Chicana/o and Latina/o Studies

Q&A with Vanessa Díaz

Vanessa Díaz is Assistant Professor of Chicana/o and Latina/o Studies at Loyola Marymount University. In this Q&A she discusses her new book Manufacturing Celebrity in which she draws on ethnographic fieldwork, her experience reporting for People magazine, and dozens of interviews with photographers, journalists, publicists, magazine editors, and celebrities, Díaz traces the complex power dynamics of the reporting and paparazzi work that fuel contemporary Hollywood and American celebrity culture.

Chapter Two touches on the frustration that paparazzi experience when they are villified by celebrities, the media, and the public. Often there is a negative perception of paparazzi since they take the pictures. Why do you believe paparazzi receive the sole blame? 

There are so many layers to this question. It’s really important to start off with the fact that there is a long history of celebrity irritation with paparazzi. After all, the term evolved from the 1960 Federico Fellini film La Dolce Vita in which the annoying celebrity photographer was called “paparazzo”—Italian for mosquito. The magazines and other media outlets need the paparazzi to be the bad guys of celebrity media, creating the perception that they are solely responsible for the lack of privacy faced by today’s stars, so that the media outlets can position themselves on the side of celebrities, furthering their relationships with the stars they cover.  If paparazzi are the only ones out on the streets gathering the images that the magazines and other media outlets want and, frankly, need to sell their product, the paparazzi are the only ones in the line of direct contact with the celebrities. A magazine editor sitting in his office in a fancy high rise building in Hollywood is specifically and strategically positioned to not be blamed, despite the fact that he may be requesting the photo that the paparazzi are trying to get. Paparazzi are workers operating in the informal channels of an often highly formal media production process, within a hugely profitable corporate system, doing the dirty work for the celebrity media industry. 

Since the demographics of the Los Angeles paparazzi shifted to being predominately Latinx, which I discuss in the book, the media and public discourse surrounding paparazzi has become highly racialized and xenophobic. So whereas there used to be general annoyance around paparazzi work, the language towards and the legal action taken against paparazzi was not anything like it is now. For instance, major news articles from outlets such as the Los Angeles Times, the New York Times, and AP have referred to contemporary paparazzi as “illegals,” “pack animals,” “knuckle-scraping mouth breathers,” and “foreigners working on…questionable visas.”

Can you elaborate on the process of deciding the final photos that are published in a magazine?  

The decision as to which photos get published is entirely at the discretion of the staff of the media outlets (reporters may weigh in, but the decision is usually made photo editors, with approval from other senior editorial staff). The decisions tend to be made based on newsworthiness, so whatever is most newsworthy to that particular outlet. For example, the week that Kim Kardashian had her first wedding to former NBA player Kris Humphreys, all of the weekly celebrity magazines featured photos of their wedding, since it was the big (celebrity) news of the moment. When Brad Pitt and Angelina Jolie were first photographed together as a couple, People magazine bought those paparazzi images as an exclusive (meaning nobody else could buy the rights) and they were featured in a huge spread in the magazine. The magazine knew this story was big for their audience, and for celebrity and entertainment news more broadly, so they invested heavily in these photos since they knew it would boost sales. 

It’s important to note that paparazzi take images based on what is deemed “newsworthy” in the moment, and that has very much to do with what they know the magazines want. So, while the paparazzi do not directly help the magazines decide which photos to publish, their work and their own judgement of newsworthiness in combination with the magazines’ and other media outlets’ decisions themselves impact which images end up circulating. 

How do you believe advancements in technology have impacted the paparazzi industry? 

There are so many ways, it’s hard to know where to even start. Technological advancements have impacted every realm of every media industry across the board. Even when I started reporting for People magazine in 2004 as an intern, the reporting that didn’t make it in the magazine was mostly used on their website just to create extra content, because most people were still not getting their news online. That shifted dramatically over the next few years and media outlet websites started to be the place where news broke. Whereas before it was the printed newspaper or printed magazine that held the breaking news, and stories were held specifically so that they could appear in printed press to break the news, it became customary to break news online first, since more and more people started getting their information online. So, while the internet was exploding, so was the digitization of images, which had huge impacts on how images were shot and circulated. As I discuss in chapter two of the book, in 2001 around fifty thousand digital photos were received by the magazines, but by 2011 that number had jumped to over eight million. Now most outlets receive close to twice that number per year. So that means a lot of different things. It means that there are more paparazzi taking images because there is more demand. It also means that there is an excess of photos that are taken because obviously the images can’t all be published. It means that there is more competition because there are more photos. And it means that photographers, like most other media workers, have to work extremely quickly and around the clock to ensure they get their content shared first. A minute difference in transmitting a photo can mean losing a sale if someone else get a similar shot and uploads it first.  

During your research, when did you make the connection between gender disparity and the sexualization of women reporters? 

I actually noticed this immediately after starting my internship with People magazine in New York, prior to starting my research in this area. I saw it when I covered red carpet events. I saw it in the way that stories were assigned at the magazine. When I became a stringer for the LA Bureau of People magazine in 2005, I saw it even more in Hollywood than in New York. There was always a conversation among the reporters (who I noticed from the beginning were mostly women) about the different ways that employers pressured them into particular kinds of situations with celebrity men. Once I started doing the research for the book and interviewing people about this, I heard more and more stories, many of them extremely disturbing, about the ways that women reporters were asked to handle themselves to help get a story. The most public of the situations is the one I discuss in the opening of the book, Natasha Stoynoff’s assault by Donald Trump. 

You discuss the #MeToo movement in Chapter Five. Why do you believe the #MeToo movement is important, especially within the entertainment industry? 

#MeToo became such a force in the entrainment industry because the type of abuse of power that is often exercised in cases of sexual assault is rampant throughout Hollywood. In fact, Hollywood is full of really serious and egregious abuses of power, abuses of labor, racism, gender discrimination and forms of abuse. And what’s amazing is that the whole image of Hollywood, and its movies, television shows, and celebrities, are all putting on a show for us. That’s what Hollywood does—it produces stories, it produces shows, and it creates very strategic images to draw in audiences, not to turn them away. And so it’s no accident that the kind of abuses of power I’m describing are simply not the picture we get when we look at beautiful glossy magazines like People and Us Weekly. And so I think the Hollywood figures who came forward as part of the #MeToo movement did so to help people see these layers. And so that’s part of what I’m trying to do in the book too—to understand the institutional complexities of the Hollywood-industrial complex, which I discuss in more depth in the book and which helps give us a framework for the level of institutional force of Hollywood. 

 How do magazines play positive and negative roles in the promotion of body image and standards, specifically for women? 

The magazines have the potential to play a positive role on body image and beauty standards, and they sometimes play at least a marginally positive role. But most of the coverage contributes to negative body image perceptions. Across the weekly magazines, there is a consistent focus on stories that celebrate women’s weightloss, regardless of how healthy that weightloss may be. And, often times, the weightloss is focused on women who just have just given birth. So, not only are the expectations unrealistic, they are often unhealthy. As chapter six in the book discusses, many body-focused stories develop out of magazine workers ridiculing women’s bodies. The very climate of the conceptualization of body-focused coverage is negative. Even in the moments where the magazines attempt to confront negative perceptions, like the famous example I use in the book of Tyra Banks on the cover of People magazine, posting in a bathing suit and posing the question, “You call this fat?” Banks is photographed in a bathing suit, looking slim and trim. So, the point of the story is to prove that she isn’t fat, rather than to celebrate different body shapes and sizes. To be clear, it’s not just celebrity magazines, though. American culture more broadly celebrates unrealistic body and beauty standards that are also incredibly Eurocentric. The magazines reflect that. In the moments where the celebration of certain bodies are not reflective of Eurocentric standards of beauty, we often see that it takes place through the celebration of typically non-white features on white bodies, like the Kardashians/Jenners who physically alter their actual bodies. The representation and limited celebration of very particular kinds of women’s bodies in magazine and in popular culture more broadly is troubling. 

What is the correlation between celebrity reporting and hard news in the Trump Era? How has reporting and news changed in the past few years? 

In the book, I explain the story of Natasha Stoynoff, the former People magazine reporter, and my friend and colleague, who was sexually assaulted by Donald Trump while interviewing him for the magazine. While I was doing the research for this book, she had confided in me about this experience in both 2011 and 2012 during recorded interviews, with the expectation that I would anonymize everything. Then she came out publicly with the story in 2016. That my research on celebrity media became intertwined in the U.S. presidential race is emblematic of the way Trump has impacted what we understand as news. While there were always blurred lines between entertainment, celebrity, and politics, the distinction between entertainment and news media is not an empirical reality, but rather a function of a public imaginary—that there should be a difference between so-called hard news and entertainment news. The dynamics I talk about in the book are increasingly relevant to media in general, international politics, and to the state of American culture more broadly. 

There is an interesting parallel in how Donald Trump fomented hatred of mainstream news media outlets like CNN and NBC News by relating to White House and national reporters in ways that mirror how celebrities often relate to celebrity media producers, especially paparazzi. He understands how to use the media to generate interest, such as when he revealed his Supreme Court nominee Apprentice-style on prime-time television. Yet he constantly performs anger toward the very media who gave his candidacy, and now his presidency, nonstop coverage. He disparages them as “fake news” and “dishonest.” This behavior mirrors the way celebrities rely on paparazzi shots for promotion while simultaneously performing hatred toward them. For Trump, it is directly carried over from his career as a celebrity. In his book How to Get Rich, he wrote, “If I happen to be outside, I’m probably on one of my golf courses, where I protect my hair from overexposure by wearing a golf hat. It’s also a way to avoid the paparazzi. Plus the hat always has a big TRUMP logo on it—it’s automatic promotion.” Trump references wanting to avoid the paparazzi while in the very next sentence revealing how he uses them to promote his own brand—a celebrity tactic I explore in depth in chapter 4 of the book. 

While Trump has used celebrity media strategically to build his brand, he has also exploited, humiliated, and assaulted celebrity reporters. Since becoming president, he has continued this belligerent behavior in White House press conferences and other media events. Trump has kicked out, verbally bullied, and even banned news reporters and media outlets from his press conferences. His ire has been directed at the corporate media entities themselves, as well as individual media laborers. For example, in 2015 Trump had Univision’s Jorge Ramos symbolically deported from a press conference while yelling at him, “Go back to Univision,” another way of telling the Mexican American reporter to go back to Mexico. This kind of racialization and racialized discrimination is closely linked to the treatment of Latino paparazzi I expose in the book. A 2016 Dallas Morning News op-ed titled “Trump Can’t Treat Press Like Paparazzi” pointed to Trump’s problematic approach with the political media: “Trump may see these reporters as an extension of the paparazzi that hounded him when he was a reality television promoter and real estate mogul. They aren’t. The press pool isn’t about staking out celebrities.” The article insinuates that, unlike political reporters, paparazzi are and should be treated as problems. Trump has drawn no distinction between the celebrity news and hard news outlets that have followed him at various stages of his career. While using them for self-promotion, he has treated the political press with the same disdain that he showed to celebrity media producers— including Natasha Stoynoff. 

Read the introduction to Manufacturing Celebrity and save 30% on the book using the code E20DIAZ.

New Books in September

With summer quickly coming to an end and the new academic year upon us, now is the perfect time to replenish your reading list! A great place to start is with our diverse array of new titles arriving this month.

Diary of a Detour is film scholar and author Lesley Stern’s memoir of living with cancer, where she chronicles the fears and daily experience of coming to grips with an incurable disease and turns to alternative obsessions and pleasures, from travel and friendships to her four chickens.

In Traffic in Asian Women, Laura Hyun Yi Kang demonstrates that the figure of “Asian women” functions as an analytic with which to understand the emergence, decline, and permutation of US power and knowledge at the nexus of capitalism, state power, global governance, and knowledge production throughout the twentieth century.

Abstract Barrios by Johana Londoño examines how the barrio has become a cultural force that has been manipulated in order to create Latinized urban landscapes that are palatable for white Americans who view concentrated areas of Latinx populations as a threat.

In Keith Haring’s Line, Ricardo Montez traces the drawn and painted line that was at the center of Keith Haring’s artistic practice, engaging with Haring’s messy relationships to race-making and racial imaginaries.

In Youth Power in Precarious Times, Melissa Brough explores how youth-centered forms of civic and cultural engagement in Medellín, Colombia, create networks of change that have the possibility to transform and democratize cities around the world.

Abigail A. Dumes offers an ethnographic exploration of the Lyme disease controversy to shed light on the relationship between contested illness and evidence-based medicine in the United States in Divided Bodies.

Examining theater, performance art, music, sports, dance, and photography, the contributors to Race and Performance after Repetition explore how theater and performance studies account for the complex relationship between race and time. The collection is edited by Soyica Diggs Colbert, Douglas A. Jones Jr., and Shane Voge.

Beyond the World’s End by T. J. Demos explores a range of artistic, activist, and cultural practices that provide compelling and radical propositions for building a just, decolonial, and environmentally sustainable future.

The contributors to Indigenous Textual Cultures examined the ways in which indigenous peoples created textual cultures to navigate, shape, and contest empire, colonialism, and modernity. The collection is edited by
Tony Ballantyne, Lachy Paterson, and Angela Wanhalla.

In Cultural Revolution and Revolutionary Culture, Alessandro Russo rethinks the history of China’s Cultural Revolution, arguing that it must be understood as a mass political experiment aimed at thoroughly reexamining the tenets of communism itself.

Animal Traffic by Rosemary-Claire Collard investigates the multibillion-dollar global exotic pet trade economy and the largely hidden processes through which exotic pets are produced and traded as lively capital.

Monica Popescu traces the development of African literature during the second half of the twentieth century in At Penpoint. She shows how the United States and the Soviet Union’s efforts to further their geopolitical and ideological goals influenced literary practices and knowledge production on the African continent.

Bolivia in the Age of Gas by Bret Gustafson examines the centrality of natural gas and oil to the making of modern Bolivia and the contradictory convergence of fossil-fueled capitalism, Indigenous politics, and revolutionary nationalism.

In this genealogy of Hindu right-wing nationalism, Hindutva as Political Monotheism, Anustup Basu connects Carl Schmitt’s notion of political theology to traditional theorems of Hindu sovereignty and nationhood, illustrating how Western and Indian theorists imagined a single Hindu political and religious people.

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New Books in August

It’s hard to believe that summer is coming to an end but there’s still time to purchase new books to complete your summer reading list. Check out these exciting new titles coming out hot off the press this August!

978-1-4780-0828-6In Information Activism, Cait McKinney traces how lesbian feminist activists in the United States and Canada between the 1970s and the present developed communication networks, databases, and digital archives to use as a foundation for their feminist, antiracist, and trans-inclusive work.

Resource Radicals by Thea Riofrancos explores the politics of extraction, energy, and infrastructure in contemporary Ecuador in order to understand how resource dependency becomes a dilemma for leftist governments and movements alike.

In Japonisme and the Birth of Cinema, Daisuke Miyao reveals the undetected influence that Japanese art and aesthetics had on early cinema and the pioneering films of the Lumiére brothers.

978-1-4780-0943-6Drawing on ethnographic fieldwork, her experience reporting for People magazine, and dozens of interviews with photographers, journalists, publicists, magazine editors, and celebrities, in Manufacturing Celebrity Vanessa Díaz traces the complex power dynamics of the reporting and paparazzi work that fuel contemporary Hollywood and American celebrity culture.

In American Blockbuster, Charles R. Acland charts the origins, impact, and dynamics of the blockbuster, showing how it became a complex economic and cultural machine designed to advance popular support for technological advances.

Conceiving of sovereign space as volume rather than area, the contributors to Voluminous States, edited by Franck Billé, explore how such a conception reveals and underscores the three-dimensional nature of modern territorial governance. 

978-1-4780-0839-2In History 4° Celsius, Ian Baucom puts black studies into conversation with climate change, outlining how the ongoing concerns of critical race, diaspora, and postcolonial studies are crucial to understanding the Anthropocene and vice versa.

In Peripheral Nerve, the contributors to this volume reframe the history of the Cold War by focusing on how Latin America used the rivalry between superpowers to create alternative sociomedical pathways. The collection is edited by Anne-Emanuelle Birn and Raúl Necochea López.

In his posthumous book Sexual Hegemony, Christopher Chitty traces the 500 year history of capitalist sexual relations, showing how sexuality became a crucial dimension of the accumulation of capital and a technique of bourgeois rule. The book is edited by Max Fox and features an introduction by Christopher Nealon.

In Infamous Bodies, Samantha Pinto explores how histories of and the ongoing fame of Phillis Wheatley, Sally Hemings, Sarah Baartman, Mary Seacole, and Sarah Forbes Bonetta generate new ways of imagining black feminist futures.

978-1-4780-0959-7Examining the work of Aretha Franklin, Nina Simone, Solange Knowles, Flying Lotus, and others, in The Meaning of Soul Emily J. Lordi proposes a new understanding of soul, showing how it came to signify a belief in black resilience enacted through musical practices.

In Afterlives of Affect, Matthew C. Watson considers the life and work of artist and Mayanist scholar Linda Schele (1942–1998) as an entry point to discuss the nature of cultural inquiry, decipherment in anthropology, and the social conditions of knowledge production.

In Enduring Cancer, Dwaipayan Banerjee explores the efforts of Delhi’s urban poor to create a livable life with cancer as they negotiate an over-extended health system unequipped to respond to the disease.

In Gestures of Concern, Chris Ingraham shows that gestures of concern, such as sharing or liking a post on social media, are central to establishing the necessary conditions for larger social or political change because they help to build the affective communities that orient us to one another with an imaginable future in mind.

978-1-4780-1083-8The contributors to We Are Not Dreamers—who are themselves currently or formerly undocumented—call for the elimination of the Dreamer narrative, showing how it establishes high expectations for who deserves citizenship and marginalizes large numbers of undocumented youth. The collection is edited by Leisy J. Abrego and Genevieve Negrón-Gonzales.

The contributors to Gramsci in the World, edited by Roberto M. Dainotto and Fredric Jameson, examine the varying receptions and uses of Antonio Gramsci’s thought in diverse geographical, historical, and political contexts, highlighting its possibilities and limits for understanding and changing the social world.

As vast infrastructure projects transform the Mekong River, in Mekong Dreaming Andrew Alan Johnson explores of how rapid environmental change affects how people live, believe, and dream.

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Preview our Fall 2020 Catalog

F20-catalog-coverWe’re excited to unveil our Fall 2020 catalog. Check out some highlights from the season below and then download a copy for a closer read. These titles will be published between July 2020 and January 2021.

On the cover we’re featuring an image from artist Lorraine O’Grady’s Writing in Space, 1973–2019, which gathers her statements, scripts, and previously unpublished notes charting the development of her performance work and conceptual photography. The book is edited by Aruna D’Souza.

We lead off with Diary of a Detour by Lesley Stern, a memoir of living with cancer and the unexpected detours illness can produce. Poet Eileen Myles calls it “the most pleasurable cancer book imaginable.” It’s illustrated with delightful drawings of Stern’s chickens, who brought solace during her journey.

The Sense of BrownThe next pages feature a couple of queer studies superstars: Jack Halberstam and the late José Esteban Muñoz. Muñoz was working on The Sense of Brown when he died in 2013. Scholars Joshua Chambers-Letson and Tavia Nyong′o have edited his unfinished manuscript and added an introduction. The book is a treatise on brownness and being as well as Muñoz’s most direct address to queer Latinx studies. Jack Halberstam’s new book Wild Things offers an alternative history of sexuality by tracing the ways in which wildness has been associated with queerness and queer bodies throughout the twentieth century. It’s sure to please fans of his bestselling previous books Female Masculinity and The Queer Art of Failure. LGBTQ studies scholars will also want to check out Information Activism: A Queer History of Lesbian Media Technologies by Cait McKinney and Sexual Hegemony, in which Christopher Chitty traces the 500-year history of capitalist sexual relations by excavating the class dynamics of the bourgeoisie’s attempts to regulate homosexuality. And Left of Queer, an issue of Social Text edited by David L. Eng and Jasbir K. Puar, offers a detailed examination of queerness and its nearly three-decade academic and political mainstreaming and institutionalization.

Two books on the fall list will be helpful to recent PhDs as they navigate the job market and the complicated world of academe. Putting the Humanities PhD to Work by Katina L. Rogers grounds practical career advice in a nuanced consideration of the current landscape of the academic workforce. And we announce a fourth edition of The Academic’s Handbook. This edition of the popular guide is edited by Lori A. Flores and Jocelyn H. Olcott and is completely revised and expanded. Over fifty contributors from a wide range of disciplines and backgrounds offer practical advice for academics at every career stage, whether they are first entering the job market or negotiating post-tenure challenges of accepting leadership and administrative roles.

How to Go Mad without Losing Your MindBlack studies continues to be a strong part of our list. This winter we publish a new book by Katherine McKittrick. In Dear Science and Other Stories she presents a creative and rigorous study of black and anticolonial methodologies, exploring how narratives of imprecision and relationality interrupt knowledge systems that seek to observe, index, know, and discipline blackness. Dear Science is the first book in the new Errantries series, edited by McKittrick, Simone Browne, and Deborah Cowen. In Sentient Flesh R. A. Judy offers an extended meditation on questions of blackness, the human, epistemology, and the historical ways in which the black being is understood. And we’re also looking forward to La Marr Jurelle Bruce’s How to Go Mad without Losing Your Mind, an urgent provocation and poignant meditation on madness in black radical art.

Latinx ArtFall brings some great new art and art history titles, including Latinx Art by Arlene Dávila, who draws on numerous interviews with artists, dealers, and curators to provide an inside and critical look of the global contemporary art market. Looking at Latinx aesthetics from a popular culture perspective, Jillian Hernandez’s Aesthetics of Excess analyzes the personal clothing, makeup, and hairstyles of working-class Black and Latina girl to show how cultural discourses of aesthetic value racialize the bodies of women and girls of color. And in ¡Presente!, Diana Taylor offers the theory of presente as a model of standing by and with victims of structural and endemic violence by being physically and politically present in situations where it seems that nothing can be done. In Liquor Store Theater, Maya Stovall uses her conceptual art project—in which she danced near her Detroit neighborhood’s liquor stores as a way to start conversations with her neighbors—as a point of departure for understanding everyday life in Detroit and the possibilities for ethnographic research, art, and knowledge creation. In Beyond the World’s End, T. J. Demos explores a range of artistic, activist, and cultural practices that provide compelling and radical propositions for building a just, decolonial, and environmentally sustainable future. And in Keith Haring’s Line, Ricardo Montez traces the drawn and painted line that was at the center of Keith Haring’s artistic practice, engaging with Haring’s messy relationships to race-making and racial imaginaries.

The Meaning of SoulIf you love music books, you’re in luck this fall. We offer Black Diamond Queens by Maureen Mahon, which documents the major contributions African American women vocalists such as Big Mama Thornton, Betty Davis, Tina Turner, and Merry Clayton have made to rock and roll throughout its history. And in The Meaning of Soul, Emily J. Lordi examines the work of Aretha Franklin, Nina Simone, Solange Knowles, Flying Lotus, and others in order to propose a new understanding of soul, showing how it came to signify a belief in black resilience enacted through musical practices.

We’re featuring a great group of Latin American studies titles this fall. In The Cuban Hustle, Sujatha Fernandes explores the many ways artists, activists, and ordinary Cubans have sought to hustle, survive, and express themselves in the aftermath of the Soviet Union’s collapse. We also welcome back returning authors Brett Gustafson with Bolivia in the Age of Gas and Joanne Rappaport with Cowards Don’t Make History.

For a Pragmatics of the UselessWe welcome back a number of other returning authors as well. In History 4° Celsius Ian Baucom continues his inquiries into the place of the Black Atlantic in the making of the modern and postmodern world. Catherine Besteman offers a sweeping theorization of the ways in which countries from the global North are reproducing South Africa’s apartheid system on a worldwide scale in her new book Militarized Global Apartheid. Erin Manning’s latest book For a Pragmatics of the Useless explores the links between neurotypicality, whiteness, and black life. Joseph Masco returns with The Future of Fallout, and Other Episodes in Radioactive World-Making, which examines the psychosocial, material, and affective consequences of the advent of nuclear weapons, the Cold War security state, climate change on contemporary US democratic practices and public imaginaries. And in The Wombs of Women, Françoise Vergès traces the long history of colonial state intervention in black women’s wombs during the slave trade and postslavery imperialism as well as in current birth control politics.

Fall also brings essential new journal issues in political science and political history. In “Fascism and Anti-Fascism since 1945,” an issue of Radical History Review, contributors show how fascist ideology continues to circulate and be opposed transnationally despite its supposed death at the end of World War II. And “The ACA at 10,” a two-part issue of the Journal of Health Politics, Policy and Law, marks the tenth anniversary of the Affordable Care Act with essays from prominent analysts of US health policy and politics that explore critical issues and themes in the ACA’s evolution.

There’s so much more! We invite you to download the entire catalog and check out all the great books and journals inside. And be sure to sign up for our email alerts so you’ll know when titles you’re interested in are available.

New Books in January

If one of your resolutions for 2020 is to read more books, we’ve got you covered. Ring in the new year with these captivating new releases!

In Beneath the Surface, Lynn M. Thomas constructs a transnational history of skin lighteners in South Africa and beyond, theorizing skin and skin color as a site for antiracist struggle and lighteners as a technology of visibility that both challenges and entrenches racial and gender hierarchies.

Weaving U.S. history into the larger fabric of world history, the contributors to Crossing Empires de-exceptionalize the American empire, placing it in a global transimperial context as a way to grasp the power relations that shape imperial formations. This collection is edited by Kristin L. Hoganson and Jay Sexton.

Engaging contemporary photography by Sally Mann, Lorna Simpson, Carrie Mae Weems, and others, Shawn Michelle Smith traces how historical moments come to be known photographically and the ways in which the past continues to inhabit, punctuate, and transform the present through the photographic medium in Photographic Returns.

Spanning the centuries between pre-contact indigenous Haiti to the aftermath of the 2010 earthquake, the selections in The Haiti Reader introduce readers to Haiti’s dynamic history and culture from the viewpoint of Haitians from all walks of life. This volume is edited by Laurent Dubois, Kaiama L. Glover, Nadève Ménard, Millery Polyné, and Chantalle F. Verna.

The contributors to Futureproof (edited by D. Asher Ghertner, Hudson McFann, and Daniel M. Goldstein) examine the affective and aesthetic dimensions of security infrastructures and technology with studies ranging from Jamaica and Jakarta to Colombia and the US-Mexico border.

Examining abjection in a range of visual and material culture, the contributors to Abjection Incorporated move beyond critiques of abjection as a punitive form of social death to theorizing how it has become a means to acquire political and cultural capital in the twenty-first century. This volume is edited by Maggie Hennefeld and Nicholas Sammond.

Margaret E. Dorsey and Miguel Díaz-Barriga argue that border wall construction along the U.S.–Mexico border manifests transformations in citizenship practices that are aimed not only at keeping migrants out but also enmeshing citizens into a wider politics of exclusion in Fencing in Democracy.

In Politics of Rightful Killing, Sima Shakhsari analyzes the growth of Weblogistan—the online and real-life transnational network of Iranian bloggers in the early 2000s—and the ways in which despite being an effective venue for Iranians to pursue their political agendas, it was the site for surveillance, cooptation, and self-governance.

In Invisibility by Design, Gabriella Lukács traces how young Japanese women’s unpaid labor as bloggers, net idols, “girly” photographers, online traders, and cell phone novelists was central to the development of Japan’s digital economy in the 1990s and 2000s.

Presented in the context of the nonprofit arts collective More Art’s fifteen-year history, and featuring first-person testimony, critical essays, and in-depth documentary materials, More Art in the Public Eye is an essential, experiential guide to the field of socially engaged public art and its increasing relevance. This volume is edited by Micaela Martegani, Jeff Kasper, and Emma Drew, and we are distributing it for More Art.

Shana L. Redmond traces Paul Robeson’s continuing cultural resonances in popular culture and politics in Everything Man, showing how he remains a vital force and presence for all those he inspired.

In The Complete Lives of Camp People, Rudolf Mrázek presents a sweeping study of the material and cultural lives of internees of two twentieth-century concentration camps and the multiple ways in which their experiences speak to and reveal the fundamental logics of modernity.

In Avian Reservoirs, Frédéric Keck traces how the anticipation of bird flu pandemics has changed relations between birds and humans in Hong Kong, Singapore, and Taiwan, showing that humans’ reliance on birds is key to mitigating future pandemics.

Collecting texts from all corners of the world that span antiquity to the present, The Ocean Reader (edited by Eric Paul Roorda) charts humans’ relationship to the ocean, treating it as a dynamic site of history, culture, and politics.

The contributors to Blue Legalities attend to the seas as a legally and politically conflicted space to analyze the conflicts that emerge where systems of governance interact with complex geophysical, ecological, economic, biological, and technological processes. This collection is edited by Irus Braverman and Elizabeth R. Johnson.

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Our Editors Pick Their Books of the Decade

As we come to the end of a decade, our editors look back at some of the most influential books we’ve published since 2010.

Ken Wissoker, Editorial Director

In the WakeI’m proud to have worked on a great number of field-changing and prize-winning books this decade, many of which had sway far beyond the academy. The one title that stands out for me is Christina Sharpe’s In the Wake. I’d worked with Christina on her exceptional first book Monstrous Intimacies so knew there was more brilliance to come. I can still picture the room at MLA in Vancouver where I first heard her present In the Wake’s powerful poetic text, compelling at so many layers at once. We were awed by her ability to move from the deeply familial and personal to the scale of world history without losing either the tone or the theory; by the stark realism of her account of Black death; and by the call to live on despite the weather. The book came out in November of 2016, by mid-March of the following year, artist Cauleen Smith had adopted the book’s title for her contribution to the 2017 Whitney Biennial.  I’ve since seen Sharpe’s work deeply engaged by Torkwase Dyson and other artists. Her narrating of the wake, the ship, the hold, and the weather — along with the idea of wakework itself — has been taken up by writers, critics, activists and readers, who felt Sharpe had named something for their lives. This quick recognition —the sense of being recognized, seen, or heard — is unusual and deeply special.  The book is an extraordinary gift to our ongoing political moment, one that will resonate for many years to come.

Courtney Berger, Executive Editor

Vibrant MatterIt’s been 10 years since we published Jane Bennett’s Vibrant Matter: A Political Ecology of Things (January 2010).  When I first read the manuscript, I knew it would be important. I knew that Bennett’s generous and reflective way of thinking and her engaging writing style would widen its audience beyond political theory (Bennett’s home discipline). But I had no idea how influential the book would be, setting the stage for a decade of conversation and debate about “thing-power” and the agential capacities of the nonhuman. Bennett’s plea to recognize the influence of nonhuman forces and things in the political realm and to decenter the human resonated with me and many others seeking new ways of thinking about our relationship to our environment. Influential books often provoke debate and this one certainly has done that. But, for me, the books that matter in the long run are the ones that invite me to think with them. Vibrant Matter is that kind of book. Bennett’s ideas have generated critique, disagreement, and reflection, all of which has pushed scholarship in new and important directions.  Notably, Mel Chen’s Animacies: Biopolitics, Racial Mattering, and Queer Affect (2012) builds upon Bennett’s attention to the affective dimensions of the nonhuman material world, but shows us how race, sexuality, and disability have shaped our notions of liveliness and of who and what matters in this world.  In The Biopolitics of Feeling: Race, Sex, and Science in the Nineteenth Century (2017) Kyla Schuller extends this critique, illustrating how the 19th century sciences of “impressibility” and animacy helped to solidify ontologies of racial difference, ideas that have had an often unacknowledged afterlife in new materialist philosophies.  Moreover, Bennett’s work has helped to lay the ground work for innovative book series like ANIMA, edited by Mel Chen and Jasbir Puar, which brings queer, race, and disability theory to bear on our understanding of life and matter, and Elements, edited by Stacy Alaimo and Nicole Starosielski, which foregrounds the material elements as lively forces that shape politics and culture.

My task was to name one book of the decade, and as you see, instead I named one book, and two more, and then two book series. Maybe that’s my way of dodging the task. But it also speaks to the expansive and generative quality of books, as they travel, intersect, and influence one another, as well as the vibrancy of the scholarly conversations I’m so privileged to be a part of. I can’t wait to see which books make their mark in the coming decade. . . .

Gisela Fosado, Editor

Light in the DarkGloria Anzaldúa’s brilliant book Light in the Dark/Luz en lo Oscuro is a work that is decades ahead of its time.  Published in 2015, but written before Anzaldúa’s untimely death in 2004, the book engages feminist and queer aesthetics, ontologies, epistemologies, and ethics, offering a new decolonial vision for our world.  It’s a must-read for all feminist scholars.

Elizabeth Ault, Editor

My book of the decade is Kristin Peterson’s Speculative Markets. I arrived at Duke Press in 2012, mere weeks after Speculative Marketsdefending my dissertation in American studies (focused on Black-cast sitcoms of the 1970s). I was pretty burnt out after 6 years of grad school, and feeling a little distant and alienated from the political passion and the joy of intellectual inquiry that had put me on an academic path in the first place. Speculative Markets was one of the first books I got to work on at the Press. Peterson’s book, an ethnography of pharmaceuticals in Nigeria, wasn’t an obvious fit with my areas of expertise. But the book begins with a blistering account of structural adjustment in the global 1970s and 80s, providing African perspectives on the global rise of neoliberalism, which had loomed large in my previous work. Thinking neoliberalism, the durability of colonial forms, speculation, and global anti-Blackness from Nigeria with Peterson introduced me to what cultural and medical anthropology and African studies can do. The book reoriented my perspective, introduced me to new conversations, and reminded me of the power of scholarship. It’s helped me chart the course that has comprised my career here at the Press over the past 7 years, which is why it’s my book of the decade.

Miriam Angress, Associate Editor

RemnantsOne of the books I’m joyful to have worked on is Remnants: A Memoir of Spirit, Activism, and Mothering, written by Rosemarie Freeney Harding with her daughter Rachel Elizabeth Harding. The author—an influential civil-rights activist—believed in the unity of all great spiritual teachings, and practiced multiple religions herself; she looked for the compassionate underpinnings of these traditions, such as the link she saw between Tibetan Buddhist teachings and lessons she learned from her mother as they visited dying relatives. Remnants incorporates stories of her civil rights leadership, co-founding an early integrated community center in Atlanta with her husband Dr. Vincent Harding, and working with friends and colleagues including Dr. Martin Luther King, Jr. and Coretta Scott King, Anne Braden, Dr. Howard Thurman and Sue Bailey Thurman, and Sweet Honey in the Rock singer Bernice Reagon.

Rachel Harding (Associate Professor of Indigenous Spiritual Traditions at University of Colorado) worked with her mother on the memoir for a decade before Freeney Harding’s death in 2004. After that, she excavated her mother’s voice from journals, previously published material, recordings, and her own memories.

Sandra Korn, Assistant Editor

Normal Life2011 was the year I realized that I was queer, and the year that I officially scrapped my parents’ dreams that I would become a scientist, when I switched my undergraduate major to Women, Gender, and Sexuality studies. It’s also the year that Dean Spade first published Normal Life: Administrative Violence, Critical Trans Politics, and the Limits of Law with South End Press. Same-sex marriage legalization and hate crime laws covering gender identity were slowly sweeping the U.S. state by state. Yet Dean Spade taught me that waiting for the courts to grant legal equality (the model adopted by the gay and lesbian rights movement) would never be sufficient to address the root causes of violence against trans people across the planet. Instead, Spade argues that trans liberation requires a grassroots movement, led by trans people most impacted by criminalization, surveillance, and detention and deportation. Duke Press published the second edition of Normal Life in 2015, and this book feels just as necessary as we head into 2020.

 

 

New Books in October

It’s official—fall has arrived! With the start of this new season, we’re releasing dynamic new reads in art and visual culture, anthropology, feminist studies, cultural studies, sociology, and more. Check out all of these exciting books available in October.

Continuing the work she began in The Promise of Happiness and Willful Subjects by taking up a single word and following its historical, intellectual, and political significance, Sara Ahmed explores how use operates as an organizing concept, technology of control, and tool for diversity work in What’s the Use?

In Where Histories Reside Priya Jaikumar examines seven decades of films shot on location in India to show how attending to filmed space reveals alternative timelines and histories of cinema as well as the myriad ways cinema constructs India as a place.

Eva Haifa Giraud contends in What Comes after Entanglement? that recent theory that foregrounds the ways that human existence is entangled with other nonhuman life and the natural world often undermine successful action and calls for new modes of activist organizing and theoretical critique.

The contributors to Reading Sedgwick (edited by Lauren Berlant) reflect on the long and influential career of Eve Kosofsky Sedgwick, whose pioneering work in queer theory has transformed understandings of affect, intimacy, politics, and identity.

Conceptualizing anthropology as a mode of practical and transformative inquiry in A Possible Anthropology, Anand Pandian stages an ethnographic encounter with the field in an effort to grasp its impact on the world and its potential for addressing and offering solutions to the profound crises of the present.

In Symbolic Violence Michael Burawoy brings Pierre Bourdieu into an extended debate with Marxism by outlining the parallels and divergences between Bourdieu’s thought and preeminent Marxist theorists including Gramsci, Fanon, Beauvoir, and Freire.

Achille Mbembe theorizes the genealogy of the contemporary world—one plagued by inequality, militarization, enmity, and a resurgence of racist, fascist, and nationalist forces—and calls for a radical revision of humanism a the means to create a more just society in Necropolitics.

In Fidel between the Lines Laura-Zoë Humphreys tracks late-socialist Cuba’s changing dynamics of social criticism and censorship through Cuban cinema and its cultural politics.

In A Fragile Inheritance, Saloni Mathur investigates the work of two seminal figures from the global South: the New Delhi-based critic and curator Geeta Kapur and contemporary multimedia artist Vivan Sundaram, illuminating  how their political and aesthetic commitments intersect and foreground uncertainty, difficulty, conflict, and contradiction.  

Ronak K. Kapadia examines multimedia visual art by artists from societies besieged by the US war on terror in Insurgent Aesthetics, showing how their art offers queer feminist critiques of US global warfare that forge new aesthetic and social alliances with which to sustain critical opposition to the global war machine.

In Eros Ideologies Laura E. Pérez analyzes Latina art to explore a new notion of decolonial thought and love based on the integration of body, mind, and spirit that offers a means to creating a more democratic and just present and future.

Edited by Frances Richard, I Stand in My Place with My Own Day Here features essays by more than fifty renowned international writers considering thirteen monumental works of art commissioned by The New School between 1930 and the present. We are distributing this beautiful art book for The New School.

Between Form and Content is a catalog that accompanied the first exhibition to focus on Jacob Lawrence’s experience at Black Mountain College in North Carolina in 1946, where his interaction with Josef Albers had a lasting impact on his future career. We are distributing this catalog for Black Mountain College Museum + Art Center.

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National Hispanic Heritage Month Reads

September 15th through October 15th is National Hispanic American Heritage Month. To celebrate, we have selected several of our recent books and journal issues that explore Chincanx and Latinx studies, art, and history, as well as bring awareness to issues faced by the Latinx community.

978-0-8223-6938-7_prIn Eros IdeologiesLaura E. Pérez analyzes Latina art to explore a new notion of decolonial thought and love based on the integration of body, mind, and spirit that offers a means to creating a more democratic and just present and future.

Renato Rosaldo’s new prose poetry collection, The Chasers, shares his experiences and those of his group of twelve Mexican-American Tucson High School friends known as the Chasers as they grew up, graduated, and fell out of touch, conveying the realities of Chicano life on the borderlands from the 1950s to the present.

In Deported Americans, legal scholar and former public defender, Beth C. Caldwell, tells the story of dozens of immigrants who were deported from the United States—the only country they have ever known—to Mexico, tracking the harmful consequences of deportation for those on both sides of the border.

Chicano and Chicana ArtChicano and Chicana Art, curated by Jennifer A. González, C. Ondine Chavoya, Chon Noriega, and Terezita Romo, is an anthology that includes essays from artists, curators, and critics and provides an overview of the history and theory of Chicano/a art from the 1960s to the present, emphasizing the debates and vocabularies that have played key roles in its conceptualization.

Pop América, 1965–1975, edited by Esther Gabara, is a bilingual, fully illustrated catalogue. It accompanies the Nasher Museum of Art at Duke University’s exhibition Pop América, 1965–1975, which presents a vision of Pop art across the Americas as a whole.

coverimage-3Trans Studies en las Américas,” a special issue of TSQ: Transgender Studies Quarterly, is an unprecedented English-language collection by Latin American and Latinx scholars on trans and travesti issues. Contributors offer a hemispheric perspective on trans and travesti issues, expand transgender studies to engage geopolitical connections, and bring interdisciplinary approaches to topics ranging from policy to cultural production.

With roots in protest and social change, Latinx theater carries an artistic vitality and urgency that has only been augmented by resistance to the current wave of repressive white nationalism. In “What’s Next for Latinx?“, an issue of Theater, contributors ask where Latinx theater is going and what challenges it faces.

New Books in August

Our Fall 2019 season is off to a phenomenal start with a diverse range of titles in Theory and Philosophy, African American Studies, Native and Indigenous Studies, and more. Take a look at all of these great new books coming in August!

Intersectionality as Critical Social Theory by Patricia Hill Collins

Intersectionality as Critical Social Theory by Patricia Hill Collins offers a set of analytical tools for those wishing to develop intersectionality’s capability to theorize social inequality in ways that would facilitate social change.

In Animate Literacies, Nathan Snaza proposes a new theory of literature and literacy in which he outlines how literacy operates at the interface of humans, nonhuman animals, and objects and has been used as a means to define the human in ways that marginalize others.

Fictions of Land and Flesh by Mark Rifkin

Mark Rifkin’s Fictions of Land and Flesh turns to black and indigenous speculative fiction to show how it offers a site to better understand black and indigenous political movements’ differing orientations in ways that can foster forms of mutual engagement and cooperation without subsuming them into a single political framework in the name of solidarity.

In The Black Shoals Tiffany Lethabo King uses the shoal—an offshore geologic formation that is neither land nor sea—as metaphor, mode of critique, and methodology to theorize the encounter between Black studies and Native studies and its potential to create new epistemologies, forms of practice, and lines of critical inquiry.

Savage Ecology by Jairus Victor Grove

Jairus Victor Grove’s Savage Ecology offers an ecological theorization of geopolitics in which he contends that contemporary global crises are better understood when considered within the larger history of geopolitical practice, showing how political violence is the principal force behind climate change, mass extinction, slavery, genocide, extractive capitalism, and other catastrophes. Watch the trailer for the book here.

In How to Make Art at the End of the World Natalie Loveless examines the institutionalization of artistic research-creation—a scholarly activity that considers art practices as research methods in their own right—and its significance to North American higher education.

Wages Against Artwork Leigh Claire La Berge’s Wages Against Artwork shows how socially engaged art responds to and critiques what she calls decommodified labor—the slow diminishment of wages alongside an increase of demands of work—as a way to work toward social justice and economic equality.

In Sounds of Vacation, edited by Jocelyne Guilbault and Timothy Rommen, the contributors examine the commodification of music and sound at popular vacation destinations throughout the Caribbean in order to tease out the relationships between political economy, hospitality, and the legacies of slavery and colonialism. 

Never miss a new book! Sign up for our e-mail newsletters, and get notifications of new titles in your preferred disciplines as well as discounts and other news.

What’s Next for Latinx?

We’re pleased to share “What’s Next for Latinx?”, the newest issue of Theater, edited by Chantal Rodriguez and Tom Sellar. Read the entire issue, freely available for three months.

With roots in protest and social change, Latinx theater carries an artistic vitality and urgency that has only been augmented by resistance to the current wave of repressive white nationalism. Even as U.S. agencies perpetuate inhumane policies and deplorable human rights violations against Latinxs, Latinx theatermakers continue to claim their places on America’s largest stages. In “What’s Next for Latinx?”, contributors ask where Latinx theater is going and what challenges it faces.