In Me and My House Magdalena J. Zaborowska uses James Baldwin’s house in the south of France as a lens through which to reconstruct his biography and to explore the politics and poetics of blackness, queerness, and domesticity in his complex and underappreciated later works.
Bridging black feminist theory with disability studies, Sami Schalk’s Bodyminds Reimagined traces how black women’s speculative fiction complicates the understanding of bodyminds in the context of race, gender, and (dis)ability, showing how the genre’s exploration of bodyminds that exist outside of the present open up new social and ethical possibilities.
In Archiveology Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology—the reuse, recycling, appropriation, and borrowing of archival sounds and images—by filmmakers provides ways to imagine the past and the future.
Crystal Biruk’s Cooking Data offers an ethnographic account of research into the demographics of HIV and AIDS in Malawi in which she rethinks how quantitative health data is produced by showing how data production is inevitably entangled with the lives of those who produce it.
We’re excited to be publishing two novels in translation this month. Published in China in 2009 and appearing in English for the first time, Liu Zhenyun’s award-winning Someone to Talk To follows two men living seventy years apart who in their loneliness and struggle to find meaningful personal connections highlight the contours of everyday life in pre- and post-Mao China.
Originally published in 1924, José Eustasio Rivera’s novel The Vortex follows the harrowing adventures of the young poet Arturo Cova and his lover Alicia as they elope and flee from Bogotá into the wild and woolly backcountry of Colombia. A major work of twentieth-century Latin American literature, The Vortex is both a denunciation of the sensational human-rights abuses that took place during the Amazonian rubber boom and one of the most famous literary renderings of the Amazonian rainforest.
Examining the cultural and gender politics of Chinese contemporary art at the turn of the twenty-first century, Sasha Su-Ling Welland’s Experimental Beijing shows how artists, curators, officials, and urban planners negotiated the meanings of the avant-garde, built new cultural institutions, wrote new histories of Chinese art, and imagined new, more gender-inclusive worlds.
New in the MoMA Primary Documents series, Modern Art in the Arab World, edited by Anneka Lenssen, Sarah Rogers, and Nada Shabout, is a compendium of critical art writings by twentieth-century Arab intellectuals and artists that explore the formation of a global modernism through debates on originality, public space, spiritualism and art, postcolonial exhibition politics, and Arab nationalism, among many other topics.
Lamonte Aidoo’s Slavery Unseen upends dominant narratives of Brazilian national identity by showing how the myth of racial democracy is based on interracial and same-sex sexual violence between slave owners and their slaves that operated as a mechanism of perpetuating slavery and heteronormative white patriarchy.
In Now that the Audience is Assembled David Grubbs explores the ephemeral nature of improvised music in Now that the audience is assembled, a prose poem that in its depiction of a fictional musical performance challenges common understandings of how and where music is composed, performed, and experienced.
Jan M. Padios’ A Nation on the Line examines the massive call center industry in the Philippines in the context of globalization, race, gender, transnationalism, and postcolonialism, outlining how it has become a significant site of efforts to redefine Filipino identity and culture, the Philippine nation-state, and the value of Filipino labor.
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