shows how these workers produced, negotiated, and deployed powerful discourses that eventually shaped Puerto Rico's national mythology. By following these ragtag intellectuals as they became politicians and statesmen, Meléndez-Badillo also demonstrates how they engaged in racial and gender silencing, epistemic violence, and historical erasures in the fringes of society. Ultimately, The Lettered Barriada is about the politics of knowledge production and the tensions between working-class intellectuals and the state. Duke University Press Scholars of Color First Book Award recipient

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In Magical Habits Monica Huerta draws on her experiences growing up in her family's Mexican restaurants and her life as a scholar of literature and culture to meditate on how relationships among self, place, race, and storytelling contend with both the afterlives of history and racial capitalism. Whether dwelling on mundane aspects of everyday life, such as the smell of old kitchen grease, or grappling with the thorny, unsatisfying question of authenticity, Huerta stages a dynamic conversation among genres, voices, and archives: personal and critical essays exist alongside a fairy tale; photographs and restaurant menus complement fictional monologues based on her family's history. Developing a new mode of criticism through storytelling, Huerta takes readers through Cook County courtrooms, the Cristero Rebellion (in which her great-grandfather was martyred by the Mexican government), Japanese baths in San Francisco—and a little bit about Chaucer too. Ultimately, Huerta sketches out habits of living while thinking that allow us to consider what it means to live with and try to peer beyond history even as we are caught up in the middle of it. Duke University Press Scholars of Color First Book Award recipient

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Pentecostal serpent handlers, also known as Signs Followers, hold a literal interpretation of a verse in the New Testament’s Gospel of Mark which states that, among other abilities, true believers shall be able to “take up serpents.” For more than a century members of this uniquely Appalachian religious tradition have handled venomous snakes during their worship services, risking death as evidence of their unwavering faith. Despite scores of deaths from snakebite and the closure of numerous churches in recent decades, there remains a small contingent of serpent handlers devoted to keeping the practice alive. Who are the serpent handlers? What motivates them to continue their potentially lethal practices through the generations? Documentary photographer Lauren Pond traveled to West Virginia in search of answers to these questions. There she met Pastor Randy “Mack” Wolford, one of the best-known Signs Following preachers in the region, and spent the following year documenting Mack and his family. The course of her work changed dramatically in May 2012, when Mack, then forty-four years old, suffered a fatal rattlesnake bite during a worship service she attended. Pond photographed the events that followed and has continued her relationship with Mack’s family.Test of Faith provides a deeply nuanced, personal look at serpent handling that not only invites greater understanding of a religious practice that has long faced derision and criticism; it also serves as a meditation on the photographic process, its ethics, and its capacity to generate empathy. Published by Duke University Press and the Center for Documentary Studies at Duke University

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This issue features a group of leading theorists from multiple disciplines who decenter the human in queer theory, exploring what it means to treat “the human” as simply one of many elements in a queer critical assemblage. Contributors examine the queer dimensions of recent moves to think apart from or beyond the human in affect theory, disability studies, critical race theory, animal studies, science studies, ecocriticism, and other new materialisms. Essay topics include race, fabulation, and ecology; parasitology, humans, and mosquitoes; the racialization of advocacy for pit bulls; and queer kinship in Korean films when humans become indistinguishable from weapons. The contributors argue that a nonhuman critical turn in queer theory can and should refocus the field’s founding attention to social structures of dehumanization and oppression. They find new critical energies that allow considerations of justice to operate alongside and through their questioning of the human-nonhuman boundary.Mel Y. Chen, Associate Professor of Gender and Women’s Studies at the University of California, Berkeley, is the author of Animacies: Biopolitics, Racial Mattering, and Queer Affect, also published by Duke University Press. Dana Luciano is Associate Professor of English at Georgetown University. She is the author of Arranging Grief: Sacred Time and the Body in Nineteenth-Century America and editor, with Ivy G. Wilson, of Unsettled States: Nineteenth-Century American Literary Studies.Contributors: Neel Ahuja, Karen Barad, Jayna Brown, Mel Y. Chen, Jack Halberstam, Jinthana Haritaworn, Myra Hird, Zakiyyah Iman Jackson, Eileen Joy, Eunjung Kim, Dana Luciano, Uri McMillan, José Esteban Muñoz, Tavia Nyong’o, Jasbir K. Puar, Susan Stryker, Kimberly Tallbear, Jeanne Vaccaro, Harlan Weaver, Jami Weinstein

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For many years, kisses were the only sexual acts to be seen in mainstream American movies. Then, in the 1960s and 1970s, American cinema “grew up” in response to the sexual revolution, and movie audiences came to expect more knowledge about what happened between the sheets. In Screening Sex, the renowned film scholar Linda Williams investigates how sex acts have been represented on screen for more than a century and, just as important, how we have watched and experienced those representations. Whether examining the arch artistry of Last Tango in Paris, the on-screen orgasms of Jane Fonda, or the anal sex of two cowboys in Brokeback Mountain, Williams illuminates the forms of pleasure and vicarious knowledge derived from screening sex.Combining stories of her own coming of age as a moviegoer with film history, cultural history, and readings of significant films, Williams presents a fascinating history of the on-screen kiss, a look at the shift from adolescent kisses to more grown-up displays of sex, and a comparison of the “tasteful” Hollywood sexual interlude with sexuality as represented in sexploitation, Blaxploitation, and avant-garde films. She considers Last Tango in Paris and Deep Throat, two 1972 films unapologetically all about sex; In the Realm of the Senses, the only work of 1970s international cinema that combined hard-core sex with erotic art; and the sexual provocations of the mainstream movies Blue Velvet and Brokeback Mountain. She describes art films since the 1990s, in which the sex is aggressive, loveless, or alienated. Finally, Williams reflects on the experience of screening sex on small screens at home rather than on large screens in public. By understanding screening sex as both revelation and concealment, Williams has written the definitive study of sex at the movies.Linda Williams is Professor of Film Studies and Rhetoric at the University of California, Berkeley. Her books include Porn Studies, also published by Duke University Press; Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson; Viewing Positions: Ways of Seeing Film; and Hard Core: Power, Pleasure, and the “Frenzy of the Visible.”A John Hope Franklin Center BookNovember424 pages129 illustrations6x9 trim sizeISBN 0-8223-0-8223-4285-5paper, $24.95ISBN 0-8223-0-8223-4263-4library cloth edition, $89.95ISBN 978-0-8223-4285-4paper, $24.95ISBN 978-0-8223-4263-2library cloth edition, $89.95

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For half a century Lydia Maria Child was a household name in the United States. Hardly a sphere of nineteenth-century life can be found in which Lydia Maria Child did not figure prominently as a pathbreaker. Although best known today for having edited Harriet A. Jacobs’s Incidents in the Life of a Slave Girl, she pioneered almost every department of nineteenth-century American letters—the historical novel, the short story, children’s literature, the domestic advice book, women’s history, antislavery fiction, journalism, and the literature of aging. Offering a panoramic view of a nation and culture in flux, this innovative cultural biography (originally published by Duke University Press in 1994) recreates the world as well as the life of a major nineteenth-figure whose career as a writer and social reformer encompassed issues central to American history.

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In Trying to Give Ease, John K. Crellin and Jane Philpott focus on the life, practices, and accumulated knowledge of the late A. L. "Tommie" Bass, a widely known and admired Appalachian herbalist. Informed by insights drawn from several disciplines, particularly anthropology, their broad historical analyses of self-care practices and herbal remedies draw heavily on recorded interviews with Bass and his patients. Special attention is given to local resources that shape alternative medicine, the backgrounds of herbal practitioners, and the cultural currency of medical concepts once central to professional medicine and now less common. The authors report on both the physical effects of herbal remedies and the psychological factors that have an impact on their success. Trying to Give Ease is a companion to A Reference Guide to Medicinal Plants, also published by Duke University Press.

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In Disaffected Xine Yao explores the racial and sexual politics of unfeeling—affects that are not recognized as feeling—as a means of survival and refusal in nineteenth-century America. She positions unfeeling beyond sentimentalism's paradigm of universal feeling. Yao traces how works by Herman Melville, Martin R. Delany, Elizabeth Stuart Phelps, Frances Ellen Watkins Harper, and Sui Sin Far engaged major sociopolitical issues in ways that resisted the weaponization of white sentimentalism against the lives of people of color. Exploring variously pathologized, racialized, queer, and gendered affective modes like unsympathetic Blackness, queer female frigidity, and Oriental inscrutability, these authors departed from the values that undergird the politics of recognition and the liberal project of inclusion. By theorizing feeling otherwise as an antisocial affect, form of dissent, and mode of care, Yao suggests that unfeeling can serve as a contemporary political strategy for people of color to survive in the face of continuing racism and white fragility. Duke University Press Scholars of Color First Book Award recipient

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In 2014 Barbados introduced a vaccine to prevent certain strains of the human papillomavirus (HPV) and reduce the risk of cervical cancer in young women. Despite the disproportionate burden of cervical cancer in the Caribbean, many Afro-Barbadians chose not to immunize their daughters. In Suspicion, Nicole Charles reframes Afro-Barbadian vaccine refusal from a question of hesitancy to one of suspicion. Drawing on ethnographic fieldwork, black feminist theory, transnational feminist studies and science and technology studies, Charles foregrounds Afro-Barbadians' gut feelings and emotions and the lingering trauma of colonial and biopolitical violence. She shows that suspicion, far from being irrational, is a fraught and generative affective orientation grounded in concrete histories of mistrust of government and coercive medical practices foisted on colonized peoples. By contextualizing suspicion within these longer cultural and political histories, Charles troubles traditional narratives of vaccine hesitancy while offering new entry points into discussions on racialized biopolitics, neocolonialism, care, affect, and biomedicine across the Black diaspora. Duke University Press Scholars of Color First Book Award recipient

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In Nature's Wild, Andil Gosine engages with questions of humanism, queer theory, and animality to examine and revise understandings of queer desire in the Caribbean. Surveying colonial law, visual art practices, and contemporary activism, Gosine shows how the very concept of homosexuality in the Caribbean (and in the Americas more broadly) has been overdetermined by a colonially influenced human/animal divide. Gosine refutes this presupposed binary and embraces animality through a series of case studies: a homoerotic game called puhngah, the institution of gender-based dress codes in Guyana, and efforts toward the decriminalization of sodomy in Trinidad and Tobago—including the work of famed activist Colin Robinson, paintings of human animality by Guadeloupean artist Kelly Sinnapah Mary, and Gosine's own artistic practice. In so doing, he troubles the ways in which individual and collective anxieties about “wild natures” have shaped the existence of Caribbean people while calling for a reassessment of what political liberation might look like. Duke University Press Scholars of Color First Book Award recipient

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In Legal Spectatorship Kelli Moore traces the political origins of the concept of domestic violence through visual culture in the United States. Tracing its appearance in Article IV of the Constitution, slave narratives, police notation, cybernetic theories of affect, criminal trials, and the “look” of the battered woman, Moore contends that domestic violence refers to more than violence between intimate partners—it denotes the mechanisms of racial hierarchy and oppression that undergird republican government in the United States. Moore connects the use of photographic evidence of domestic violence in courtrooms, which often stands in for women’s testimony, to slaves’ silent experience and witnessing of domestic abuse. Drawing on Harriet Jacobs’s Incidents in the Life of a Slave Girl, abolitionist print culture, courtroom witness testimony, and the work of Hortense Spillers, Moore shows how the logic of slavery and antiblack racism also dictates the silencing techniques of the contemporary domestic violence courtroom. By positioning testimony on contemporary domestic violence prosecution within the archive of slavery, Moore demonstrates that domestic violence and its image are haunted by black bodies, black flesh, and black freedom. Duke University Press Scholars of Color First Book Award recipient

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Providing a lively snapshot of the state of art and social justice today on a global level, Entry Points accompanies the inaugural Vera List Center Prize for Art and Politics, launched at The New School on the occasion of the center’s twentieth anniversary. This book captures some of the most significant worldwide examples of art and social justice and introduces an interested audience of artists, policy makers, scholars, and writers to new ways of thinking about how justice is defined, advanced, and practiced through the arts. In so doing, it assembles some of the latest scholarship in this field while refining our vocabulary for speaking about social justice, social engagement, community enhancement, empowerment, and even art itself. The book's first half contains three essays by Thomas Keenan, João Ribas, and Sharon Sliwinski that map the field of art and social justice. These essays are accompanied by more than twenty profiles of recent artist projects that consist of brief essays and artist pages. This curated and carefully considered map of artists and projects identifies key moments in art and social justice. The book's second half consists of an in-depth analysis of Theaster Gates's The Dorchester Projects, which won the inaugural Vera List Prize for Art and Politics. Produced to complement the project’s exhibition at the Sheila C. Johnson Design Center, Parsons School of Design in September 2013, this analysis illuminates Gates's rich, complex, and exemplary work. This section includes an interview between Gates and Vera List Center director Carin Kuoni; essays by Horace D. Ballard Jr., Romi N. Crawford, Shannon Jackson, and Mabel O. Wilson; and a number of responses to The Dorchester Projects by faculty in departments across The New School.Published by Duke University Press and the Vera List Center for Art and Politics at The New School

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Circles and Circuits: Chinese Caribbean Art examines artistic production in Cuba, Trinidad, Jamaica, and Panama, where large immigrant populations and political, economic, and socio-cultural conditions enabled the development of rich art practices in the Chinese diasporic community. The volume touches on the dynamic interconnections between the Chinese diasporic art communities and intercontinental Caribbean art movements bringing into focus the intimate relationships between the artists and those around them, including those who influenced their work, from peers to mentors and family. Circles and Circuits: Chinese Caribbean Art ultimately explores how global migrations and the legacies of cultural, political, and economic power have shaped Chinese Caribbean art practices in the Caribbean and its diaspora. This catalog accompanies the exhibition Circles and Circuits: Chinese Caribbean Art, presented in two parts: History and Art of the Chinese Caribbean Diaspora at the California African American Museum and Contemporary Chinese Caribbean Art at the Chinese American Museum. The exhibition is part of the Getty’s initiative Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles. Presenting a wealth of rarely seen artworks, archival materials, and scholarship, the exhibitions and catalog shift the frame of critical discourse on Chinese Caribbean art history and visual cultures. Circles and Circuits: Chinese Caribbean Art offers a foundational introduction into Chinese Caribbean art and its global context.History and Art of the Chinese Caribbean Diaspora will be on display at the California African American Museum from September 15, 2017 through February 25, 2018. Contemporary Chinese Caribbean Art will be on display at the Chinese American Museum in Los Angeles from September 15, 2017 through March 11, 2018. Contributors. Alexandra Chang, Evelyn Hu-Dehart, Julia P. Hertzbert, Mar Hollingsworth, Walton Look Lai, Sean Metzger, Patrica Mohammed, Lok Siu, Steve Wong Published by the Chinese American Museum with the assistance of the Getty Foundation and distributed by Duke University Press

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Originally developed to help heterosexual couples, fertility treatments such as in vitro fertilization and sperm donation have provided lesbians with new methods for achieving pregnancy during the past two decades. Queering Reproduction is an important sociological analysis of lesbians’ use of these medical fertility treatments. Drawing on in-depth interviews with lesbians who have been or are seeking to become pregnant, Laura Mamo describes how reproduction has become an intensely medicalized process for lesbians, who are transformed into fertility patients not (or not only) because of their physical conditions but because of their sexual identities. Mamo argues that this medicalization of reproduction has begun to shape queer subjectivities in both productive and troubling ways, destabilizing the assumed link between heterosexuality and parenthood while also reinforcing traditional, heteronormative ideals about motherhood and the imperative to reproduce. Mamo provides an overview of a shift within some lesbian communities from low-tech methods of self-insemination to a reliance on outside medical intervention and fertility treatments. Reflecting on the issues facing lesbians who become parents through assisted reproductive technologies, Mamo explores questions about the legal rights of co-parents, concerns about the genetic risks of choosing an anonymous sperm donor, and the ways decisions to become parents affect sexual and political identities. In doing so, she investigates how lesbians navigate the medical system with its requisite range of fertility treatments, diagnostic categories, and treatment trajectories. Combining moving narratives and insightful analysis, Queering Reproduction reveals how medical technology reconfigures social formations, individual subjectivity, and notions of kinship.

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To Rise in Darkness offers a new perspective on a defining moment in modern Central American history. In January 1932 thousands of indigenous and ladino (non-Indian) rural laborers, provoked by electoral fraud and the repression of strikes, rose up and took control of several municipalities in central and western El Salvador. Within days the military and civilian militias retook the towns and executed thousands of people, most of whom were indigenous. This event, known as la Matanza (the massacre), has received relatively little scholarly attention. In To Rise in Darkness, Jeffrey L. Gould and Aldo A. Lauria-Santiago investigate memories of the massacre and its long-term cultural and political consequences. Gould conducted more than two hundred interviews with survivors of la Matanza and their descendants. He and Lauria-Santiago combine individual accounts with documentary sources from archives in El Salvador, Guatemala, Washington, London, and Moscow. They describe the political, economic, and cultural landscape of El Salvador during the 1920s and early 1930s, and offer a detailed narrative of the uprising and massacre. The authors challenge the prevailing idea that the Communist organizers of the uprising and the rural Indians who participated in it were two distinct groups. Gould and Lauria-Santiago demonstrate that many Communist militants were themselves rural Indians, some of whom had been union activists on the coffee plantations for several years prior to the rebellion. Moreover, by meticulously documenting local variations in class relations, ethnic identity, and political commitment, the authors show that those groups considered “Indian” in western El Salvador were far from homogeneous. The united revolutionary movement of January 1932 emerged out of significant cultural difference and conflict.

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Paul J. Vanderwood offers a fascinating look at the events, beliefs, and circumstances that have motivated popular devotion to Juan Soldado, a Mexican folk saint. In his mortal incarnation, Juan Soldado was Juan Castillo Morales, a twenty-four-year-old soldier convicted of and quickly executed for the rape and murder of eight-year-old Olga Camacho in Tijuana in 1938. Immediately after Morales’s death, many people began to doubt the evidence of his guilt, or at least the justice of his brutal execution. People reported seeing blood seeping from his grave and hearing his soul cry out protesting his innocence. Soon the “martyred” Morales was known as Juan Soldado, or John the Soldier. Believing that those who have died unjustly sit closest to God, people began visiting Morales’s grave asking for favors. Within months of his death, the young soldier had become a popular saint. He is not recognized by the Catholic Church, yet thousands of people have made pilgrimages to his gravesite. While Juan Soldado is well known in Tijuana, southern California’s Mexican American community, and beyond, this book is the first to situate his story within a broader exploration of how and why popular canonizations such as his take root and flourish.In addition to conducting extensive archival research, Vanderwood interviewed central actors in the events of 1938, including Olga Camacho’s mother, citizens who rioted to demand Morales’s release to a lynch mob, those who witnessed his execution, and some of the earliest believers in his miraculous powers. Vanderwood also interviewed many present-day visitors to the shrine at Morales’s grave. He describes them, their petitions—for favors such as health, a good marriage, or safe passage into the United States—and how they reconcile their belief in Juan Soldado with their Catholicism. Vanderwood puts the events of 1938 within the context of Depression-era Tijuana and he locates people’s devotion, then and now, within the history of extra-institutional religious activity. In Juan Soldado, a gripping true-crime mystery opens up into a much larger and more elusive mystery of faith and belief.

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In Senghor’s Shadow is a unique study of modern art in postindependence Senegal. Elizabeth Harney examines the art that flourished during the administration of Léopold Sédar Senghor, Senegal’s first president, and in the decades since he stepped down in 1980. As a major philosopher and poet of Negritude, Senghor envisioned an active and revolutionary role for modern artists, and he created a well-funded system for nurturing their work. In questioning the canon of art produced under his aegis—known as the Ecole de Dakar—Harney reconsiders Senghor’s Negritude philosophy, his desire to express Senegal’s postcolonial national identity through art, and the system of art schools and exhibits he developed. She expands scholarship on global modernisms by highlighting the distinctive cultural history that shaped Senegalese modernism and the complex and often contradictory choices made by its early artists.Heavily illustrated with nearly one hundred images, including some in color, In Senghor’s Shadow surveys the work of a range of Senegalese artists, including painters, muralists, sculptors, and performance-based groups—from those who worked at the height of Senghor’s patronage system to those who graduated from art school in the early 1990s. Harney reveals how, in the 1970s, avant-gardists contested Negritude beliefs by breaking out of established artistic forms. During the 1980s and 1990s, artists such as Moustapha Dimé, Germaine Anta Gaye, and Kan-Si engaged with avant-garde methods and local artistic forms to challenge both Senghor’s legacy and the broader art world’s understandings of cultural syncretism. Ultimately, Harney’s work illuminates the production and reception of modern Senegalese art within the global arena.

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The original architects of rock ’n’ roll were black musicians including Little Richard, Etta James, and Chuck Berry. Jimi Hendrix electrified rock with his explosive guitar in the late 1960s. Yet by the 1980s, rock music produced by African Americans no longer seemed to be “authentically black.” Particularly within the music industry, the prevailing view was that no one—not black audiences, not white audiences, and not black musicians—had an interest in black rock. In 1985 New York-based black musicians and writers formed the Black Rock Coalition (brc) to challenge that notion and create outlets for black rock music. A second branch of the coalition started in Los Angeles in 1989. Under the auspices of the brc, musicians organized performances and produced recordings and radio and television shows featuring black rock. The first book to focus on the brc, Right to Rock is, like the coalition itself, about the connections between race and music, identity and authenticity, art and politics, and power and change. Maureen Mahon observed and participated in brc activities in New York and Los Angeles, and she conducted interviews with more than two dozen brc members. In Right to Rock she offers an in-depth account of how, for nearly twenty years, members of the brc have broadened understandings of black identity and black culture through rock music.

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Performance artist and scholar E. Patrick Johnson’s provocative study examines how blackness is appropriated and performed—toward widely divergent ends—both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity—avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises.Johnson looks at various sites of performed blackness, including Marlon Riggs’s influential documentary Black Is . . . Black Ain’t and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother’s experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances—ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community—Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness.

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Since the 1960s, Hong Kong cinema has helped to shape one of the world’s most popular cultural genres: action cinema. Hong Kong action films have proved popular over the decades with audiences worldwide, and they have seized the imaginations of filmmakers working in many different cultural traditions and styles. How do we account for this appeal, which changes as it crosses national borders?Hong Kong Connections brings leading film scholars together to explore the circulation of Hong Kong cinema in Japan, Korea, India, Australia, France, and the United States, as well as its links with Taiwan, Singapore, and the Chinese mainland. In the process, this collection examines diverse cultural contexts for action cinema’s popularity and the problems involved in the transnational study of globally popular forms, suggesting that in order to grasp the history of Hong Kong action cinema’s influence we need to bring out the differences as well as the links that constitute popularity.Contributors. Nicole Brenez, Stephen Chan Ching-kiu, Dai Jinhua, David Desser, Laleen Jayamanne, Kim Soyoung, Siu Leung Li, Adrian Martin, S. V. Srinivas, Stephen Teo, Valentina Vitali, Paul Willemen, Rob Wilson, Wong Kin-yuen, Kinnia Yau Shuk-ting, Yung Sai-shing

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As China has evolved into an industrial powerhouse over the past two decades, a new class of workers has developed: the dagongmei, or working girls. The dagongmei are women in their late teens and early twenties who move from rural areas to urban centers to work in factories. Because of state laws dictating that those born in the countryside cannot permanently leave their villages, and familial pressure for young women to marry by their late twenties, the dagongmei are transient labor. They undertake physically exhausting work in urban factories for an average of four or five years before returning home. The young women are not coerced to work in the factories; they know about the twelve-hour shifts and the hardships of industrial labor. Yet they are still eager to leave home. Made in China is a compelling look at the lives of these women, workers caught between the competing demands of global capitalism, the socialist state, and the patriarchal family.Pun Ngai conducted ethnographic work at an electronics factory in southern China’s Guangdong province, in the Shenzhen special economic zone where foreign-owned factories are proliferating. For eight months she slept in the employee dormitories and worked on the shop floor alongside the women whose lives she chronicles. Pun illuminates the workers’ perspectives and experiences, describing the lure of consumer desire and especially the minutiae of factory life. She looks at acts of resistance and transgression in the workplace, positing that the chronic pains—such as backaches and headaches—that many of the women experience are as indicative of resistance to oppressive working conditions as they are of defeat. Pun suggests that a silent social revolution is underway in China and that these young migrant workers are its agents.

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In Indie Porn, Zahra Stardust examines the motivations and interventions of independent porn producers as they navigate criminal laws, risk-averse platforms, discriminatory algorithms, and rampant piracy. Herself a porn performer and participant, Stardust takes readers behind the scenes, offering intimate insights into this sociopolitical movement. She finds politicians who watch porn in parliament, protesters leading face-sitting demonstrations, sex workers making COVID-safe pornography, and artists reverse-engineering porn detection software. Against the backdrop of a global gig economy, Stardust documents the promises of indie porn to democratize content, revolutionize production, and redistribute wealth while outlining the fantasies of regulators, whose illusions of what porn is and does foreclose possibilities for transformation. Inevitably, as these paradigms collide, porn producers engage in creative tactics to hustle for survival and visibility, from ethical certificatio

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In Ghostly Past, Capitalist Presence, Tithi Bhattacharya maps the role that Bengali ghosts and ghost stories played in constituting the modern Indian nation, and the religious ideas seeded therein, as it emerged in dialogue with European science. Bhattacharya introduces readers to the multifarious habits and personalities of Bengal’s traditional ghosts and investigates and mourns their eventual extermination. For Bhattacharya, British colonization marked a transition from the older, multifaith folk world of traditional ghosts to newer and more frightening specters. These 'modern' Bengali ghosts, borne out of a new rationality, were homogeneous specters amenable to 'scientific' speculation and invoked at séance sessions in elite drawing rooms. Reading literature alongside the colonial archive, Bhattacharya uncovers a new reordering of science and faith from the middle of the nineteenth century. She argues that these shifts cemented the authority of a rising upper-cas

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In Open Admissions Danica Savonick traces the largely untold story of the teaching experience of Toni Cade Bambara, June Jordan, Audre Lorde, and Adrienne Rich at the City University of New York (cuny) in the late 1960s and early 1970s. This period, during which cuny guaranteed tuition-free admission to every city high school graduate, was one of the most controversial in US educational history. Analyzing their archival teaching materials—syllabi, lesson plans, and assignments—alongside their published work, Savonick reveals how these renowned writers were also transformative educators who developed creative methods of teaching their students to navigate and change the world. In fact, many of their methods—such as student-led courses, collaborative public projects, and the publication of student writing—anticipated the kinds of student-centered and antiracist pedagogies that have become popular in recent years. In addition to recovering the pedagogical le

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In Evacuation, Peter Adey examines the politics, aesthetics, and practice of moving people and animals from harm during emergencies. He outlines how the governance and design of evacuation are recursive, operating on myriad political, symbolic, and affective levels in ways that reflect and reinforce social hierarchies. Drawing on a wide range of case studies, from the retrieval of wounded soldiers from the battlefield during World War I and escaping the World Trade Center on 9/11 to the human and animal evacuations in response to the 2009 Australian bushfires and the 2010 Haiti earthquake, Adey demonstrates that evacuation is not an equal process. Some people may choose not to move while others are forced; some may even be brought into harm through evacuation. Often the poorest, racialized, and most marginalized communities hold the least power in such moments. At the same time, these communities can generate compassionate, creative, and democratic forms of care that offer alter

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In Disability Worlds, Faye Ginsburg and Rayna Rapp chronicle and theorize two decades of immersion in New York City’s wide-ranging disability worlds as parents, activists, anthropologists, and disability studies scholars. They situate their disabled children’s lives among the experiences of advocates, families, experts, activists, and artists in larger struggles for recognition and rights. Disability consciousness, they show, emerges in everyday politics, practices, and frictions. Chapters consider dilemmas of genetic testing and neuroscientific research, reimagining kinship and community, the challenges of “special education,” and the perils of transitioning from high school. They also highlight the vitality of neurodiversity activism, disability arts, politics, and public culture. Disability Worlds reflects the authors’ anthropological commitments to recognizing the significance of this fundamental form of human difference. Ginsburg and Rap

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Miller Oberman's new collection of poetry, Impossible Things, offers an intimate account of fatherhood, loss, grief, and family.

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In The Inner Life of Race, Leerom Medovoi turns away from conventional views of race as a politics of the phenotypical body to theorize race instead as a politics of populational threat. Racism’s genealogy, argues Medovoi, invokes longstanding theological distinctions between the body and the soul. While the body can be seen and marked, the soul signals potentially threatening interiorities: dangerous intentions, beliefs, or desires. Race is the power-effect of reading the body in order to police the political threat of the soul. Medovoi’s genealogy begins with medieval deployments of inquisition and confession to wage war against heretics, infidels, and their threat to the salvation of souls. In early modern Spain, these pastoral technologies of power catalyzed the invention of race as a language for the danger of formerly Jewish and Muslim converts. Medovoi shows how this discourse expanded into anti-blackness and anti-indigeneity throughout the colonial world and

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In Sanctuary Everywhere, Barbara Andrea Sostaita reimagines practices of sanctuary along the U.S.-Mexico border in order to explore the possibilities for radical fugitivity in the face of militarized border enforcement. After the 2016 presidential election, churches, universities, cities, and even states began declaring themselves sanctuaries. Sostaita proposes that these calls for expanded sanctuary are insufficient when dealing with the everyday workings of immigration enforcement. Through fieldwork in migrant clinics, shelters, and the Sonoran Desert, Sostaita demonstrates that, as a sacred practice, sanctuary cannot be fixed in any one destination or mandate. She turns to those working to create sanctuary on the move, from a deported nurse offering medical care on the border to incarcerated migrant women denying rules on touch in detention facilities to collectives set up to honor those who died crossing the border. Understanding sanctuary to be a set of fugitive practices t

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The contributors to Feminism against Cisness showcase the future of feminist historical, theoretical, and political thought freed from the conceptual strictures of cisness: the fallacy that assigned sex determines sexed experience. The essays demonstrate that this fallacy hinges on the enforcement of white and bourgeois standards of gender comportment that naturalize brutalizing race and class hierarchies. It is, therefore, no accident that the social processes making cisness compulsory are also implicated in anti-Blackness, misogyny, Indigenous erasure, xenophobia, and bourgeois antipathy for working-class life. Working from trans historical archives and materialist trans feminist theories, this volume demonstrates the violent work that cis ideology has done and thinks toward a future for feminism beyond this ideology''s counterrevolutionary pull. Contributors. Cameron Awkward-Rich, Marquis Bey, Kay Gabriel, Jules Gill-Peterson, Emma Heaney, Margaux L. Kristjansson,

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Yan Lianke is a world-renowned author of novels, short stories, and essays whose provocative and nuanced writing explores the reality of everyday life in contemporary China. In Sound and Silence, Yan compares his literary project to a blind man carrying a flashlight whose role is to help others perceive the darkness that surrounds them. Often described as China’s most censored author, Yan reflects candidly on literary censorship in contemporary China. He outlines the Chinese state’s project of national amnesia that suppresses memories of past crises and social traumas. Although being banned in China is often a selling point in foreign markets, Yan argues that there is no requisite correlation between censorship and literary quality. Among other topics, Yan also examines the impact of American literature on Chinese literature in the 1980s and 1990s. Encapsulating his perspectives on life, writing, and literary history, Sound and Silence includes an introduction

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Margaret Price examines the experiences of disabled academics to show how attempts at providing individual accommodations actually impede rather than enhancing access.

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The contributors to Situation Critical argue for the continued importance of critique to early American studies, pushing back against both reductivist neo-empiricism and so-called postcritique. Bringing together essays by a diverse group of historians and literary scholars, editors Max Cavitch and Brian Connolly demonstrate that critique is about acknowledging that we are never simply writing better or worse accounts of the past, but accounts of the present as well. The contributors examine topics ranging from the indeterminacy of knowledge and history to Black speculative writing and nineteenth-century epistemology, the role of the unconscious in settler colonialism, and early American writing about masturbation, repression, religion, and secularism and their respective influence on morality. The contributors also offer vital new interpretations of major lines of thought in the history of critique—especially those relating to Freud and Foucault—that will be valuable

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Made in Asia/America explores the key role video games play within the race makings of Asia/America. Its fourteen critical essays on games, ranging from Death Stranding to Animal Crossing, and five roundtables with twenty Asian/American game makers examine the historical entanglements of games, Asia, and America, and reveal the ways games offer new modes of imagining imperial violence, racial difference, and coalition. Shifting away from Eurocentric, white, masculinist takes on gaming, the contributors focus on minority and queer experiences, practices, and innovative scholarly methods to better account for the imperial circulation of games. Encouraging ambiguous and contextual ways of understanding games, the editors offer an “interactive” editorial method, a genre-expanding approach that encourages hybrid works of autotheory, queer of color theory, and conversation among game makers and scholars to generate divergent meanings of games, play, and &ldqu

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Nathan 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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In Waiting for the Cool Moon Wendy Matsumura interrogates the erasure of colonial violence at the heart of Japanese nation-state formation. She critiques Japan studies’ role in this effacement and contends that the field must engage with anti-Blackness and anti-Indigeneity as the grounds on which to understand imperialism, colonialism, fascism, and other forces that shape national consciousness. Drawing on Black radical thinkers’ critique of the erasure of the Middle Passage in universalizing theories of modernity’s imbrication with fascism, Matsumura traces the consequences of the Japanese empire’s categorization of people as human and less-than-human as manifested in the 1920s and 1930s, and the struggles of racialized and colonized people against imperialist violence. She treats the archives safeguarded by racialized, colonized women throughout the empire as traces of these struggles, including the work they performed to keep certain stories out of view. Matsumura demonstrates that tracing colonial sensibility and struggle is central to grappling with their enduring consequences for the present.

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Maan Barua explores the fraught politics of dwelling between elephants and villagers on land that once harbored colonial plantations in northeastern India, showing how the legacies of colonialism impact the relationship between human and nonhuman life in a time of global environmental upheaval.

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The legacies of borders are far-reaching for Indigenous Peoples. This collection offers new ways of understanding borders by departing from statist approaches to territoriality. Bringing together the fields of border studies, human rights, international relations, and Indigenous studies, it features a wide range of voices from across academia, public policy, and civil society. The contributors explore the profound and varying impacts of borders on Indigenous Peoples around the world and the ways borders are challenged and worked around. From Bangladesh’s colonially imposed militarized borders to resource extraction in the Russian Arctic and along the Colombia-Ecuador border to the transportation of toxic pesticides from the United States to Mexico, the chapters examine sovereignty, power, and obstructions to Indigenous rights and self-determination as well as globalization and the economic impacts of borders. Indigenous Peoples and Borders proposes future action that is informed by Indigenous Peoples’ voices, needs, and advocacy. Contributors. Tone Bleie, Andrea Carmen, Jacqueline Gillis, Rauna Kuokkanen, Elifuraha Laltaika, Sheryl Lightfoot, David Bruce MacDonald, Toa Elisa Maldonado Ruiz, Binalakshmi “Bina” Nepram, Melissa Z. Patel, Manoel B. do Prado Junior, Hana Shams Ahmed, Elsa Stamatopoulou, Liubov Suliandziga, Rodion Sulyandziga, Yifat Susskind, Erika M. Yamada

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The Grateful Dead were one of the most successful live acts of the rock era. Performing more than 2,300 shows between 1965 and 1995, the Grateful Dead’s reputation as a “live band” was—and continues to be—sustained by thousands of live concert recordings from every era of the group’s long and colorful career. In Live Dead, musicologist John Brackett examines how live recordings—from the group’s official releases to fan-produced tapes, bootlegs to “Betty Boards,” and Dick’s Picks to From the Vault—have shaped the general history and popular mythology of the Grateful Dead for more than fifty years. Drawing on a diverse array of materials and documents contained in the Grateful Dead Archive, Live Dead details how live recordings became meaningful among the band and their fans not only as sonic souvenirs of past musical performances but also as expressions of assorted ideals, including notions of “liveness,” authenticity, and the power of recorded sound.

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In Reckoning with Restorative Justice, Leanne Trapedo Sims explores the experiences of women who are incarcerated at the Women’s Community Correctional Center, the only women’s prison in the state of Hawai‘i. Adopting a decolonial and pro-abolitionist lens, she focuses particularly on women’s participation in the Kailua Prison Writing Project and its accompanying Prison Monologues program. Trapedo Sims argues that while the writing project served as a vital resource for the inside women, it also remained deeply embedded within carceral logics at the institutional, state, and federal levels. She foregrounds different aspects of these programs, such as the classroom spaces and the dynamics that emerged between performers and audiences in the Prison Monologues. Blending ethnography, literary studies, psychological analysis, and criminal justice critique, Trapedo Sims centers the often-overlooked stories of incarcerated Native Hawaiian and Pacific Islander women in Hawai‘i in ways that resound with the broader American narrative: the disproportionate incarceration of people of color in the prison-industrial complex.

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