We are now mid-way through the summer, and it’s not too late to stock up on books to add to your summer reading list. Check out these brand new titles coming out in July!
Journeys through the Russian Empire is a lavishly illustrated volume that features hundreds of full-color images of Russian architecture and landscapes taken by early-twentieth-century photographer Sergey Prokudin-Gorsky and juxtaposed against those of contemporary photographer and scholar William Craft Brumfield. Together their images document Russia’s architectural, artistic, and cultural heritage. This one will look gorgeous on your coffee table!
The contributors to Paper Trails, edited by Sarah B. Horton and Josiah Heyman, examine migrants’ relationship to the state through requirements to obtain identification documents in order to get legal status.
Written for humanities graduate students and the faculty they study with, Katina L. Rogers’s Putting the Humanities PhD to Work grounds practical career advice in a nuanced consideration of how graduate training can lead to meaningful and significant careers beyond the academy.
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 ¡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.
Drawing on numerous interviews with artists, dealers, and curators, in Latinx Art Arlene Dávila explores how and why the contemporary international art market continues to overlook, devalue, and marginalize Latinx art and artists.
In The Wombs of Women, Françoise Vergès examines the scandal of white doctors forcefully terminating the pregnancies of thousands of poor women of color on the French island of Réunion during the 1960s, showing how they resulted from the legacies of the racialized violence of slavery and colonialism.
In Embodying Relation, Allison Moore examines the tensions between the local and the global in the art photography movement that blossomed in Bamako, Mali, in the 1990s, showing contemporary Malian photography to be a rich example of Western notions of art meeting traditional cultural precepts to forge new artistic forms, practices, and communities.
We know that many of you look forward to stocking up on new books at special discounts at our conferences, so we are pleased to extend a 30% discount on all in-stock books and journal issues. Use coupon code BERKS20 to save 30% when ordering online. Journal subscriptions and society memberships don’t qualify for the 30% discount.
Check out some of the exciting titles we would have featured in our booth at the Berks.
In I Never Left Home, poet and revolutionary Margaret Randall tells the moving, captivating, and astonishing story of her life, from her childhood in New York to joining the Sandanista movement in Nicaragua, from escaping political repression in Mexico to raising a family and teaching college. Watch a video of Margaret Randall discussing her memoir here.
In Second World, Second Sex, Kristen Ghodsee recuperates the lost history of feminist activism from the so-called Second World, showing how women from state socialist Bulgaria and socialist-leaning Zambia created networks and alliances that challenged American women’s leadership of the global women’s movement. Listen to an interview with Kristen Ghodsee here.
Jennifer C. Nash reframes black feminism’s engagement with intersectionality in Black Feminism Reimagined, contending that black feminists should let go of their possession and policing of the concept in order to better unleash black feminist theory’s visionary and world-making possibilities. Read an interview with Jennifer Nash here.
Lynn M. Thomas constructs a transnational history of skin lighteners in South Africa and beyond in Beneath the Surface, 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. Watch an interview with Lynn Thomas on South African TV here.
From The Guiding Light to Passions, Elana Levine traces the history of daytime television soap operas as an innovative and highly gendered mass cultural form in Her Stories. Read an interview with Elana Levine in Jezebelhere.
In Mafalda, Isabella Cosse examines the history, political commentary, and influence of the world-famous comic character Mafalda from her Argentine origins in 1964 to her global reach in the 1990s. Recently, the Argentinan goverment has been using Mafalda to educate citizens about wearing face masks during the pandemic. Read Cosse’s blog post on the campaign here.
The contributors to Spirit on the Move examine Pentecostalism’s appeal to black women worldwide and the ways it provides them with a source of community, access to power, and way to challenge social inequalities. This volume is edited by Judith Casselberry and Elizabeth A. Pritchard.
Ana María Reyes examines how the polarizing art of Beatriz González disrupted Cold War aesthetic discourses and the politics of class and modernization in 1960s Colombia in The Politics of Taste.
In Vexy Thing, Imani Perry 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. Read an interview with Imani Perry here.
If you were hoping to connect with one of our editors about your book project at the Berks, please reach out to them by email. See our editors’ specialties and contact information here and our submissions guidelines here. We are now accepting submissions online!
Our journal issues in women’s and gender studies are also included in our 30%-off sale.
Today’s guest post is by Isabella Cosse, an independent researcher for the National Science and Technology Research Council and the University of Buenos Aires. She is the author of numerous books, including Pareja, sexualidad y familia en los años sesenta and her new book, Mafalda: A Social and Political History of Latin America’s Global Comic. In Mafalda, Cosse examines the history, political commentary, and influence of the world-famous comic character Mafalda from her Argentine origins in 1964 to her global reach in the 1990s.
In Argentina, the government took drastic measures to deal with the COVID-19 pandemic early on. Despite an acute economic crisis, on March 19 the government decreed a mandatory nation-wide lock-down. The aim was to prepare the healthcare system while slowing down the spread of the virus. A month and a half later, with the national death toll at less than 300, there seems to be no doubt that this was the right strategy, especially when compared to the terrible situation faced by other countries where the government failed to take action in time.
That does not mean things have not been hard in Argentina. Nor that what lies ahead will be easy. The most vulnerable sectors of society are struggling just to cover their basic food needs, even with the aid provided by the government. Winter is only weeks away and when it finally arrives it will aggravate the situation. Wage-earners with a steady job and middle-class independent workers have also been hit by the effects of the pandemic, as they face a shrinking labor market and dwindling salaries in a context of mounting inflation. Tension and uncertainty dwell in every household. Conflicts and anxieties simmer just below the surface, ready to erupt at any moment.
As a way of dealing with the situation, people have taken to social media like never before. News on the virus and its effects naturally spread like wildfire, but so do memes and jokes. As in other crises, humor in its various forms makes it easier for us to navigate these hard times. It allows us to laugh at the tensions that we face on a daily basis, serving as a relief valve. As Freud said, humor acts on our emotional state, enabling us to look at something unpleasant and even painful through the lens of laughter, thus displacing unmanageable feelings of distress. It therefore helps process conflict, functioning as an effective coping mechanism.
A few days ago, it became mandatory for Argentines to wear face masks when leaving the house. This marked a new stage in the quarantine. Seeing people walking briskly down the street, with their faces covered up and carefully avoiding each other certainly presents a disheartening picture. In that grim context, Mafalda—Latin America’s most famous cartoon character—made the news. The people of Buenos Aires woke up one morning to find that the much-loved statue of this iconic character was sporting its own homemade face mask. An anonymous fan—one of the many among the legions of readers that the comic strip has garnered in its almost sixty years of existence—had decided that Mafalda had to make a statement in this new global crisis. And not just Mafalda, but her friends Susanita and Manolito as well, who flank her sides at a prudent distance, as if mindful of the current social distancing guidelines.
This is not the first time something like this has happened. In fact, since the very beginning, Mafalda has helped to channel the dilemmas faced by the comic strip’s readers. This wise-beyond-her-years little girl emerged as an expression of the antiestablishment generations of the sixties, reflecting on the changes that were shaking the foundations of social and family life at the time and speaking out against the many injustices in the world. And she did it with a witty and endearing humor.
Despite the character’s obvious social commitment and the fact that her readers have had no qualms about appropriating her as a symbol of what they consider a just cause, her creator, Joaquín Salvador Lavado (or Quino, as he is more widely known), has only very rarely given permission to use her in public campaigns. This, however, is one of those rare occasions. Mafalda now leads a group of popular cartoons featured in an awareness-raising effort launched by the government that also seeks to encourage Argentines and help them withstand the lockdown, just as it faces insistent calls from the opposition to lift the strict quarantine measures.
In the current crisis it is not surprising that Quino could be persuaded to lend his famous character for this effort. The historical moment we are living is one of great global uncertainty. But even if some suffer more than others, it is undeniable that the entire planet is afflicted. In the image chosen for the campaign, we see Mafalda caring for a bandaged globe as if it were a sick child. That strip, which was originally drawn as a reflection on the problems of humanity, now expresses the current state of the world almost literally. As in the past, this crisis—the ways to face it and the effects it has—entails political disputes on a transnational scale, and humor can not only help relieve our anxieties, it can also contribute to shape a common identity, one that takes on the responsibility of caring for the world and all its inhabitants.
Mafalda, and all in-stock Duke University Press titles, are available for 50% off during our Spring Sale with coupon SPRING50.
Our editors look forward to meeting their authors at conferences every year and are sad to be missing out on that this spring. The annual meeting of the Latin American Studies Association would have taken place May 13-16 in Guadalajara, Mexico this year. We know that many of you look forward to stocking up on new books at special discounts at our conferences, so we are pleased to extend a 50% discount on all in-stock books and journal issues through May 25.
Instead of greeting Editorial Director Gisela Concepción Fosado in person this year, check out her recommendations for new titles in the discipline and a great round up of other ways to learn about all the new scholarship that we planned to present at the conference.
¡Saludos afectuosos a todxs mis colegas de LASA!
I hope everyone is taking care of themselves and their communities as much as possible during these challenging times. I’m so sorry that we’ll all miss coming together in person this year. I’m particularly sad to miss the bustle of the book exhibit and all of the enthusiasm LASA members invariably extend towards our new releases. We can’t offer you our usual piles and piles of beautifully crafted books, but I can share with you a few highlights that represent a small slice of our newest Latin American studies books.
Kregg Hetherington’s thought-provoking new book, The Government of Beans: Regulating Life in the Age of Monocrops traces well-meaning attempts by Paraguay bureaucrats and activists to regulate the destructive force of monocrops. Although Paraguay’s massive new soy monocrop brought wealth, it also brought deforestation, biodiversity loss, rising inequality, and violence, all beyond the scope of the toolkit of the current government.
We’re thrilled to be publishing an English edition of Isabella Cosse’s award winning book, Mafalda: A Social and Political History of Latin America’s Global Comic. Winner of LASA’s Premio Americano, Mafalda represents transnational cultural history at its absolute best. Analyzing how the comic strip, Mafalda, reflects generational conflicts, gender, modernization, the Cold War, authoritarianism, neoliberalism, and much more, Cosse demonstrates the unexpected power of humor to shape revolution and resistance. Engagingly written, Mafalda is a great course book for graduate and undergraduate level courses.
Eric Zolov’s brand new book, The Last Good Neighbor: Mexico in the Global Sixties, presents a revisionist account of Mexican domestic politics and international relations during the long 1960s, tracing how Mexico emerged from the shadow of FDR’s Good Neighbor policy to become a geopolitical player in its own right during the Cold War. If you’re looking for an engaging and brilliant book on Mexican politics and foreign relations, written by one of the most talented historians around, this one is a must-read.
Pluriversal Politics: The Real and the Possible, by renowned anthropologist and social theorist Arturo Escobar, fits perfectly with LASA’s theme this year, “Améfrica Ladina: vinculando mundos y saberes, tejiendo esperanzas.” In the book, Escobar engages with the politics of the possible and shows how established notions of what is real and attainable prohibit the emergence of radically alternative visions of the future.
Like Escobar’s work, Kristina Lyons’s new book is also based on ethnographic fieldwork in Colombia. Vital Decomposition: Soil Practitioners and Life Politics tells us a timely story of human-soil relations. Lyons examines the practices and philosophies of rural farmers who value the decomposing layers of leaves, which make the soils that sustain life in the Amazon, and shows how the study and stewardship of the soil point to alternative frameworks for living and dying. Like Escobar’s work, Lyons beautifully centers local knowledge to open up new ways of collective living and knowing, “vinculando mundos y saberes.”
Two exceptional newly released art history books include Ana María Reyes’s The Politics of Taste: Beatriz González and Cold War Aesthetics and Mary Coffey’s Orozco′s American Epic: Myth, History, and the Melancholy of Race, which are both gorgeously illustrated in full color. In The Politics of Taste, Ana María Reyes brilliantly examines the works of Colombian artist Beatriz González and Argentine-born art critic, Marta Traba, who championed González’s art during Colombia’s National Front coalition government (1958–74). Mary Coffey’s sophisticated and theoretically nuanced book looks at José Clemente Orozco’s twenty-four-panel mural cycle entitled The Epic of American Civilization. An artifact of Orozco’s migration from Mexico to the United States, the Epic stands as the only fresco in which he explores both American and Mexican narratives of national history, progress, and identity.
This truly represents a small slice of our new books in Latin American studies. Please check out our two most recent catalogs to see our full list of new releases! Cuidense mucho y nos vemos el proximo año.
If you were hoping to connect with Gisela or another of our editors about your book project at LASA, please reach out to them by email. See our editors’ specialties and contact information here and our new online submissions guidelines here.
Once again, we’re sorry to miss you in person but hope the 50% discount will make it possible for you to pick up some new books and journal issues. Use coupon SPRING50 at checkout and see the fine print on the sale here.
We’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 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 Textedited 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.
Black 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.
Fall 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.
If 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.
We 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 Uselessexplores 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.
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.
We’re pleased to announce that we’ve extended our Spring Sale through May 25, which will allow you to pick up some new titles at 50% off this month. Use coupon SPRING50 to save.
In the beautifully illustrated, full-color book AFRICOBRA, painter, photographer, and cofounder of Chicago arts collective AFRICOBRA Wadsworth A. Jarrell tells the definitive history of the group’s creation, history, and artistic and political principles and the ways it captured the rhythmic dynamism of black culture and social life to create uplifting art for all black people.
Eric Zolov presents a revisionist account of Mexican domestic politics and international relations during the long 1960s in The Last Good Neighbor, tracing how Mexico emerged from the shadow of FDR’s Good Neighbor policy to become a geopolitical player in its own right during the Cold War. Look for a Q&A with Zolov on our blog later this month.
Through innovative readings of gay and lesbian films, Lee Wallace offers a provocative argument in Reattachment Theory that queer experiments in domesticity have profoundly reshaped heterosexual marriage to such an extent that now all marriage is gay marriage.
François Ewald’s The Birth of Solidarity—first published in French in 1986 and appearing here in English for the first time—is one of the most important historical and philosophical studies of the rise of the welfare state. This edition is edited by Melinda Cooper.
Louise Amoore examines how machine learning algorithms are transforming the ethics and politics of contemporary society in Cloud Ethics, proposing what she calls cloud ethics as a way to hold algorithms accountable by engaging with the social and technical conditions under which they emerge and operate.
In Re-enchanting Modernity, Mayfair Yang examines the reemergence of religious life and ritual after decades of enforced secularized life in the coastal city of Wenzhou, showing how local practices of popular religion, Daoism, and Buddhism influence economic development and the structure of civil society.
In Writing Anthropology, fifty-two anthropologists reflect on scholarly writing as both craft and commitment, offering insights into the myriad roles of anthropological writing, the beauty and the function of language, the joys and pains of writing, and encouragement to stay at it. This collection is edited by Carole McGranahan.
In Beijing from Below, Harriet Evans tells the history of the residents in Dashalar—now redeveloped and gentrified but once one of the Beijing’s poorest neighborhoods—to show how their experiences complicate official state narratives of Chinese economic development and progress.
Alex Blanchette explores how the daily lives of a Midwestern town that is home to a massive pork complex were reorganized around the life and death cycles of pigs while using the factory farm as a way to detail the state of contemporary American industrial capitalism in Porkopolis. As the coronavirus tears through meatpacking plants around the U.S., Blanchette’s analysis is highly relevant. We’ll feature a Q&A with him on our blog later in the month.
Drawing on examples of things that happen to us but are nonetheless excluded from experience, as well as critical phenomenology, genealogy, and feminist theory, Cressida J. Heyes shows how and why experience has edges, and analyzes phenomena that press against them in Anaesthetics of Existence.
InThe Government of Beans, Kregg Hetherington uses Paraguay’s turn of the twenty-first century adoption of massive soybean production and the regulatory attempts to mitigate the resulting environmental degradation as a way to show how the tools used to drive economic growth exacerbate the very environmental challenges they were designed to solve.
Margaret Randall is a poet, essayist, oral historian, translator, memoirist, and photographer who has published over 150 books of poetry and prose. In her newest book, I Never Left Home, she details the extraordinary stories from her life, recounting moments ranging from her time living among New York’s abstract expressionists in the mid-1950s as a young woman to working in the Nicaraguan Ministry of Culture to instill revolutionary values in the media during the Sandinista movement.
You explain in Chapter 1 that you started this project by writing about your time in New York in the late 1950s and subsequently moved forward and backwards in time throughout your writing process. How was the experience of placing these chapters in chronological order for the book? Did conceiving of your memories in this linear fashion bring you to any new insights about your life?
I guess I should say that I have always believed more in non-linear than in linear time. Perhaps that’s why I didn’t begin this memoir by writing about my earliest years but rather about my years in New York City, an experience I had never written about before. When it came time to organize the book I did go with a chronological timeline, though, maybe because I thought it would allow readers to follow my life and times as they have unfolded. This also seemed like a good choice because earlier experiences inevitably influenced later ones, and I wanted my readers to understand that.
A number of big geographic and cultural moves punctuate your life—first as a child to New Mexico, and later as an adult to Spain, New York, Mexico, Cuba, and Nicaragua, and then back to New Mexico. Throughout these moves, you navigated many “insider/outsider moments” —moments in which you felt at home, and those in which you grappled with your racial identity, class status, and foreignness. What have you learned about the importance of embracing one’s position as an outsider? What kinds of connections break down this distinction and allow one to feel at home?
Embracing one’s experience as an outsider is necessary. One always wants to belong; it is part of the human condition. But if one chooses to live in places foreign to one’s culture or in ways that are foreign to one’s class, racial or gender identities, one’s “otherness” is right out there for all to see. There is no denying or getting around it. So, I think we learn to make peace with that and live the experience as it is. As a young US American in Latin America, living and working and raising my children in countries frequently attacked or exploited by the United States, it was inevitable that I should carry a sense of guilt. Inevitable but not healthy. I had to learn to struggle with that and not allow it to overpower or destroy me. I believe one can straddle this outsider condition best by living as much as possible as the people where you are living. In Mexico this meant learning about dozens of indigenous cultures, appreciating native art and music, participating in national fiestas. In Cuba it meant refusing the foreigner’s ration book and living as much as possible like a Cuban. In Nicaragua it meant participating in national defense as the Contra war heated up. Despite such efforts, though, if one is from somewhere else one is an outsider. So then it becomes important to figure out how to make one’s condition transparent and use it to benefit others.
You mention that, while living in Seville, you “immediately agreed” to assist smuggling contraceptives from Morocco to Spain, as would be your response to other future invitations to risk. At what other moments in your life do you recall agreeing to risk? How necessary is risk in one’s pursuit of justice?
I have taken risks as long as I can remember. Smuggling contraceptives into Spain in the 1950s was just one example. In Mexico I assisted revolutionary organizations and took part in the 1968 Mexican Student Movement. In Cuba I insisted on asking difficult questions of a revolution not accustomed to being questioned by outsiders. And when I returned to the United States and was ordered deported because of opinions expressed in some of my books, I didn’t leave but decided to fight for my right to stay. All these moments, and others, involved risk. I can’t really explain why it has been so natural for me to take risks. Perhaps it is written into a person’s DNA. Perhaps I was simply following the example of mentors who were, themselves, notable risk-takers.
While publishing the bilingual journal El Corno with Sergio Mondragón during the 1960s, you recall believing that “poetry could change the world.” How did you conceive of the relationship between artistic expression and revolution then? What connection do you see between them today, both in the US and abroad?
I have always believed that poetry is a necessary ingredient to living fully. Revolution, or working for justice, is really about living fully. We can only live fully if we struggle for equality and fairness in all areas. Art is the highest manifestation of living to the fullest, engaging all the senses, experiencing the heights and depths of the human experience. When I was younger and claimed that poetry could change the world, I think I meant that more explicitly than when I say the same thing today. Today I understand this more complexly. Poetry—and artistic expression generally—allows us to exercise our imaginations, think outside the box, believe in the “impossible”. It is in this sense that I believe it can change the world.
It was not until your return to the US that you were able to reflect on your sexual identity and come out as a lesbian to yourself and others. What was it about returning “home” that allowed for this personal exploration?
I think what kept me from understanding my sexual identity while I was living in Latin America, especially when I was in Cuba and Nicaragua, was that I was involved in situations of social change that required full focus on the collective. It would have been healthier if we had found ways to attend to our personal issues as well, but we didn’t know how. That was one of the problems with the movements with which I was involved. We rarely prioritized our own needs. The collective was what was important. So, when I came back to the US, I was immersed in the women’s movement. It was the 1980s, and women were addressing issues of personal identity, domestic violence, recovery, and so forth. Arriving in the midst of this community of women, many of whom were lesbians, somehow allowed me to begin to question my own sexual identity. It was in this context, as well, that I remembered the incest of which I had been a victim as a very young child. I do believe that social change movements must find ways to combine the personal with the public, develop ways to struggle that take into account people’s individual differences and needs.
You describe your witnessing of the Cuban and Sandinista Revolutions as a “privilege,” as you experienced times in which quests for justice, passion, and creativity seemed to be bursting at the seams of daily life. What do you hope younger generations looking for revolutionary change might learn from these memories and experiences?
I do believe that I was privileged to have lived in the places where I lived and at the times when I lived in them. And that sense of privilege, in my mind, implies the willingness to share those experiences. Every generation is faced with new situations that demand new strategies and tactics. But we can learn a lot from our parents’ and grandparents’ generations, their struggles and solutions. Just as I believe that I can learn a lot from those who are coming up now. In terms of my memoir, I guess I just hope that it is a good read, a story or series of stories that express one woman’s journey through the second part of the 20th and beginning of the 21st century.
Watch Margaret discuss her book and read a passage:
We know that many of you look forward to stocking up on new books at special discounts at our conferences, so we are pleased to extend a 50% discount on all in-stock books and journal issues through May 1. Use coupon code SPRING50 to save 50% when ordering online. In addition, if you spend $100 or more, we are offering free shipping to U.S. addresses. Journal subscriptions and society memberships don’t qualify for the 50% discount, but they do count toward the $100 threshold.
Big congratulations to Renisa Mawani, whose book Across Oceans of Law is the winner of the AAAS Book Award for Outstanding Achievement in History. The prize committee wrote, “Grappling with the interconnectedness of the Pacific, Atlantic, and Indian oceans—and the ways in which Asian Indians navigated the reach of the British empire—Mawani shifts our perspectives not only from U.S.-centric histories, but also from terrestrially-bound histories. . . . Mawani is able to ground her conceptual insights, transforming what could have remained an abstract, legal history of maritime law into a richly materialized narrative of mobility, empire, and race.”
Check out some of the other great titles we would have featured in our booth at AAAS.
In a brilliant reinvention of the travel guide, Detours: A Decolonial Guide to Hawai’i, artists, activists, and scholars redirect readers from the fantasy of Hawai‘i as a tropical paradise and tourist destination toward a multilayered and holistic engagement with Hawai‘i’s culture, complex history, and the effects of colonialism. This volume is edited by Hokulani K. Aikau and Vernadette Vicuña Gonzalez.
Weaving U.S. history into the larger fabric of world history, the contributors to Crossing Empires: Taking U.S. History into Transimperial Terrain 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.
Examining the work of writers and artists including Carrie Mae Weems, Langston Hughes, Toni Morrison, and Allan deSouza, Kandice Chuh advocates for what she calls “illiberal humanism” as a way to counter the Eurocentric liberal humanism that perpetuates structures of social inequality in The Difference Aesthetics Makes: On the Humanities “After Man.”
If you were hoping to connect with one of our editors about your book project at AAAS, please reach out to them by email. See our editors’ specialties and contact information here and our submissions guidelines here. We are now accepting submissions online!
Once again, we’re sorry to miss you in person but hope the 50% discount with free U.S. shipping on orders over $100 will make it possible for you to pick up some new books and journal issues. Use coupon SPRING50 at checkout and see the fine print on the sale here.
April is National Poetry Month, so we are offering a poem each Tuesday for the next four weeks. Today’s poem is from the recent book Dub: Finding Ceremony by Alexis Pauline Gumbs. The final volume of a poetic trilogy, Dub explores the potential for the poetic and narrative to expose and challenge the dominant modes of being human, reminding us that it is possible to make ourselves and our planet anew.
another set of instructions
we are asking you to trust your hands. put them on your heart. trust your heart. hear what we are saying. trust what you hear. we are asking you to build a circle. always a circle. not almost a circle. face each other. we are asking you to trust the faces. face the truth. it’s round. we are asking you to make a sound. make the sound you need by breathing. make the sound that calls us in. we are asking you. not telling you. listen. we will not yell. well. not yet.
if you can use both hands, use both hands. knowing is not given; it is made. you can make it out of cornmeal or flour, preferably. out of dirt or fertilizer if you have to. let your fingers shape it until they remember the making of the world. then step on it. and see how eas- ily it flattens, how gracefully it changes its shape in the presence of pressure. and remember that there are billions of feet. there is always pressure.
let the muscles in your hands grow more swift more sure from re- making it every day. a curved place to live on indented by teeth, crumbled by dryness. moisten it with what you have. spit and tears. smooth it out with what you have. repetition and patience. soon you will not have to look at what you are doing. you will feel every im- perfection. you will accept some of them. you will even love some difficult edges. you can watch the river go by. you can look at the TV while you do it. maybe even have a conversation (though it will im- pact the consistency of your shape). but if you can. use both hands.
take your hand off your forehead and remember you can already fil- ter sunlight. take consistent deep breaths and surrender for you are moon. let the rage held in any of the muscles in your shoulders, re- lease. give love room.
drink enough water to remember how long water’s been waiting. eat enough plants to remember what water can do. let the fear in your hands go back where it came from. clean the room.
call the people you’ve been thinking about calling. do the things your pummeling heart says do. let the lessons forming lesions be less real to you than children. make room.
ultimately your children will forget. the names, the places, even the tastes, the flavors, the smells, the feeling of being there. the lightness or thickness of air is changing. ultimately they will too. their skin, their way of moving, their ways of knowing of feeding of mourning, rejoicing. their ways of growing might look like nothing to you.
ultimately your children will remember. the sounds, the setting, the faces, even the waste, the saving grace, the hells, the peeling of breath from air. the rightness or wrongness, the glare is wide ranging. ul- timately they will do. their kin, their ways of smoothing, their ways of sowing, of feeling, of morning choices. their ways of glowing you might recognize.
dig down star until you find the water. mine the water. mind the water. mine. the water waiting in you. dig down dream until you find the river. find the salted brackish liver, find the giver, find the gifts. find the guilt. find the rifts. running rivulets, the spit. the snot, the not willing to get. don’t forget. dig down star, until you find the ocean. mind the notion that it’s calm. find the potion, find the balm. my star dig down until tears come up. don’t get stuck inside your charm. these are my arms, your shaking lungs. this is the way. these broken rungs. stretch out your bones, starfish. become.
Alexis Pauline Gumbs is a poet, independent scholar, and activist. She is also the author of Spill and M Archive, both also published by Duke University Press. Her books (and all in-stock titles) are currently available for 50% off with coupon SPRING50 during our sale. Check back next Tuesday for a poem by David Grubbs.
Our editors look forward to meeting their authors at conferences every year and are sad to be missing out on that this spring. The annual meeting of the Society for Cinema and Media Studies would have taken place April 1-5 in Denver this year. We know that many of you look forward to stocking up on new books at special discounts at our conferences, so we are pleased to extend a 50% discount on all in-stock books and journal issues through May 1. In addition, if you spend $100 or more, we are offering free shipping to U.S. addresses. Journal subscriptions and society memberships don’t qualify for the 50% discount, but they do count toward the $100 threshold.
Instead of greeting Executive Editor Courtney Berger in person this year, check out her recommendations for new titles in the discipline and a great round up of other ways to learn about all the new scholarship that was to be presented at the conference.
Hello, SCMSers. I’m sorry that I won’t see you all in person this year. In the past couple of months, we have published an amazing range of new books in film & media studies. I was looking forward to showing them off at the conference. I hope you’ll go to our website to see the new and forthcoming titles and take advantage of the 50% off sale. (I know, I know. It’s not the same as being able to browse books at the exhibit hall, but it’s the best we’ve got right now.) You can learn about the centrality of the soap opera to the history of American tv production in Elana Levine’s Her Stories, experience the film culture of mid-20th century Paris with Eric Smoodin in Paris in the Dark, or find out about the environmental publics that emerge in India around radiant technologies like cell-phone towers in Rahul Mukherjee’s Radiant Infrastructures.
There were some exciting panels this year that I was hoping to attend that highlight some emerging areas on Duke’s media studies list. Several panels on environment and media feature work related to the new Elements series, edited by Nicole Starosielski and Stacy Alaimo. Some of these panels will be happening in virtual form during the week, so check them out if you can. Melody Jue’sWild Blue Media is the latest book in the series. Jue submerges key concepts of media—such as storage and transmission—under water, asking us to reconsider conventional notions of media environment. It’s a must read for folks in media studies, in my opinion.
Also, here’s a heads up about an upcoming book series on gaming and game culture called “Power Play” that will be edited by Jen Malkowski and TreaAndrea Russworm. It’s brand new, so no books yet; but keep your eyes open for new books in this area. And if you are into queer gaming culture, check out Bonnie Ruberg’s volume The Queer Games Avant-Garde, which features interviews with 22 queer video game developers and designers.
Finally, I want to give a shout out to Eliza Steinbock, whose book Shimmering Images won this year’s SCMS Best First Book Award. Congratulations, Eliza!
Take care, everyone, and I look forward to seeing you next year.
If you were hoping to connect with Courtney or another of our editors about your book project at SCMS, please reach out to them by email. See our editors’ specialties and contact information here and our new online submissions guidelines here.
Once again, we’re sorry to miss you in person but hope the 50% discount with free U.S. shipping on orders over $100 will make it possible for you to pick up some new books and journal issues. Use coupon SPRING50 at checkout and see the fine print on the sale here.