Based on personal stories of people forced to leave and those who left of their own accord, Africans in Europe captures the nuanced realities and widespread impact of mobile populations. By focusing on the geographical, emotional, and intellectual dynamics of Equatorial Guinea's human movements, readers gain an inroad to "the consciousness of an age" and an understanding of the global realities that will define the cultural, economic, and political currents of the twenty-first century.

The Atlantic slave trade was the largest forced migration in history, and its toll in lives damaged or destroyed is incalculable. Most of those stories are lost to history, making the few that can be reconstructed critical to understanding the trade in all its breadth and variety. Randy J. Sparks examines the experiences of a range of West Africans who lived in the American South between 1740 and 1860. Their stories highlight the diversity of struggles that confronted every African who arrived on American shores.

The subjects of Africans in the Old South include Elizabeth Cleveland Hardcastle, the mixed-race daughter of an African slave-trading family who invested in South Carolina rice plantations and slaves, passed as white, and integrated herself into the Lowcountry planter elite; Robert Johnson, kidnapped as a child and sold into slavery in Georgia, who later learned English, won his freedom, and joined the abolition movement in the North; Dimmock Charlton, who bought his freedom after being illegally enslaved in Savannah; and a group of unidentified Africans who were picked up by a British ship in the Caribbean, escaped in Mobile’s port, and were recaptured and eventually returned to their homeland.

These exceptional lives challenge long-held assumptions about how the slave trade operated and who was involved. The African Atlantic was a complex world characterized by constant movement, intricate hierarchies, and shifting identities. Not all Africans who crossed the Atlantic were enslaved, nor was the voyage always one-way.

Contributors are Joan C. Bristol, Nancy E. van Deusen, Leo J. Garofalo, Herbert S. Klein, Charles Beatty-Medina, Karen Y. Morrison, Rachel Sarah O'Toole, Frank "Trey" Proctor III, and Michele Reid-Vazquez.

Africa’s World Cup: Critical Reflections on Play, Patriotism, Spectatorship, and Spacefocuses on a remarkable month in the modern history of Africa and in the global history of football. Peter Alegi and Chris Bolsmann are well-known experts on South African football, and they have assembled an impressive team of local and international journalists, academics, and football experts to reflect on the 2010 World Cup and its broader significance, its meanings, complexities, and contradictions.

The World Cup’s sounds, sights, and aesthetics are explored, along with questions of patriotism, nationalism, and spectatorship in Africa and around the world. Experts on urban design and communities write on how the presence of the World Cup worked to refashion urban spaces and negotiate the local struggles in the hosting cities. The volume is richly illustrated by authors’ photographs, and the essays in this volume feature chronicles of match day experiences; travelogues; ethnographies of fan cultures; analyses of print, broadcast, and electronic media coverage of the tournament; reflections on the World Cup’s private and public spaces; football exhibits in South African museums; and critiques of the World Cup’s processes of inclusion and exclusion, as well as its political and economic legacies.

The volume concludes with a forum on the World Cup, including Thabo Dladla, Director of Soccer at the University of KwaZulu-Natal, Mohlomi Kekeletso Maubane, a well-known Soweto-based writer and a soccer researcher, and Rodney Reiners, former professional footballer and current chief soccer writer for the Cape Argus newspaper in Cape Town. This collection will appeal to students, scholars, journalists, and fans.

Cover illustration: South African fan blowing his vuvuzela at South Africa vs. France, Free State Stadium, Bloemfontein, June 22, 2010. Photo by Chris Bolsmann.

Reveals a century of political solidarity uniting Asians and African Americans

As early as 1914, in his pivotal essay “The World Problem of the Color Line,” W. E. B. Du Bois was charting a search for Afro-Asian solidarity and for an international anticolonialism. In Afro-Orientalism, Bill Mullen traces the tradition of revolutionary thought and writing developed by African American and Asian American artists and intellectuals in response to Du Bois’s challenge.

Afro-Orientalism unfolds here as a distinctive strand of cultural and political work that contests the longstanding, dominant discourse about race and nation first fully named in Edward Said’s Orientalism. Mullen tracks Afro-Asian engagement with U.S. imperialism—including writings by Richard Wright, Grace and James Boggs, Robert F. Williams, and Fred Ho—and companion struggles against racism and capitalism around the globe. To this end, he offers Afro-Orientalism as an antidote to essentialist, race-based, or narrow conceptions of ethnic studies and postcolonial studies, calling on scholars in these fields to re-imagine their critical enterprises as mutually constituting and politically interdependent.

Offering a compelling call to arms while challenging the pervasive grip of colonialism on the Black psyche, this manifesto charts a course toward a future defined by autonomy, dignity, and radical liberation. 

Delving into the historical currents of resistance—from Negritude to Black nationalism to pan-Africanism—this manifesto unapologetically confronts the insidious nature of modern colonialism. In a world where the very presence of the Black body incites fear and insecurity among white supremacists, Afro-Decolonial Manifesto exposes the fallacy of equating Black existence with reverse colonialism. It challenges the prevailing narratives of gratitude and guilt, asserting the right of the Black diaspora to reclaim its autonomy and dignity, and also examines the effectiveness of movements like Black Lives Matter, advocating for a renewed Black internationalism rooted in Africa’s unity and autonomy.  

In a stirring call to arms, Afro-Decolonial Manifesto heralds a new era of resistance, where reparation becomes not just a demand for restitution, but a catalyst for radical change. This volume emboldens Black people to reclaim their narrative, their agency, and their future. It is a testament to the enduring spirit of liberation and the indomitable resilience of Black lives.

Of the almost 11 million Africans who came to the Americas between 1500 and 1870, two-thirds came to Spanish America and Brazil. Over four centuries, Africans and their descendants—both free and enslaved—participated in the political, social, and cultural movements that indelibly shaped their countries’ colonial and post-independence pasts. Yet until very recently Afro-Latin Americans were conspicuously excluded from narratives of their hemisphere’s history.

George Reid Andrews seeks to redress this damaging omission by making visible the past and present lives and labors of black Latin Americans in their New World home. He cogently reconstructs the Afro-Latin heritage from the paper trail of slavery and freedom, from the testimonies of individual black men and women, from the writings of visiting African-Americans, and from the efforts of activists and scholars of the twentieth century to bring the Afro-Latin heritage fully into public view.

While most Latin American countries have acknowledged the legacy of slavery, the story still told throughout the region is one of “racial democracy”—the supposedly successful integration and acceptance of African descendants into society. From the 1970s to today, black civil rights movements have challenged that narrative and demanded that its promises of racial equality be made real. They have also called for fuller acknowledgment of Afro-Latin Americans’ centrality in their countries’ national histories. Afro-Latin America brings that story up to the present, examining debates currently taking place throughout the region on how best to achieve genuine racial equality.

While Africans and their descendants have lived in Mexico for centuries, many Afro-Mexicans do not consider themselves to be either black or African. For almost a century, Mexico has promoted an ideal of its citizens as having a combination of indigenous and European ancestry. This obscures the presence of African, Asian, and other populations that have contributed to the growth of the nation. However, performance studies—of dance, music, and theatrical events—reveal the influence of African people and their cultural productions on Mexican society.

In this work, Anita González articulates African ethnicity and artistry within the broader panorama of Mexican culture by featuring dance events that are performed either by Afro-Mexicans or by other ethnic Mexican groups about Afro-Mexicans. She illustrates how dance reflects upon social histories and relationships and documents how residents of some sectors of Mexico construct their histories through performance. Festival dances and, sometimes, professional staged dances point to a continuing negotiation among Native American, Spanish, African, and other ethnic identities within the evolving nation of Mexico. These performances embody the mobile histories of ethnic encounters because each dance includes a spectrum of characters based upon local situations and historical memories.

Badia Ahad-Legardy mines literature, visual culture, performance, and culinary arts to form an archive of black historical joy for use by the African-descended. Her analysis reveals how contemporary black artists find more than trauma and subjugation within the historical past. Drawing on contemporary African American culture and recent psychological studies, she reveals nostalgia’s capacity to produce positive emotions. Afro-nostalgia emerges as an expression of black romantic recollection that creates and inspires good feelings even within our darkest moments.

Original and provocative, Afro-Nostalgia offers black historical pleasure as a remedy to contend with the disillusionment of the present and the traumas of the past.

Christen A. Smith argues that the dialectic of glorified representations of black bodies and subsequent state repression reinforces Brazil's racially hierarchal society. Interpreting the violence as both institutional and performative, Smith follows a grassroots movement and social protest theater troupe in their campaigns against racial violence. As Smith reveals, economies of black pain and suffering form the backdrop for the staged, scripted, and choreographed afro-paradise that dazzles visitors. The work of grassroots organizers exposes this relationship, exploding illusions and asking unwelcome questions about the impact of state violence performed against the still-marginalized mass of Afro-Brazilians.

Based on years of field work, Afro-Paradise is a passionate account of a long-overlooked struggle for life and dignity in contemporary Brazil.

A compelling examination of Sweden’s African and Black diaspora

Contemporary Sweden is a country with a worldwide progressive reputation, despite an undeniable tradition of racism within its borders. In the face of this contradiction of culture and history, Afro-Swedes have emerged as a vibrant demographic presence, from generations of diasporic movement, migration, and homemaking. In Afro-Sweden, Ryan Thomas Skinner uses oral histories, archival research, ethnography, and textual analysis to explore the history and culture of this diverse and growing Afro-European community.

Skinner employs the conceptual themes of “remembering” and “renaissance” to illuminate the history and culture of the Afro-Swedish community, drawing on the rich theoretical traditions of the African and Black diaspora. Remembering fosters a sustained meditation on Afro-Swedish social history, while Renaissance indexes a thriving Afro-Swedish public culture. Together, these concepts illuminate significant existential modes of Afro-Swedish being and becoming, invested in and contributing to the work of global Black studies.

The first scholarly monograph in English to focus specifically on the African and Black diaspora in Sweden, Afro-Sweden emphasizes the voices, experiences, practices, knowledge, and ideas of these communities. Its rigorously interdisciplinary approach to understanding diasporic communities is essential to contemporary conversations around such issues as the status and identity of racialized populations in Europe and the international impact of Black Lives Matter.

“Original and revelatory.”
—David Blight, author of Frederick Douglass

Avery O. Craven Award Finalist
A Civil War Memory/Civil War Monitor Best Book of the Year

In April 1865, Robert E. Lee wrote to Ulysses S. Grant asking for peace. Peace was beyond his authority to negotiate, Grant replied, but surrender terms he would discuss. The distinction proved prophetic.

After Appomattox reveals that the Civil War did not end with Confederate capitulation in 1865. Instead, a second phase of the war began which lasted until 1871—not the project euphemistically called Reconstruction, but a state of genuine belligerence whose mission was to shape the peace. Using its war powers, the U.S. Army oversaw an ambitious occupation, stationing tens of thousands of troops in outposts across the defeated South. This groundbreaking history shows that the purpose of the occupation was to crush slavery in the face of fierce and violent resistance, but there were limits to its effectiveness: the occupying army never really managed to remake the South.

“The United States Army has been far too neglected as a player—a force—in the history of Reconstruction… Downs wants his work to speak to the present, and indeed it should.”
—David W. Blight, The Atlantic

“Striking… Downs chronicles…a military occupation that was indispensable to the uprooting of slavery.”
—Boston Globe

“Downs makes the case that the final end to slavery, and the establishment of basic civil and voting rights for all Americans, was ‘born in the face of bayonets.’ …A remarkable, necessary book.”
—Slate

Beethoven cast a looming shadow over the nineteenth century. For composers he was a model both to emulate and to overcome. "You have no idea how it feels," Brahms confided, "when one always hears such a giant marching behind one." Exploring the response of five composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what each clearly saw as the challenge of Beethoven's symphonies, Evan Bonds richly enhances our understanding of the evolution of the symphony and Beethoven's legacy.

Overt borrowings from Beethoven--for example, the lyrical theme in the Finale of Brahms' First Symphony, so like the "Ode to Joy" theme in Beethoven's Ninth--have often been the subject of criticism. Bonds now shows us how composers imitate or allude to a Beethoven theme or compositional strategy precisely in order to turn away from it, creating a new musical solution. Berlioz's Harold en Italie, Mendelssohn's Lobgesang, Schumann's Fourth Symphony, Brahms' First, and Mahler's Fourth serve as illuminating examples. Discussion focuses on such core issues as Beethoven's innovations in formal design, the role of text and voice, fusion of diverse genres, cyclical coherence of movements, and the function of the symphonic finale.

Bonds lucidly argues that the great symphonists of the nineteenth century cleared creative space for themselves by both confronting and deviating from the practices of their potentially overpowering precursor. His analysis places familiar masterpieces in a new light.

This book explores the dynamic changes now taking place in the South Korean government as a result of recent social and economic liberalization. Sung Deuk Hahm and L. Christopher Plein trace the emergence in Korea of a post-developmental state, in which both increasingly autonomous capital interests and growing public expectations of a higher quality of life challenge existing authoritarian institutions. Separating out the constituent parts of the Korean state, they then explore the evolving roles of the Korean presidency and bureaucracy in setting national policy.

The authors analyze the importance of social and cultural factors, as well as the motives of individual political actors, in shaping institutional change in Korea. They show how shifting socioeconomic conditions have altered the way political decisions are made. Hahm and Plein illustrate these transitions with concrete examples of policy making in the area of technology development and transfer—an area of critical importance to Korea's rapid modernization.

Disasters like earthquakes are known as focusing events—sudden calamities that cause both citizens and policymakers to pay more attention to a public problem and often to press for solutions. This book, the first comprehensive analysis of these dramatic events, explains how and why some public disasters change political agendas and, ultimately, public policies.

Thomas A. Birkland explores important successes and failures in the policy process by analyzing the political outcomes of four types of events: earthquakes, hurricanes, oil spills, and nuclear accidents. Using this empirical data to go beyond an intuitive understanding of focusing events, he presents a theory of where and when these events will gain attention and how they trigger political reactions. Birkland concludes that different types of disasters result in different kinds of agenda politics. Public outrage over the highly visible damage caused by the Exxon Valdez oil spill, for example, ended a fourteen-year logjam holding back Congressional legislation to regulate oil spill cleanups. On the other hand, the intangible effects of Three Mile Island had less concrete results in a political arena that was already highly polarized.

Integrating a variety of theories on the policy process, including agenda setting, policy communities, advocacy coalitions, the political aspects of the news media, and the use of symbols in political debate, Birkland illuminates the dynamics of event-driven policy activity. As the first extensive study of its kind, this book offers new insights into the policy process.

An intensely moving and revelatory memoir of enduring and emerging from exceptional grief

To grieve after a profound loss is perfectly natural and healthy. To be debilitated by grief for more than a decade, as Andrea Gilats was, is something else. In her candid, deeply moving, and ultimately helpful memoir of breaking free of death’s relentless grip on her life, Gilats tells her story of living with prolonged, or “complicated,” grief and offers insight, hope, and guidance to others who suffer as she did. 

Thomas Dayton, Andrea Gilats’s husband of twenty years, died at 52 after a five-month battle with cancer. In After Effects Gilats describes the desolation that followed and the slow and torturous twenty-year journey that brought her back to life. In the two years immediately following his death, Gilats wrote Tom daily letters, desperately trying to maintain the twenty-year conversation of their marriage. Excerpts from these letters reveal the depth of her despair but also the glimmer of an awakening as they also trace a different, more typical course of the grief experienced by one of Gilats's colleagues, also widowed. Gilats’s struggle to rescue herself takes her through the temptation of suicide, the threat of deadly illness, the overwhelming challenges of work, and the rigor of learning and eventually teaching yoga, to a moment of reckoning and, finally, reconciliation to a life without her beloved partner. Her story is informed by the lessons she learned about complicated grief as a disorder that, while intensely personal, can be defined, grappled with, and overcome.

Though complicated grief affects as many as one in seven of those stricken by the loss of a close loved one, it is little known outside professional circles. After Effects points toward a path of recuperation and provides solace along the way—a service and a comfort that is all the more timely and necessary in our pandemic-ravaged world of loss and isolation.

From August 29 to September 21, 1909, Sigmund Freud visited the United States, where he gave five lectures at Clark University in Worcester, Massachusetts. This volume brings together a stunning gallery of leading historians of psychoanalysis and of American culture to consider the broad history of psychoanalysis in America and to reflect on what has happened to Freud’s legacy in the United States in the century since his visit.        

In the wake of unthinkable atrocities, it is reasonable to ask how any population can move on from the experience of genocide. Simply remembering the past can, in the shadow of mass death, be retraumatizing. So how can such momentous events be memorialized in a way that is productive and even healing for survivors? Genocide memorials tell a story about the past, preserve evidence of the violence that occurred, and provide emotional support to survivors. But the goal of amplifying survivors’ voices can fade amid larger narratives entrenched in political motivations.

In After Genocide,Nicole Fox investigates the ways memorials can shape the experiences of survivors decades after mass violence has ended. She examines how memorializations can both heal and hurt, especially when they fail to represent all genders, ethnicities, and classes of those afflicted. Drawing on extensive interviews with Rwandans, Fox reveals their relationships to these spaces and uncovers those voices silenced by the dominant narrative—arguing that the erasure of such stories is an act of violence itself. The book probes the ongoing question of how to fit survivors in to the dominant narrative of healing and importantly demonstrates how memorials can shape possibilities for growth, national cohesion, reconciliation, and hope for the future.

Alfred Hitchcock is arguably the most famous director to have ever made a film. Almost single-handedly he turned the suspense thriller into one of the most popular film genres of all time, while his Psycho updated the horror film and inspired two generations of directors to imitate and adapt this most Hitchcockian of movies. Yet while much scholarly and popular attention has focused on the director's oeuvre, until now there has been no extensive study of how Alfred Hitchcock's films and methods have affected and transformed the history of the film medium.

In this book, thirteen original essays by leading film scholars reveal the richness and variety of Alfred Hitchcock's legacy as they trace his shaping influence on particular films, filmmakers, genres, and even on film criticism. Some essays concentrate on films that imitate Hitchcock in diverse ways, including the movies of Brian de Palma and thrillers such as True Lies, The Silence of the Lambs, and Dead Again. Other essays look at genres that have been influenced by Hitchcock's work, including the 1970s paranoid thriller, the Italian giallo film, and the post-Psycho horror film. The remaining essays investigate developments within film culture and academic film study, including the enthusiasm of French New Wave filmmakers for Hitchcock's work, his influence on the filmic representation of violence in the post-studio Hollywood era, and the ways in which his films have become central texts for film theorists.

Ireland is suffering from a crisis of authority. Catholic Church scandals, political corruption, and economic collapse have shaken the Irish people’s faith in their institutions and thrown the nation’s struggle for independence into question. While Declan Kiberd explores how political failures and economic globalization have eroded Irish sovereignty, he also sees a way out of this crisis. After Ireland surveys thirty works by modern writers that speak to worrisome trends in Irish life and yet also imagine a renewed, more plural and open nation.

After Dublin burned in 1916, Samuel Beckett feared “the birth of a nation might also seal its doom.” In Waiting for Godot and a range of powerful works by other writers, Kiberd traces the development of an early warning system in Irish literature that portended social, cultural, and political decline. Edna O’Brien, Frank O’Connor, Seamus Heaney, and Michael Hartnett lamented the loss of the Irish language, Gaelic tradition, and rural life. Nuala Ní Dhomhnaill and Eavan Boland grappled with institutional corruption and the end of traditional Catholicism. These themes, though bleak, led to audacious experimentation, exemplified in the plays of Brian Friel and Tom Murphy and the novels of John Banville. Their achievements embody the defiance and resourcefulness of Ireland’s founding spirit—and a strange kind of hope.

After Ireland places these writers and others at the center of Ireland’s ongoing fight for independence. In their diagnoses of Ireland’s troubles, Irish artists preserve and extend a humane culture, planting the seeds of a sound moral economy.

In After Life, Eugene Thacker clears the ground for a new philosophy of life by recovering the twists and turns in its philosophical history. Beginning with Aristotle’s originary formulation of a philosophy of life, Thacker examines the influence of Aristotle’s ideas in medieval and early modern thought, leading him to the work of Immanuel Kant, who notes the inherently contradictory nature of “life in itself.” Along the way, Thacker shows how early modern philosophy’s engagement with the problem of life affects thinkers such as Gilles Deleuze, Georges Bataille, and Alain Badiou, as well as contemporary developments in the “speculative turn” in philosophy.

At a time when life is categorized, measured, and exploited in a variety of ways, After Life invites us to delve deeper into the contours and contradictions of the age-old question, “what is life?”

This is the first book in English to analyze the Chinese literary scene during the post-Mao thaw in government control. The seven contributors originally presented their research at a 1982 international conference at St. John’s University, New York, which was attended by scholars from America, Europe, and Asia, including participants from the People’s Republic of China and Taiwan.

The special focus on popular literature—science fiction, love stories, detective fiction—reflects China’s new urban mass culture. These popular genres, plus the new “obscure” poetry, and the short-lived literary magazine Today are examined from an international comparative perspective and from a variety of viewpoints—literary, social, historical, political.

Those social and political realities that help determine what books are on hand in China for people to read are discussed. The final chapter presents data on periodical sales, book sales, library borrowings, and readers’ stated preferences in large cities, with emphasis on Canton. Such investigations into what the Chinese public was writing and reading in the years 1978–1981 throw new light on Chinese social attitudes, ideals, morals, and taste.

An Artforum Best Book of the Year
A Legal Theory Bookworm Book of the Year

“After Nature argues that we will deserve the future only because it will be the one we made. We will live, or die, by our mistakes.” —Christine Smallwood, Harper’s

Nature no longer exists apart from humanity. Henceforth, the world we will inhabit is the one we have made. Geologists have called this new planetary epoch the Anthropocene, the Age of Humans. The geological strata we are now creating record industrial emissions, industrial-scale crop pollens, and the disappearance of species driven to extinction. Climate change is planetary engineering without design. These facts of the Anthropocene are scientific, but its shape and meaning are questions for politics—a politics that does not yet exist. After Nature develops a politics for this post-natural world.

“Dazzling…Purdy hopes that climate change might spur yet another change in how we think about the natural world, but he insists that such a shift will be inescapably political…For a relatively slim volume, this book distills an incredible amount of scholarship—about Americans’ changing attitudes toward the natural world, and about how those attitudes might change in the future.”
—Ross Andersen, The Atlantic