Imani Perry’s Vexy Thing recenters patriarchy to contemporary discussions of feminism through a social and literary analysis of cultural artifacts—ranging from nineteenth-century slavery court cases and historical vignettes to literature and contemporary art—from the Enlightenment to the present.
Providing a history of experimental methods and frameworks in anthropology from the 1920s to the present, Michael M. J. Fischer’s Anthropology in the Meantime draws on his real world, multi-causal, multi-scale, and multi-locale research to rebuild theory for the twenty-first century.
In Jezebel Unhinged Tamura Lomax traces the historical and contemporary use of the jezebel trope in the black church and in black popular culture, showing how it disciplines black women and girls and preserves gender hierarchy, black patriarchy, and heteronormativity in black families, communities, cultures, and institutions.
Gathered from Rafael Campo’s over-twenty-year-career as a poet-physician, Comfort Measures Only includes eighty-eight poems—thirty of which have never been previously published in a collection—that pull back the curtain in the ER, laying bare our pain and joining us all in spellbinding moments of pathos.
In Garbage Citizenship Rosalind Fredericks traces the volatile trash politics in Dakar, Senegal, to examine urban citizenship in the context of urban austerity and democratic politics, showing how labor is a key component of infrastructural systems and how Dakar’s residents use infrastructures as a vital tool for forging collective identifies and mobilizing political action.
Edward Dorn’s Gunslinger is an anti-epic poem that follows a cast of colorful characters as they set out the American West in search of Howard Hughes. This expanded fiftieth anniversary edition of Dorn’s wild and comedic romp includes a new foreword by Marjorie Perloff, an essay by Michael Davidson, and Charles Olson’s “Bibliography on America for Ed Dorn”.
In Technicolored Black feminist critic Ann duCille combines cultural critique with personal reflections on growing up with TV as a child in the Boston suburbs to examine how televisual representations of African Americans—ranging from I Love Lucy to How to Get Away with Murder—have changed over the last sixty years.
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