Summer Reading Recommendations from our Staff

Summer is for popsicles and water slides—and BOOKS! Light-hearted or serious, long or short, brand-new or decades old. Check out our staff members’ recommendations for summer reading!

Cover of Sankofa by Chibundu Onuzu. The dominant background color is green, with blue streaks in the top left and bottom right corners, and yellow and orange dots all around the border. There is an orange-gold outline of a bird in the center.

First up is Journals Marketing Manager Jocelyn Dawson. The book she’s enjoyed the most in 2022 so far has been Sankofa by Chibundu Onuzo—not a typical beach read but a good, absorbing novel. It’s the story of Anna, a middle-aged London woman who discovers that the father she has never met was once president of a West African nation. More than anything, Jocelyn loved this book for the mood/atmosphere that hangs over the whole book, totally immersing you as Anna journeys to meet her father. 

Cover of The Bonesetter's Daughter by Amy Tan. The cover has a red, left-side border with a floral pattern. To the right is a picture of a lake surrounded by trees and mountains in the background, and a picture of a young Chinese woman superimposed onto this background.

Though arguably a bit heavy for poolside reading, Publicity Assistant Jessica Covil-Manset enjoyed reading Amy Tan’s The Bonesetter’s Daughter. Other fans of Tan’s will find much about this novel familiar: the split narrative, the excavation of mother-daughter relationships, and the interweaving of collective/national histories with intergenerational familial tales. And with the heaviest elements of this novel—death, ghosts, curses—come poignant reflections on what it means to remember, to lose memories, and to revise or reframe one’s understanding of the past. It’s gorgeous!

Cover of The Secret Skin by Wendy N. Wagner. Forming a border around the cover is a trellis with bight red roses. A woman is walking, her back to the camera, toward a large house in the background. It looks to be dusk, and trees cast shadows across her path.

Perhaps more in-line with summer, Exhibits Manager Jes Malitoris just recently finished the novella The Secret Skin by Wendy N. Wagner, a breezy, sapphic haunted house story by the sea. Strong Shirley Jackson vibes, with a little bit of body horror and a little girl secondary character that Jes would love to read an entire series about.

Cover of The Changeling by Joy Williams, 40th Anniversary Edition. Against a black background are two main figures: a wolf at the top, looking down; and a deer at the bottom, looking up at the wolf's tail. Between them are tall flowers.

Acquisitions Editor Elizabeth Ault recently discovered Joy Williams’s febrile 1978 classic The Changeling in its 2018 Tin House reissue. While Elizabeth can’t precisely say that she “enjoyed” it, she can recommend it as a sort of dizzy replication of what trying to act normal while wading through 95 degree + 95 percent humidity air in a Durham summer sometimes feels like, with occasional flashes of precise humor and observation that she can never quite muster in the heat.

Cover of The Swimmers by Julie Otsuka. The cover is taking up completely by an aerial shot of a swimming pool and shows four swimmers training.

Meanwhile, Books Marketing Manager Laura Sell recommends The Swimmers by Julie Otsuka. The first section is written in the style of a Greek chorus, echoing the voices of a group of people who all swim at the same community pool, which has developed an unsettling crack in the bottom. The next sections trace the life of one of those swimmers, Alice, and her daughter. Alice suffers from dementia, and one section is written in the second person, detailing the many indignities Alice will face when she enters memory care. The writing in The Swimmers is haunting and unique, and the book is a moving portrait of family, aging, and death. 

Cover of Dilla Time: The Life and Afterlife of J Dilla, The Hip-Hop Producer Who Reinvented Rhythm, by Dan Charnes (whose name does not appear on the cover). The book's subtitle wraps around all four borders of the cover, with the the main title in large, capitalized letters at the top and bottom of the cover. In the center is a blue grid with yellow dots outlining the face of a man wearing a hat.

Turning up the tunes, Copywriter Chris Robinson recommends Dilla Time, the first biography of the legendary hip hop producer and rapper J Dilla. Dan Charnas not only tells the story of Dilla’s life and his approach to music, he shows how and why his music was so transformational and discusses the complicated legacy Dilla left after his death in 2006.

Cover of LOTE by Shola Von Reinhold. Cover is pearlescent with the title text in large blue letters around a teardrop shaped ornament with a peacock inside it. Text below the image reads “Ingenious; irresistible; a dazzling first novel.”--Naomi Booth, author of Sealed and The Lost Art of Sinking

You call it cheating, we call it truth: Sales Manager Michael McCullough offers up LOTE, one of our very own books—because he loved it so much, because author Shola von Reinhold is a dazzling new talent, and because he had a blast reading it. He confirms that LOTE is hilariously funny, but that it is also deeply insightful about race, gender, class, and art. This book is going to appeal to people who love high society English romps, people who care about Black writers and trans writers, people who like novels about the art world, and people who need a little glamor in these challenging times.

Author Events in July

From symposiums and workshops to musical performances and book parties, Duke Press authors have exciting events scheduled throughout the month of July. We hope you can catch one.

July 1, 7pm CEST:  CRC 1171 Affective Societies Freie Universität Berlin hosts an in-person book party for Omar Kasmani, author of Queer Companions at SAVVY Contemporary, Reinickendorfer Straße 17 in Berlin.

July 2, 1pm EDT: Eric Stanley, author of Atmospheres of Violence, is in conversation in person with Jamie Grace at Red Emma’s Bookstore Coffeehouse in Baltimore. 

July 4, 1:30-7:30 pm, CEST: Omar Kasmani, author of Queer Companions, and Juana María Rodríguez, author of the forthcoming book Puta Life, participate in an in-person workshop on new work in queer studies at Leuphana University of Lüneburg.

July 6, 1pm EDT: Film Quarterly sponsors the “Page Views Live” webinar featuring a conversation between Page Views editor Bruno Guaraná and Lindsey B. Green-Simms about her new book, Queer African Cinemas.

July 7, 1:30-3:00 pm, WEST: António Tomás, author of In the Skin of the City, will speak at the Iberian Conference on African Studies in Lisbon.

July 7, 7pm EDT: Eric Stanley, author of Atmospheres of Violence, joins Eli Coston and Travis Williams for an in-person conversation at Small Friend Records and Books in Richmond.

July 9, 7 pm EDT: David Grubbs will read from his new book Good night the pleasure was ours and also do a solo guitar performance at Unnameable Books in Brooklyn.

July 15, 11 am BST: Affect and Social Media/University of East London present a special Preview Symposium for the forthcoming publication of The Affect Theory Reader II, edited by Gregory Seigworth and Carolyn Pedwell. We hope it will be out in Fall 2023.

July 28, 3 pm AEST: The University of Queensland School of Social Science sponsors an online talk by Sophie Chao, author of In the Shadow of the Palms.

Welcoming Trans Asia Photography to Duke University Press

We are pleased to announce that “Photography,” the first issue of the open-access journal Trans Asia Photography published by Duke University Press, is now available. Start reading “Photography” here.

In this inaugural Duke University Press issue, contributors explore photography through the lens of Asia—variously defined as a geographic territory or cultural imaginary—in order to fundamentally rethink the history and nature of photo studies from a different perspective. Examining photography both as a material object and as a concept, the authors cover wide-ranging topics such as photography’s intermediality, transnationality, haptic/audible qualities, vernacular dimensions, and relationship to the “real.”

Trans Asia Photography, edited by Deepali Dewan, Yi Gu, and Thy Phu, is the first and only open-access internal journal devoted to the interdisciplinary exploration of historic and contemporary photography from Asia and across the Asian diaspora. Established more than a decade ago, the journal examines all aspects of photographic history, theory, and practice by centering images in or of Asia, conceived here as a territory, network, and cultural imaginary.

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The Journal of Asian Studies Moves to Duke University Press

The Journal of Asian Studies (JAS), the flagship journal of the Association for Asian Studies (AAS), will join the Duke University Press journals program in 2023.

Journal of Asian Studies issue cover

“There are many reasons we have decided to partner with Duke, but one of the most important is Duke’s prioritizing of the academic contributions of its journals. Duke’s academic credentials are stellar, with a global reputation for publishing top scholarly work in the arts, sciences, and humanities. Duke’s prioritizing of the academic market and readership melds with the association’s and journal’s mission of service to the field,” said Hilary Finchum-Sung, Executive Director of the AAS.

Since its founding in 1941, the Journal of Asian Studies has been recognized as the most authoritative and prestigious publication in the field of Asian studies. The journal publishes the very best empirical and multidisciplinary work on Asia, spanning the arts, history, literature, the social sciences, and cultural studies. Experts around the world turn to the journal for the latest in-depth scholarship on Asia’s past and present, for its extensive book reviews, and for its state-of-the-field essays on established and emerging topics. With coverage reaching from South and Southeast Asia to China, Inner Asia, and Northeast Asia, the Journal of Asian Studies welcomes broad comparative and transnational studies as well as essays emanating from fine-grained historical, cultural, political, or literary research and interpretation.

The journal is edited by Joseph Alter (University of Pittsburgh, USA), who said, “Asia’s ever increasing economic and political significance in the twenty-first century highlights the growing importance of Asian studies as a field of critical research. Globalization and rapid change, involving new cultural formations and the creative interconnectedness of people, places, and things, continues to stimulate incredibly innovative scholarship. I look forward to building on a legacy of excellence combined with Duke’s outstanding reputation to position the Journal of Asian Studies on the cutting edge of research that will redefine how we understand Asia’s past, present and future.”

“The Journal of Asian Studies has long been a critically important resource for those working in the field of Asian studies and is an exciting addition to our journals program. We are pleased to partner with the AAS to advance the journal’s mission and bring its scholarship to readers around the globe,” said Dean Smith, Director of Duke University Press.

The Journal of Asian Studies joins Duke University Press’s list of Asian studies journals, which includes Archives of Asian Art; Comparative Studies of South Asia, Africa and the Middle East; the Journal of Chinese Literature and Culture; the Journal of Korean Studies; positions: asia critique; Prism: Theory and Modern Chinese Literature; Sungkyun Journal of East Asian Studies; and Trans Asia Photography. The journal will be included in the e-Duke Journals Expanded Collection and will also be available as a single-title subscription.


Logo for the Association for Asian Studies

The Association for Asian Studies (AAS) is a scholarly, nonpolitical, nonprofit professional association open to anyone interested in Asia and the study of Asia. With approximately 5,500 members worldwide, representing all the regions and countries of Asia and all academic disciplines, the AAS is the largest organization of its kind.

Duke University Press is a nonprofit scholarly publisher with a focus on the humanities, the social sciences, and mathematics. The Press publishes approximately 140 books annually and around 60 journals, as well as offering several electronic collections and open-access publishing initiatives.

Welcoming Agricultural History to Duke University Press

We are thrilled to announce that the first Duke University Press-published issue (vol. 96, issue 1–2) of Agricultural History, the official journal of the Agricultural History Society, is now available. Start reading this issue, made freely available through August, here.

This inaugural Duke University Press issue covers such topics as Australia’s entanglement in global cotton, weather observation in Argentina in 1872–1915, and the role of the Victory Farm Volunteers program during World War II. The issue also features a roundtable discussion, “Should Agricultural Historians Care about the New Materialism?;” Adrienne Monteith Petty’s presidential address from the 2021 meeting of the Agricultural History Society; and twenty reviews of recent books.

Agricultural History, edited by Albert G. Way, publishes articles that explore agriculture and rural life over time, in all geographies and among all people. Contributors to the journal use a wide range of methodologies to illuminate the history of farming, food, agricultural science and technology, the environment, rural life, and beyond. The articles include innovative research, timely book and film reviews, and special features that unite diverse historical approaches under agriculture-related themes.

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A Seat at the Table: Race and Top Chef, a Guest Post by Anita Mannur

The reality cooking show Top Chef finished its nineteenth season on June 2. Anita Mannur, author of Intimate Eating, is an avid viewer of the show and offers this guest post. Mannur is Associate Professor of English at Miami University, author of Culinary Fictions: Food in South Asian Diasporic Culture, and coeditor of Eating Asian America: A Food Studies Reader

Top Chef 15

Late last week, I tuned in to watch the season finale of Top Chef with a little more than the usual nervousness I often feel when watching the finale. I have watched all 19 seasons of Top Chef since it began airing in 2006 and have even taken in some of the spin-offs such as Top Chef Masters, Top Chef: Just Desserts and even Top Chef Family Style. I enjoy watching Top Chef because, even though contestants of color get eliminated more often than not, it seems to be the one cooking show that is interested in showcasing food, and not some gimmick around food that would act like seeing people run around a grocery store to collect items is even vaguely interesting. Top Chef showcases innovative and interesting cuisine, often at the hands of talented chefs across the country. The fact that the show is hosted by an Indian American, Padma Lakshmi—who has become a fierce advocate for marginalized peoples and important social issues—makes it even more meaningful. But my love-hate relationship with the show boils down to one simple fact: I find it incredibly frustrating to root for the contestants of color only to see them sent home much earlier than they should be. It is not that the people who win the contest are not talented; rather it is simply a case of wishing that there were more opportunities for chefs of color, and particularly women of color, to thrive in an industry that is dominated by cishet white male chefs. Whenever a person of color wins the season, I am relieved. When one roots for the person of color on reality TV, one is all too familiar with the feeling that they will not win the big prize. So, when they do win, it feels more like a relief than anything else.

This season I was especially excited because there seemed to be a record number of people of color on the show. About two-thirds of the season’s contestants were people of color. Week after week, I watched in surprise to see many of them remain on the show until, by some miracle, there were six remaining contestants—all of whom were people of color.  With apologies to Lauren Berlant, every time I watch Top Chef (or for that matter, any reality TV show), I often feel like I am engaging in a form of cruel optimism. Despite knowing better, I always hope against hope that the people of color will not be eliminated. And yet each week, my optimism fades as I see my favorites get eliminated. While it is certainly the case that there have been several people of color who have won Top Chef (and among them several Asian Americans), rarely do Black or Latinx women ever win. Though some may go on to have success in the culinary field, few—if any—get to hear the words, “you are top chef.” To date, no Black or Latinx women have won the title of Top Chef. And frankly, given the ways that Black and Latinx women have shaped America’s culinary history, that is outrageous.

Top Six

So, it was with considerable surprise and growing interest that I watched Season 19 unfold until, finally, there were six contestants left and every single one of them was a person of color. This moment felt unprecedented. At that point it seemed that it was inevitable that a person of color was going to win Top Chef—the finale would include three chefs of color. I was elated. And then I was reminded of the Top Chef spin-off, Last Chance Kitchen, a 10- to 15-minute show that airs on after the conclusion of each episode. As its title suggests, it is the last chance for eliminated chefs. Each week an eliminated chef competes against a previously eliminated chef. If they survive, they compete against the next eliminated contestant until finally a winner of Last Chance Kitchen is crowned and re-enters the main competition. I began watching LCK, and that old familiar feeling came back as I watched the contestants of color, one after another, lose their second chance until finally a winner was declared. Sarah Welch, a quirky white woman who had been eliminated early in the contest, re-entered Top Chef. While interesting in spirit, the whole premise of LCK seems to be that it offers a second chance to a deserving person. But in a moment when this country offers few second chances to people of color, and when different kinds of subjectivities are under erasure, it felt egregious to see that the concept of “deserving” is rooted in a narrative of talent. The dishes are purportedly tasted blindly, suggesting that a kind of equity is at play. And yet I cannot help but think that this utilizes the same logic as color blindness. What would it look like, in a country that is most certainly not color blind, to be more intentional about accessing a narrative of equity that extends to racial inclusion in determining who deserves a second chance? What if the idea of the “second chance” was not rooted in an apolitical and decontextualized narrative about who usually ascends to positions of power, but in one that would think about the political and affective resonance of having three incredibly deserving chefs of color make it to the end? Why, in the end, is it so unimaginable to have a major cooking competition decide that all its finalists will be people of color?

Top Chef

When Welch returned to the contest, there were five people of color: three African Americans (Ashleigh Shanti, Nick Wallace and Damarr Brown), one Latina (Evelyn Garcia) and one Asian Australian (Buddha Lo).  This was unprecedented. In its 16-year history, there had never been this many African Americans left in the contest at this late stage.  But then the old patterns reemerged, and one by one, each black chef was eliminated, and it became apparent that the finale would include a Latina woman, an Asian Australian man, and a white woman. Though I personally liked Welch and her quirky humor (and her deep commitment to showcasing different kinds of miso), I was a little disappointed. And to be honest, the finale was beautiful. All three contestants clearly respected one another and were rooting for one another in ways that felt more reminiscent of The Great British Bake Off than say, The Amazing Race. There is a real and palpable comradery among the contestants, and it was apparent that Garcia, Lo and Welch were invested in each other’s success. The expressions of intimacy and care felt genuine and were a welcome change from the backstabbing and snark that one often comes to expect in US-based reality shows and in several of the early seasons of Top Chef.

However, in the last few weeks of the season, I went from feeling excited about the prospects of a finale including only chefs of color to feeling deflated that it was all for naught and that Top Chef was once again merely pandering and would eliminate the remaining contestants of color for spurious reasons. At the end of each season, viewers are often told that the smallest details can send a person home. For chefs of color, that often takes the form of being sent home for not being “true to their origins or heritage,” a standard that is rarely applied to white chefs who are often praised for having knowledge of diverse cuisines.

In the end, the right person (I think) won. Buddha Lo’s food was inventive, took stock of his racial and ethnic heritage and was beautifully plated. But I was also disappointed not to see Garcia win—not just because she is Latina but because she was an exceptional chef in every way. But of course, only one person can win, even if the runners up do not have to hear the odious phrase, “please pack your knives and go.”

To the show’s credit, they made remarkable strides in showcasing so many talented chefs of color. And my guess is that, despite not winning, many of them will go on to have amazing careers.  But it remained disappointing to see that it took 19 seasons for the producers of the show to keep six people of color in the running, only to then get rid of them one by one, all the while conveying to the audience that a deserving white person needed to be at the final judging panel. Groundbreaking as it was to have this many contestants of color in one season, it was disappointing that it didn’t go further. To have the show come so close to doing something truly transformative, only to thwart expectations and desires at the last minute, was disappointing.

While I will not stop watching Top Chef anytime soon, it also does not escape my attention that we may not see a season like this again.  At the end of the day, it is not too much to ask to see more chefs of color standing in front of the judge’s table as a small, but important, gesture that would remind us that whiteness does not always have to be at the table.

Mannur coverTo read more from Anita Mannur, buy Intimate Eating from our site and save 30% with coupon code E22MANNR.

Pride Month Reads

Happy Pride Month! We’re proud to share some of our recent titles that focus on queer studies, trans studies, and LGBTQ+ histories.

978-1-4780-1808-7_prIn Gay Liberation after May ’68, first published in France in 1974 and appearing here in English for the first time, Guy Hocquenghem details the rise of the militant gay liberation movement and argues that revolutionary movements must be rethought through ideas of desire and sexuality. The book is translated by Scott Branson and includes an introduction by Gilles Deleuze.

Queer Fire: Liberation and Abolition, a special issue of GLQ edited by Jesse A. Goldberg and Marquis Bey, considers prison abolition as a project of queer liberation and queer liberation as an abolitionist project. Pushing beyond observations that prisons disproportionately harm queer people, the contributors demonstrate that gender itself is a carceral system and demand that gender and sexuality, too, be subject to abolition.

978-1-4780-1781-3_prIn Black Trans Feminism, Marquis Bey offers a meditation on blackness and gender nonnormativity in ways that recalibrate traditional understandings of each, conceiving of black trans feminism as a politics grounded in fugitivity and the subversion of power.

Shola von Reinhold’s lush queer novel LOTE won several prizes in the UK and is finally available to U.S. readers. Novelist Torrey Peters calls it “a totally fresh, funny, urgent iteration.” The perfect summer read!

In There’s a Disco Ball Between Us, Jafari S. Allen offers a sweeping and lively ethnographic and intellectual history of Black queer politics, culture, and history in the 1980s as they emerged out of radical Black lesbian activism and writing.

978-1-4780-1783-7_prMarlon B. Ross explores the figure of the sissy as central to how Americans have imagined, articulated, and negotiated black masculinity from the 1880s to the present in Sissy Insurgencies.

In Atmospheres of Violence, Eric A. Stanley examines the forms of violence levied against trans/queer and gender nonconforming people in the United States and shows how, despite the advances in LGBTQ rights in the recent past, forms of anti-trans/queer violence is central to liberal democracy and state power.

Lindsey B. Green-Simms examines films produced by and about queer Africans in the first two decades of the twenty-first century in Queer African Cinemas, showing how these films record the fear, anxiety, and vulnerability many queer Africans experience while at the same time imagining new hopes and possibilities.

rhr_142_prIn Visual Archives of Sex — a special issue of Radical History Review edited by Heike Bauer, Melina Pappademos, Katie Sutton, and Jennifer Tucker — contributors study the visual histories of sex by examining symbols, images, film, and other visual forms ranging from medieval religious icons to twenty-first-century selfies. They argue that engaging BIPOC, antiracist, queer, and feminist perspectives of the past is vital to understanding the complex historical relationships between sex and visual culture.

Nicole Erin Morse examines how trans women feminine artists use selfies and self-representational art to explore how selfies produce politically meaningful encounters between creators and viewers in ways that envision trans feminist futures in Selfie Aesthetics.

Artist and theorist micha cárdenas considers contemporary digital media, artwork, and poetry in order to articulate trans of color strategies of safety and survival in Poetic Operations.

tsq_9_1_prThe t4t Issue is a special issue of Transgender Studies Quarterly edited by Cameron Awkward-Rich and Hil Malatino. Originating in Craigslist personals to indicate a trans person seeking another trans person, the term “t4t” has come to describe not only circuits of desire and attraction but also practices of trans solidarity and mutual aid. Contributors to this issue investigate the multiple meanings associated with t4t, considering both its potential and its shortcomings.

In The Lives of Jessie Sampter, Sarah Imhoff tells the story of the queer, disabled, Zionist writer Jessie Sampter (1883–1938), whose body and life did not match typical Zionist ideals and serves as an example of the complex relationships between the body, queerness, disability, religion, and nationalism.

Samer_coverIn Lesbian Potentiality and Feminist Media in the 1970s, Rox Samer explores how 1970s feminists took up the figure of the lesbian in broad attempts to reimagine gender and sexuality by studying feminist film, video, and science fiction literature.

Queer Companions by Omar Kasmani theorizes the construction of queer social relations at Pakistan’s most important Sufi site by examining the affective and intimate relationship between the site’s pilgrims and its patron saint.

New Books in June

Summer is almost here! Kick off the new season with some of the great new titles we have coming out in June.

Perfect for vacation reading, Shola von Reinhold’s decadent queer literary debut LOTE immerses readers in the pursuit of aesthetics and beauty, while interrogating the removal and obscuring of Black figures from history.

Examining the reception of evolutionary biology, the 1925 Scopes Trial, and the New Atheist movement of the 2000s, Donovan O. Schaefer theorizes the relationship between thinking and feeling by challenging the conventional wisdom that they are separate in Wild Experiment.

In Gridiron Capital, Lisa Uperesa charts the cultural, historical, and social dynamics that have made American football so central to Samoan culture.

Thulani Davis provides a sweeping rethinking of Reconstruction in The Emancipation Circuit, tracing how the four million people newly freed from bondage created political organizations and connections that mobilized communities across the South.

In The Small Matter of Suing Chevron, Suzana Sawyer traces Ecuador’s lawsuit against the Chevron corporation for the environmental devastation resulting from its oil drilling practices, showing how distinct legal truths were relationally composed of, with, and through crude oil.

In Discovering Fiction, eminent Chinese novelist Yan Lianke offers insights into his views on literature and realism, the major works that inspired him, and his theories of writing.

The contributors to Grammars of the Urban Ground, edited by Ash Amin and Michele Lancione, develop a new conceptual framework and vocabulary for capturing the complex, ever-shifting, and interactive processes that shape contemporary cities.

In Myriad Intimacies, Lata Mani oscillates between poetry and prose, genre and form, register and voice, and secular and sacred to meditate on the ways in which everyone and everything exists in mutually constitutive interrelations.

Working at the intersection of urban theory, Black studies, and decolonial and Islamic thought, AbdouMaliq Simone offers a new theorization of the interface of the urban and the political in The Surrounds.

Sophie Chao examines the multispecies entanglements of oil palm plantations in West Papua, Indonesia in her new book In the Shadow of the Palms, showing how Indigenous Marind communities understand and navigate the social, political, and environmental demands of the oil palm plant.

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Author Events in June

You can catch our authors at both virtual and in-person events this month, in Europe and in the U.S.

Cover of Mass Conspiracy to Feed People: Food Not Bombs and the World-Class Waste of Global Cities by David Boarder Giles. Image is of the legs and feet of a person leaning into a dumpster.

June 1, 3 PM BST: Srila Roy, author of the forthcoming book Changing the Subject, will give an online talk sponsored by the Centre for the Study of Women and Gender at Warwick University.

June 2-3: Northwestern University hosts a two-day celebration of the work and legacy of Hamid Naficy, author of the three-volume work A Social History of Iranian Cinema. The gathering will include three panels, a keynote address, film screenings, personal testimonials, and more. It will include both in-person and virtual events.

June 3, 3:30 PM PDT: Darren Byler, author of Terror Capitalism, participates in a colloquium centered on how Uyghurs articulate experiences of dehumanization and rage, sponsored by the Simpson Center for the Humanities at the University of Washington.

June 3, 7:30 PM PDT: David Boarder Giles, author of A Mass Conspiracy to Feed People, will appear in person at Left Bank Books in Seattle.

June 11, 6:30 PM EDT: The Sisters of St. Joseph of Baden, PA, and Duquesne University sponsor a book launch for Shannen Dee Williams’s Subversive Habits. The event is in-person at the Duquesne University Power Center.

Cover of Poetic Operations: Trans of Color Art in Digital Media by micha cárdenas. Cover is blue with 7 people on it, and a center person is pointing.

June 14, 9AM PST: micha cárdenas, author of Poetic Operations, will give an online talk at the colloquium “Medien | Denken” (Media | Thinking) hosted by the Institute for Media Studies at Ruhr University Bochum in Germany.

June 15, 3:00 PM GMT: Gil Hochberg, author of Becoming Palestine, speaks in-person at the Beyond the Archive symposium at the Centre for Comparative Political Thought, SOAS London.

June 15, 2:30 PM EDT: Marlon Ross, author of Sissy Insurgencies, gives the keynote address at the 2022 virtual Conference on Men and Masculinities

June 16, 12 PM CEST:  micha cárdenas, author of Poetic Operations, gives a talk at the international conference AN-ICON.

June 17: Heather Davis, author of Plastic Matter, is a participant in the symposium “Bad Taste? Culture and Consumption in the Great Acceleration” hosted by the Institute for Cultural Inquiry, Berlin. It takes place in-person.

June 22, 5:00 PM CEST: Gil Hochberg, author of Becoming Palestine, gives an in-person lecture at the Netherlands Institute for Cultural Analysis.

Final Day of Our Spring Sale

Image reads: use code SPRING22, Spring Sale, 50% off all in-stock books and journal issues through May 27

Today is the final day of our Spring Sale. Use coupon SPRING22 to save 50% on all in-stock books and journal issues and be sure to shop before 11:59 pm Eastern Time. Please note that due to the Memorial Day holiday weekend, the Press is closing at 1:00 pm on Friday. You’ll still be able to order from the website after that time, but not by phone.

Customers outside North and South America can use the SPRING22 coupon through today at our UK-based distributor Combined Academic Publishers to save on shipping, particularly in Europe.

Cover of LOTE by Shola Von Reinhold. Cover is pearlescent with the title text in large blue letters around a teardrop shaped ornament with a peacock inside it. Text below the image reads “Ingenious; irresistible; a dazzling first novel.”--Naomi Booth, author of Sealed and The Lost Art of Sinking

If you still aren’t sure what to buy, check out recommendations from our editors Elizabeth Ault, Courtney Berger, Gisela Fosado, and Ken Wissoker.

And consider these new books that were just released this week: LOTE, an award-winning queer novel by Shola von Reinhold, The Small Matter of Suing Chevron by Suzanna Sawyer, Gridiron Capital by Lisa Uperesa, The Surrounds by AbdouMaliq Simone, Grammars of the Urban Ground edited by Ash Amin and Michele Lancione, and In the Shadow of the Palms by Sophie Chao.

See the fine print and FAQs here. Don’t delay, shop now!