As we approach the end of the semester, kick off your summer reading with some of our great new titles! Here’s what we have coming out in May.
Shannen Dee Williams provides a comprehensive history of Black Catholic nuns in the United States in Subversive Habits, tracing how Black sisters’ struggles were central to the long African American freedom movement.
The contributors to Re-Understanding Media, edited by Sarah Sharma and Rianka Singh, advance a feminist version of Marshall McLuhan’s key text, Understanding Media: The Extensions of Man, repurposing his insight that “the medium is the message” for feminist ends.
In Queer Companions, Omar Kasmani theorizes the construction of queer social relations at Pakistan’s most important Sufi site by examining the affective and intimate relationship between the site’s pilgrims and its patron saint.
In The Impasse of the Latin American Left, Franck Gaudichaud, Massimo Modonesi, and Jeffery R. Webber explore the Latin American Pink Tide as a political, economic, and cultural phenomenon, showing how it failed to transform the underlying class structures of their societies or challenge the imperial strategies of the United States and China.
In Passionate Work, Renyi Hong theorizes the notion of being “passionate about your work” as an affective project that encourages people to endure economically trying situations like unemployment, job change, repetitive and menial labor, and freelancing.
Allan E. S. Lumba explores how the United States used monetary policy and banking systems to justify racial and class hierarchies, enforce capitalist exploitation, and counter movements for decolonization in the American colonial Philippines in Monetary Authorities.
In The Lives of Jessie Sampter, Sarah Imhoff tells the story of the queer, disabled, Zionist writer Jessie Sampter (1883–1938), whose body and life did not match typical Zionist ideals and serves as an example of the complex relationships between the body, queerness, disability, religion, and nationalism.
Jodi Kim examines how the United States extends its sovereignty across Asia and the Pacific in the post-World War II era through a militarist settler imperialism that is leveraged on debt in Settler Garrison.
In Legal Spectatorship, Kelli Moore traces the political origins of the concept of domestic violence through visual culture in the United States, showing how it is rooted in the archive of slavery.
Christopher Tounsel is Catherine Shultz Rein Early Career Professor in the College of the Liberal Arts and Assistant Professor of History and African Studies at Pennsylvania State University. In his new book book Chosen Peoples: Christianity and Political Imagination in South Sudanhe investigates the centrality of Christian worldviews to the ideological construction of South Sudan from the early twentieth century to the present.
On July 9th, the East African nation of South Sudan will celebrate its tenth anniversary of independence. One may expect that customary nationalist symbols will be on full display in the capital city of Juba and throughout the country. The red, green and black-striped national flag adorned with its shining yellow star will wave; public officials will make commemorative speeches; and the following lyrics from the national anthem will fill the air:
We praise and glorify You
For Your grace on South Sudan,
Land of great abundance
Uphold us united in peace and harmony…
Oh God, bless South Sudan!”
The first stanza of ‘South Sudan Oyee’ is indicative of another foundational element of South Sudanese nationalism: Christian theology. This became apparent to me when I was in the capital city of Juba in July 2012, when raucous festivities marked the first anniversary of independence. In a speech made in the shadows of the city’s All Saints’ Cathedral, one speaker shared that after liberation hero John Garang’s death ‘God in his mercy [gave] us a Joshua with unique talent and wisdom who took us through the days of difficulty’. Joshua, in this paradigm, was President Salva Kiir. Another speaker alluded to the Hebrew captivity in Egypt by thanking God for giving them independence, leading His children across the river, and ending their slavery. In these ways and more, it was evident that independence was more than a political occasion; it was a religious moment as well.
In Chosen Peoples: Christianity and Political Imagination in South Sudan, I explore how Southern Sudanese intellectuals used Judeo-Christian Scriptures to frame their struggle for political self-determination. Included in the “Religious Cultures of African and African Diaspora Peoples” series, the book examines how clerics, soldiers, refugees and others laid the ideological foundations of the South Sudanese nation-state. During Sudan’s lengthy postcolonial civil wars, Southern Sudanese envisioned themselves as a “chosen people” destined for liberation while Arabs and Muslims were likened to oppressors in the Biblical tradition of Babylon, Egypt, and the Philistines. South Sudan presents a unique case in African Christianity whereby ideologues aimed liberatory, nationalist Christian thought against non-white and non-Christian co-citizens.
Even after the country crossed the proverbial Jordan to entered the Promised Land of nationhood, various clerics, politicians and bloggers continued to employ Biblical framings to issues of social and political concern. These individuals, ranging from recently-deceased Archbishop Paulino Loro to President Kiir himself, articulated political theology despite the absence of Northern Sudanese Arab Muslim ‘oppressors.’ Such discursive behavior showed that South Sudanese religious nationalism is—and never was—based exclusively in anti-Islamization.
Independence, however, has been far from ‘milk and honey.’ The national anthem’s plea for God to uphold the nation in harmonious peace struck with particular irony when the young nation became embroiled in an ethnically divisive civil war in December 2013. Tens of thousands lost their lives, and hundreds of thousands were forced from their homes. What became of the liberation theology that was supposed to reach its poetic conclusion with political sovereignty? While the conflict debunked any notion that Southerners felt a sense of pan-Christian solidarity strong enough to subsume ethnicity or prevent ethnic tension, it also produced a dynamic crucible of religious thought. Religious thought still functioned as a political technology despite the changed scope of who and what constituted us and them, good and evil, heroes and villains. Despite the trials that have characterized freedom’s first decade, South Sudanese have not forsaken the idea that the spiritual is intimately connected with the material, or that Scripture is a useful political resource with a pertinent word for every situation.
As South Sudan prepares for its decennial next month, the prospects for the country’s second decade are filled with uncertainties. Though the civil war is officially over, will relations between the Dinka and the Nuer—the two primary ethnic groups engaged in the conflict—improve or decline? How long will it take for the country to healthily emerge from the COVID-19 crisis? How will South Sudan relate to its former enemy Sudan now that its longtime autocrat Omar al-Bashir is no longer in power? Though the answers to these questions remain to be seen, history suggests this South Sudanese will continue to inject theology into public, political discourse. While the United States has displayed how destructive and divisive Christian nationalism can be, South Sudan may offer a more constructive interplay of religion, state, faith and politics.
Lynden Harris is the founder and director of Hidden Voices, an arts collective that collaborates with underrepresented communities to create performances, exhibits, and media that explore difficult social issues. Her new book Right Here, Right Now, part of the project Serving Life: ReVisioning Justice, collects the powerful, first-person stories of dozens of men on death rows across the country.
Right Here, Right Now is born out of the collective you founded, Hidden Voices, and, more specifically, out of the Hidden Voices project “Serving Life: ReVisioning Justice.” Can you talk about how the “Serving Life” project came to be?
One of the men living on death row read an article about us and gave it to the psychologist who oversaw programs. That psychologist, who was very insightful and therapeutically oriented, emailed me and asked if we would develop a project for the men. At the time we were in the final stages of a statewide project called None of the Above: Dismantling the School to Prison Pipeline. I said if he could wait six months, we would come develop a project with the men. And I invited him to one of the performances.
Late that fall we met with six men and together worked through the “Hidden Voices Process,” the stakeholder collaboration model we’ve developed over the years. By the end of two sessions, we had a pretty good idea of the outcomes everyone wanted to see, the outputs we might create together, and the outreach—who needs to speak and who needs to listen?
All these years later, we are still working off that initial visioning. The most important outcome the men identified for the larger community was: “We want them to know we aren’t monsters.” And I think that reality becomes very clear once one reads these stories.
Other “Serving Life” initiatives have taken the form of live performances or visual art exhibitions. What do you hope will be the effect of circulating these stories in book form?
As part of every Hidden Voices project, we create a story cycle: a series of extremely short first-person monologues that bring the listener on a journey through the many perspectives surrounding a pressing social issue. These story cycles can be read aloud by any group of people, sitting in a circle in a classroom or a church or in a breakout at a conference. Each individual story offers a particular insight into the issue at hand; for the Right Here, Right Now story cycle, each story points to a lived experience with what we might label racism, family violence, hunger, failed educational policies, police misconduct, housing instability, and more. But the men who shared these stories don’t look at their experiences through this lens of conceptual labeling; for them, the stories are simply life as it is lived, whether funny or violent, sweet or troubling.
A most insightful colleague, Jayne Ifekwunigwe, participated in a reading and asked if I’d ever thought of publishing the stories. Gisela Fosado, the Editorial Director at Duke Press, asked if I could find enough stories to fill a book. So, I combed through pieces men had written, recordings of meetups, notes from phone calls, stacks of letters. I planned to choose 100 stories, but then I settled on 99. That was a number that felt unfinished, and I wanted to leave the reader with the sense that there was yet another story waiting to be told. For me, that story is the story the families hope and pray for, the story of the day these men walk through the prison doors and return to their communities.
By sharing the stories in book form, I hope the voices will reach into classrooms and book clubs, into church classes and civic discussions. I hope the stories will lend momentum to the growing movement toward abolishing the death penalty, ending life in prison without parole, and re-visioning so many of the inhumane policies and practices that prevent families and communities from healing from violence
You write, “Absent a specific image of the speaker, we more easily and viscerally allow the deeper truth of the story to penetrate.” These anonymous stories are particularly heartbreaking because they do become universalizable. In your story selection process what, if anything, had to be left out?
So many poignant, funny, and heart-breaking stories were left on the cutting room floor. I decided the best way to share these stories was to bring the reader on a chronological journey from infancy to execution, so the structure dictated the selection. I wanted to make sure each story was just that: a story, a personal experience, not an intellectual reflection on an issue, however passionately argued. I wanted to retain the original speaker’s “voice,” the feel of their authentic dialogue even if the story was only a few paragraphs excerpted from an hour-long conversation. I wanted the reader to feel this human being, his story, his palpable life.
Each story gives insight into a specific aspect of a much larger system and helps us understand how we create violence in our society, how we can heal the harm already caused by violence, and how we can disrupt the systems that perpetuate harm. Again, you could go back through each story and label it as “about” racism, or addiction, or under-resourced schools, or the lack of mental health facilities, and I did exactly that during the years of working with these stories. But those labels don’t offer the kinds of pathways toward embodied understanding that actual lived experiences do. Lived experience is intimate, authentic, specific. It invites us to enter another world, experience it as our own, and leave with a new, richer understanding.
You describe both “Serving Life” and the specific narratives in Right Here, Right Now as a kind of call-and-response. The book is the call; the response is up to the reader. Have any responses to the “Serving Life” project stood out to you?
We wanted to create a dialogue between public audiences and these most hidden members of our communities. But at the time, there were no phones on death row; the men were only allowed one 15-minute phone call a year, in December. Family members would drive across the state to be in the room when that call came, just to hear their loved one’s voice. The only means of communication was writing letters.
So, finding ways to connect was challenging, which is what led to the idea of a call and response. After every performance, every reading of the stories, and at each exhibit installation, we would ask the audience to write a response to the men. We would collect the letters, copy them, and send them back inside.
Here is one comment that has stayed with me. There are many hundreds of others:
Gentlemen, thank you for your story, your vulnerability, your willingness to remind ignorant and selfish people like me how beautiful each and every life is. You have taught me so much with your words, and your legacy will stay with me for the rest of my life. Your stories transformed my understanding of prison, death row, and life. The power and witness of your stories have resonated in this room. . . . You are not invisible. I feel so honored to know your story, and I will never forget.
Society renders death row inmates invisible. But context provided in the Afterword by Timothy B. Tyson about very visible instances of systemic injustice and anti-racist protest in 2020 connects the lives of the storytellers directly to our moment. Has the shape of the “Serving Life” project changed at all as the contemporary moment casts new light on old problems?
I don’t think society renders these speakers invisible. I think there’s an intentional misdirection of our attention away from these institutions and those who live there. That’s why outside access is so severely limited and facilities are typically placed far from the public eye. Out of sight and out of mind. It’s better if we don’t question the location and design of these facilities, the use of unpaid labor, the dangerous and overcrowded housing, the systemic injustices, the lack of decent legal representation, the reality of innocent people living inside, the children we’ve sentenced to die.
It’s a form of misdirection, a pointing away from these unremittingly unhealthy and stressful environments—unhealthy not only for those living there, but for those working there. It’s no surprise that correctional officers have the shortest lifespan of any police. We have managed to create a system that damages the most damaged. As one friend said, “You can’t kill all the wounded people.” And yet, we seem to be trying.
So, this moment—right here, right now. It’s an incredible time for these voices and stories to be published. For the first time, in my life anyway, there is a broad willingness to consider and question our role as the only Western country that kills its own, to wonder whether we need to be #1 in the world in incarceration. The most common response I hear to these stories is, “I’ve never thought about this before.” Even people who drive by a prison every day will say they never wondered who was there and whether there was another, better option. Now, people are starting to wonder. I think the civil rights movements of 2019 and 2020 have been instrumental in forcing us to look directly at some of the realities that shape our justice system. And once we begin to see, we can’t unsee. But we can find our way to a new vision of actual justice and a more humane, compassionate, and healthy society.
There is a conscious choice in Right Here, Right Now to privilege inmate voices rather than critical or scholarly analysis of the death penalty and the American carceral system. In the Hidden Voices model, building relationships with real people through honoring their stories is the first step. What might the next step entail?
Sharing these stories helps undermine our unhealthy “rush to judgment” as Jason Flom puts it. We seem to have two frameworks at play in our society, one that views these people as inherently broken, flawed and irredeemable—in other words expendable. But there’s also a radically different framework, a more experientially-based view, that understands humans, like all living organisms, can heal and grow. Indeed, must heal and grow to survive. Human beings are complex systems of constant change; change may be what we most fundamentally are. This framework believes we should put that natural flow to work for us.
We are innately creative, curious, and hard-wired to explore. Trying to shut down those innate impulses is an unwinnable strategy. We need to look for ways to increase and strengthen healing and growth by supporting relationships—between families and their loved ones, between those living inside, between those of us on the outside and those currently living behind bars. We need to increase opportunities for emotional healing, for learning and exploration. There are other carceral systems where correctional officers serve as mentors to prisoners; they eat together, recreate together; work on life goals together. There are systems where prisoners (including those who have been convicted of murder) live together in group housing and learn new ways of relating to their environment, their families, their own self-care. Even here in the US, some of the most successful programs for men living inside prison have been programs where the men tend other living creatures, from training service dogs to rehabbing horses to gardening. In other words, we need to ask how our natural tendency toward growth, healing, and change can be allowed to flourish and thereby strengthen all our communities.
Because, isolating people into prisons doesn’t just affect those who live and work there—it affects their children, parents, grandparents and grandchildren, their neighbors, teachers, faith leaders, the health of community economies, and on and on. Keeping such an unhealthy, stressful, damaging system alive costs us all.
Now through May 7, 2021 you can get 50% off Right Here, Right Now and all our in-stock titles with coupon SPRING21. After May 7, you can save 30% off the paperback with the coupon E21HARRIS.
As you finish up the semester, considering rewarding yourself with new books! Here’s what we have coming out in May.
In Songbooks, veteran music critic and popular music scholar Eric Weisbard offers a critical guide to American popular music writing, from William Billings’s 1770 New-England-Psalm-Singer to Jay-Z’s 2010 memoir Decoded.
In Black Bodies, White Gold, Anna Arabindan-Kesson examines how cotton became a subject for nineteenth-century art by tracing the symbolic and material correlations between cotton and Black people in British and American visual culture.
Max Liboiron models an anticolonial scientific practice in Pollution Is Colonialism, aligned with Indigenous concepts of land, ethics, and relations to outline the entanglements of capitalism, colonialism, and environmental science.
The Genealogical Imagination by Michael Jackson juxtaposes ethnographic and imaginative writing to explore intergenerational trauma and temporality, showing how genealogy becomes a powerful model for understanding our experience of being in the world.
Editor Lisa Björkman and contributors to Bombay Brokers provide thirty-six character profiles of men and women whose knowledge and labor—which is often seen as morally suspect—are essential for navigating everyday life in Bombay, one of the world’s most complex, dynamic, and populous cities.
Christopher Tounsel investigates the centrality of Christian worldviews to the ideological construction of South Sudan from the early twentieth century to the present in Chosen Peoples.
Brian Russell Roberts dispels continental-centric US national mythologies in Borderwaters to advance an alternative image of the United States as an archipelagic nation to better reflect its claims to archipelagoes in the Pacific and Caribbean.
Palestine Is Throwing a Party and the Whole World Is Invited by Kareem Rabie examines how Palestine’s desire to fully integrate its economy into global markets through large-scale investment projects represented a shift away from political state building with the hope that a thriving economy would lead to a free and functioning Palestinian state.
Liz P. Y. Chee complicates understandings of Chinese medicine as timeless and unchanging in Mao’s Bestiary by historicizing the expansion of animal-based medicines in the social and political environment of early Communist China.
Andrew Bickford analyzes the US military’s attempts to design performance enhancement technologies and create pharmacological “supersoldiers” capable of becoming ever more lethal while withstanding various forms of extreme trauma in Chemical Heroes.
Drawing on ethnographic research in the Palestinian city of Ramallah, Christopher Harker in Spacing Debtexamines how Israel’s use of debt to keep Palestinians economically unstable is a form of slow colonial violence embedded into the everyday lives of citizens.
With The Whites are the Enemies of Heaven, Mark W. Driscoll examines Western imperialism in East Asia throughout the nineteenth century and the devastating effects of what he calls climate caucasianism—the West’s racialized pursuit of capital at the expense of people of color, women, and the environment.
In Dear Science and Other Stories Katherine McKittrick 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.
Christopher Freeburg’s Counterlife challenges the imperative to study black social life and slavery and its aftereffects through the lenses of freedom, agency, and domination and instead examines how enslaved Africans created meaning through spirituality, thought, and artistic creativity separate and alongside concerns about freedom.
Riché Richardson in Emancipation’s Daughters examines how five iconic black women—Mary McLeod Bethune, Rosa Parks, Condoleezza Rice, Michelle Obama, and Beyoncé—defy racial stereotypes and construct new national narratives of black womanhood in the United States.
Lingzhen Wang examines the work of Chinese women filmmakers of the Mao and post-Mao eras in Revisiting Women’s Cinemato theorize socialist and postsocialist feminism, mainstream culture, and women’s cinema in modern China.
Kaiama L. Glover examines Francophone and Anglophone Caribbean literature whose female protagonists enact practices of freedom that privilege the self, challenge the prioritization of the community over the individual, and refuse masculinist discourses of postcolonial nation building inA Regarded Self.
Erica Rand uses multiple meanings of hip check—an athlete using their hip to throw an opponent off balance and the inspection of racialized gender—to consider the workings of queer gender, race, and writing in the The Small Book of Hip Checks.
Drawing from ethnographic work with queer activist groups in contemporary Turkey, Evren Savcı’s Queer in Translation explores how Western LGBT politics are translated and reworked there in ways that generate new spaces for resistance and solidarity.
Anthony Reed takes the recorded collaborations between African American poets and musicians such as Amiri Baraka, Jayne Cortez, Cecil Taylor, and Charles Mingus to trace the overlaps between experimental music and poetry and the ways in which intellectuals, poets, and musicians define black sound as a radical aesthetic practice in Soundworks.
The Bruce B. LawrenceReader assembles over two dozen selections of writing by leading scholar of Islam Bruce B. Lawrence which range from analyses of premodern and modern Islamic discourses, practices, and institutions to methodological and theoretical reflections on the study of religion.
As we close out 2020, check out our new December titles.
Weaving together feminist, decolonial, and dialectical theory, Laura Doyle theorizes the co-emergence of empires, institutions, language regimes, stratified economies, and literary cultures over the longue durée in Inter-imperiality.
Prathama Banerjee moves beyond postcolonial and decolonial critiques of European political philosophy in Elementary Aspects of the Political to rethink modern conceptions of “the political” from the perspective of Indian and Bengali practices and philosophies from the late nineteenth and early twentieth centuries.
Hagar Kotef in The Colonizing Selfexplores the cultural, political, spatial, and theoretical mechanisms that enable people and nations to settle on the ruins of other people’s homes, showing how settler-colonial violence becomes inseparable from one’s sense of self.
Bakirathi Mani examines the visual and affective relationships between South Asian diasporic viewers, artists, and photographic representations of immigrant subjects in Unseeing Empire, showing how empire continues to haunt South Asian American visual cultures.
Brandi Clay Brimmer analyzes the US pension system from the perspective of poor black women in the period before, during, and after the Civil War in Claiming Union Widowhood; outlining the struggles of mothers, wives, and widows of black Union soldiers to claim rights in the face of unjust legislation.
Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ren Ellis Neyra in The Cry of the Senses highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies.
In Utopian Ruins, Jie Li traces the creation, preservation, and elision of memories about China’s Mao era by envisioning a virtual museum that reckons with both its utopian yearnings and cataclysmic reverberations.
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.
Curling up on the couch with a great book is an excellent way to practice social distancing this month. All these titles will deliver before our sale ends on May 1, so check our website regularly. You can save 50% on all in-stock titles with coupon SPRING50.
Tyler Bickford traces the dramatic rise of the “tween” pop music industry in Tween Pop, showing how it marshaled childishness as a key element in legitimizing children’s participation in public culture.
The contributors to Playing for Keeps examine the ways in which musical improvisation can serve as a way to negotiate violence, trauma, systemic inequality, and the aftermaths of war and colonialism. This volume is edited by Daniel Fischlin and Eric Porter.
John F. Szwed’s Space is the Place is the definitive biography of Sun Ra—composer, keyboardist, bandleader, philosopher, entrepreneur, poet, self-proclaimed extraterrestrial from Saturn, and a founder of Afrofuturism. We are pleased to be bringing this classic back into print with a new preface.
In Vital Decomposition, Kristina M. Lyons presents an ethnography of human-soil relations in which she follows state soil scientists and peasant farmers in Colombia’s Putumayo region, showing how their relationship with soil is key to caring for the forest and growing non-illicit crops in the face of violence, militarism, and environmental destruction.
Micha Rahder explores how multiple ways of knowing the forest of Guatemala’s Maya Biosphere Reserve shape conservation practice, local livelihoods, and landscapes in An Ecology of Knowledges.
In Relations, Marilyn Strathern provides a critical account of anthropology’s key concept of relation and its usage and significance in the English-speaking world, showing how its evolving use over the last three centuries reflects changing thinking about knowledge-making and kin-making.
In Virtual Pedophilia, Gillian Harkins traces the genealogy of the transformation of cultural construction of the pedophile as a social outcast into the image of normative white masculinity from the 1980s to the present, showing how his “normalcy” makes him hard to identify and stop.
In A People’s History of Detroit, Mark Jay and Philip Conklin use a Marxist framework to tell a sweeping story of Detroit from 1913 to the present, outlining the complex socio-political dynamics underlying major events in Detroit’s past, from the rise of Fordism and the formation of labor unions to deindustrialization and the city’s recent bankruptcy.
In Revolution and Disenchantment, Fadi A. Bardawil explores the hopes for and disenchantments with Marxism-Leninism in the writings and actions of revolutionary intellectuals within the 1960s Arab New Left.
In Tehrangeles Dreaming, Farzaneh Hemmasi draws on ethnographic fieldwork in Los Angeles and musical and textual analysis to examine how the pop music, music videos, and television made by Iranian expatriates express modes of Iranianness not possible in Iran.
The Lonely Letters is an epistolary blackqueer critique of the normative world in which Ashon T. Crawley meditates on the interrelation of blackqueer life, sounds of the black church, theology, mysticism, and the potential for platonic and erotic connection in a world that conspires against blackqueer life.
Drawing on Whitman and Adorno, Morton Schoolman proposes aesthetic education through film as a way to redress the political violence inflicted on difference society constructs as its racialized, gendered, Semitic, and sexualized other in A Democratic Enlightenment.
In Kwaito Bodies, Xavier Livermon examines the cultural politics of the youthful black body in South Africa through the performance, representation, and consumption of Kwaito—a style of electronic dance music that emerged following the end of apartheid.
Reflecting on the experience, philosophy, and practice of Latin American indigenous and Afro-descendant activist-intellectuals who mobilize to defend their territories from large-scale extraction, Arturo Escobar shows in Pluriversal Politics how the key to addressing planetary crises is the creation of the pluriverse—a world of many epistemological and ontological worlds.
The contributors to AIDS and the Distribution of Crises outline the myriad ways that the AIDS pandemic exists within a network of varied historical, overlapping, and ongoing crises borne of global capitalism and colonial, racialized, and gendered violence. This collection is edited by Jih-Fei Cheng, Alexandra Juhasz, and Nishant Shahani. It is currently available to read free online as part of our Navigating the Threat of Pandemic syllabus.
I am writing from Texas. It is Lent, and I am surrounded by Christmas decorations that need to be sorted. My mom, the amazing Carol Hall, teacher of generations of West Texas teens, had her heart cut open and her brain rudely interrupted as the great plague of 2020 began. She suffered a heart-attack and stroke the last week of January.
My dad, the amazing Reverend Robert Hall, has been married to my mom for more decades than I’ve been alive. I do not understand them. Their love confuses me. They have developed a means of communicating that I imagine as a geriatric version of the cant that twins are rumored to have. I’ve been intruding on them regularly since the crisis. Today, I just wanted to go to the grocery store.
Cedar Park, Texas was a small town a half hour from Austin. Now it is Nordstrom Rack, Hobby Lobby, local barbecue, old-timers remembering before Lakeline Mall, and multi-generational families speaking another language. We all exist outside AUSTIN, TEXAS, travel destination of the stars. South by Southwest, now an international phenomenon, was cancelled this year, due to the plague of 2020, and people who were already working three jobs for a living are driving through Cedar Park trying to figure out how to make ends meet. And everyone is converging on their H.E.B.
If you are reading this from North Carolina, H.E.B. is the Piggly Wiggly of Texas. People are loyal to their local H.E.B., and, even if there are other spots to shop, I swear that Cedar Park people are going there for a sense of normalcy. Maybe that is projection. I have shopped there almost daily every visit. Back in North Carolina, I carry H.E.B. reusable shopping bags from each season as if they were Prada.
My mother’s car has a radio function that allows me to shift from the 1940s to the 1980s. I’ve been doing the Charleston to the Hustle between stop lights. Two refrains have stuck in my head. “The things we do for love.” And “Freak Out!”
I have rarely walked in the rain or the snow, but “the things we do for love” makes for good prayer. When dealing with depends and diapers and tampons and anything else that is “down there,” including all the dog poop I pick up when I am home with mutts, I sing, to myself, “The things we do for love . . .” Here in Cedar Park, this week, looking at all the people standing in line around the corner at the H.E.B., because the store management is doing their best, I thought, yes. The things we do for love.
Yesterday, facing the line around the corner, I gave up and went to buy barbecue at a place that shares the parking lot and has the name Moe. (I am afraid I will get the name wrong, but I recommend everything they serve.) I promised my dad I would not come within 4 feet of anyone. A man about my dad’s age saw me trying gently to avoid him and said “Don’t worry! I don’t have it!” No worries! I am also trying not to scare anyone by my mere presence! Then, over the radio, “Freak Out!”
The barbecue spot is small, and less than a dozen people were there. But we decided, awkwardly – from old Cedar Park and tattooed new Cedar Park, and with at least a few couples venturing to the Hill Country – that “Freak Out” could be a theme song for the great plague of 2020. At least a few of us danced. Mr. Moe, who I have never caught off-guard, cracked a smile.
Here is what I know for sure. It is Lent. I am trying to remember how to eat, not to fast. The birds in Cedar Park are singing their hearts out. The plague of 2020 reminds me that we matter, each of us. Every sparrow. Every mockingbird. Every grackle. Everyone. Each one of us matters. Call me what you will. I am clear that God’s omniamity (yes, I coined that word) does not fit within a primary or an election year or a nation. And . . . and, Julian of Norwich saw all of this. She was a visionary during what is indisputably known as the Great Plague. She lived through proclamations of God’s wrath. She saw people declared as mere peasants rise up together bravely. They were mowed down like mice. I have not forgotten. I will continue to see.
This month, we’re releasing an array of new reads in all of the subjects you love. Take a look at these new books coming this February!
The concluding volume in a poetic triptych, Alexis Pauline Gumbs’s Dub: Finding Ceremony takes inspiration from theorist Sylvia Wynter, dub poetry, and ocean life to offer a catalog of possible methods for remembering, healing, listening, and living otherwise.
In Wild Blue Media, Melody Jue destabilizes terrestrial-based media theory frameworks and reorients the perception of the world by considering the ocean itself as a media environment—a place where the weight and opacity of seawater transforms how information is created, stored, transmitted, and perceived.
In The Ocean in the School, Rick Bonus tells the stories of Pacific Islander students at the University of Washington as they and their allies struggled to transform a university they believed did not value their presence into a space based on meaningfulness, respect, and multiple notions of student success.
In Orozco’s American Epic, Mary K. Coffey examines José Clemente Orozco’s mural cycle Epic of American Civilization, which indicts history as complicit in colonial violence and questions the claims of Manifest Destiny in the United States and the Mexican desire to mend the wounds of conquest in pursuit of a postcolonial national project.
Nandita Sharma traces the development of the categories of migrants and natives from the nineteenth century to the present in Home Rule to theorize how the idea of people’s rights being tied to geographical notions of belonging came to be.
In Unfixed, Jennifer Bajorek traces the relationship between photography and decolonial politics in Francophone west Africa in the years immediately leading up to and following independence from French colonial rule in 1960, showing how photography both reflected and actively contributed to social and political change.
In Are You Entertained?, a collection of essays, interviews, visual art, and artist statements on topics ranging from music and dance to Black Twitter and the NBA’s dress code, the contributors consider what culture and Blackness mean in the twenty-first century’s digital consumer economy. This volume is edited by Simone C. Drake and Dwan K. Henderson.
In Musicophilia in Mumbai, Tejaswini Niranjana traces the place of Hindustani classical music in Mumbai throughout the long twentieth century, showing how the widespread love of music throughout the city created a culture of collective listening and social subjects who embodied new forms of modernity.
Focusing on the work of a Marxist anticolonial literary group active in India between the 1930s and 1950s, Neetu Khanna rethinks the project of decolonization in The Visceral Logics of Decolonization by showing how embodied and affective responses to colonial subjugation provide the catalyst for developing revolutionary consciousness.
Contributors to Queer Korea, edited by Todd A. Henry, offer interdisciplinary analyses of non-normative sexuality and gender nonconformity in Korea, extending individualized notions of queer neoliberalism beyond those set in Western queer theory.
Drawing on Marxist phenomenology, geography, and aesthetics and film from China, Hong Kong, and Taiwan made between the 1990s and the present, Erin Y. Huang theorizes the economic, cultural, and political conditions of neoliberal postsocialist China in Urban Horror.
The contributors to Affective Trajectories examine the mutual and highly complex entwinements between religion and affect in urban Africa in the early twenty-first century, tracing the myriad ways religious ideas, practices, and materialities interact with affect to configure life in urban African spaces. This collection is edited by Hansjörg Dilger, Astrid Bochow, Marian Burchardt, and Matthew Wilhelm-Solomon.
In Naked Agency, Naminata Diabate explores how the deployment of defiant nakedness by mature women in Africa challenges longstanding assumptions about women’s political agency.
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.
In Seeing by Electricity, Doron Galili traces television’s early history, from the fantastical devices initially imagined fifty years before the first television prototypes to the emergence of broadcast television in the 1930s, showing how television was always discussed and treated in relation to cinema.
Jeremy Packer and Joshua Reeves provide a critical account of the history and future of automation in warfare in Killer Apps by highlighting the threats posed by the latest advances in media technology and artificial intelligence.
Originally published in German in 1978 and appearing here in English for the first time, the second volume of Peter Weiss’s three-volume novel The Aesthetics of Resistance depicts anti-fascist resistance, radical proletarian political movements, and the relationship between art and resistance from the late 1930s to World War II.
Working Together: Louis Draper and the Kamoinge Workshop by Sarah Eckhardt accompanies the exhibition of the photography of Virginia artist Louis Draper and other members of the Kamoinge Workshop that opens at the Virginia Museum of Fine Arts in February 2020. We are distributing it for the museum.