Sara A. Whaley Book Prize, National Women's Studies Association, 2017
AMEWS Book Award, Journal of Middle Eastern Studies, 2017

Millions of Egyptian men, women, and children first experienced industrial work, urban life, and the transition from peasant-based and handcraft cultures to factory organization and hierarchy in the years between the two world wars. Their struggles to live in new places, inhabit new customs, and establish and abide by new urban norms and moral and gender orders underlie the story of the making of modern urban life—a story that has not been previously told from the perspective of Egypt’s working class.

Reconstructing the ordinary urban experiences of workers in al-Mahalla al-Kubra, home of the largest and most successful Egyptian textile factory, Industrial Sexuality investigates how the industrial urbanization of Egypt transformed masculine and feminine identities, sexualities, and public morality. Basing her account on archival sources that no researcher has previously used, Hanan Hammad describes how coercive industrial organization and hierarchy concentrated thousands of men, women, and children at work and at home under the authority of unfamiliar men, thus intensifying sexual harassment, child molestation, prostitution, and public exposure of private heterosexual and homosexual relationships. By juxtaposing these social experiences of daily life with national modernist discourses, Hammad demonstrates that ordinary industrial workers, handloom weavers, street vendors, lower-class landladies, and prostitutes—no less than the middle and upper classes—played a key role in shaping the Egyptian experience of modernity.

Uncovering race, gender, and sexual biases in popular self-publishing platforms

The average reader need not go far in a bookstore before, knowingly or not, they encounter authors who started their careers by self-publishing prior to achieving commercial success. Examples include Margaret Atwood, Andy Weir, Colleen Hoover, Anna Todd, E. L. James, Scarlett St. Clair, and many more. Such stories of self-made writers are compelling and seem more attainable to others with the accessibility of modern publishing platforms such as Amazon, Apple, Google, Kobo, Wattpad, Webtoon, Radish, Inkitt, Qidian, Tapas, and Swoon Reads. However, as Claire Parnell uncovers in her examination of the two most popular—Amazon and Wattpad—these services in fact perpetuate systemic racial, gender, and sexual bias against authors of color and queer authors through their technological, economic, social, and cultural structures.

At a time when there is a real reckoning with the discrimination that has resulted in publishing opportunities for only relatively few privileged authors—who are often White, upper class, and male—self-publishing presents itself as an equalizer of sorts. Exploring that idea, Parnell shows that these platforms are not just intermediaries for information; they structure content and users in multiple, often inequitable, ways through their ability to set market conditions and apply algorithmic sorting. Combining original interviews, walkthrough method, metadata analysis, and more, Parnell finds that self-publishing platforms reproduce challenges for authors from marginalized communities. Far from equalizing the market, the new platforms instead frequently perpetuate the stubborn barriers to mainstream success for BIPOC and queer authors.

Over the past few decades, Austin, Texas, has made a concerted effort to develop into a “technopolis,” becoming home to companies such as Dell and numerous start-ups in the 1990s. It has been a model for other cities across the nation that wish to become high-tech centers while still retaining the livability to attract residents. Nevertheless, this expansion and boom left poorer residents behind, many of them African American or Latino, despite local and federal efforts to increase lower-income and minority access to technology.

This book was born of a ten-year longitudinal study of the digital divide in Austin—a study that gradually evolved into a broader inquiry into Austin’s history as a segregated city, its turn toward becoming a technopolis, what the city and various groups did to address the digital divide, and how the most disadvantaged groups and individuals were affected by those programs.

The editors examine the impact of national and statewide digital inclusion programs created in the 1990s, as well as what happened when those programs were gradually cut back by conservative administrations after 2000. They also examine how the city of Austin persisted in its own efforts for digital inclusion by working with its public libraries and a number of local nonprofits, and the positive impact those programs had.

The countless retellings and reimaginings of the private and public lives of Phillis Wheatley, Sally Hemings, Sarah Baartman, Mary Seacole, and Sarah Forbes Bonetta have transformed them into difficult cultural and black feminist icons. In Infamous Bodies, Samantha Pinto explores how histories of these black women and their ongoing fame generate new ways of imagining black feminist futures. Drawing on a variety of media, cultural, legal, and critical sources, Pinto shows how the narratives surrounding these eighteenth- and nineteenth-century celebrities shape key political concepts such as freedom, consent, contract, citizenship, and sovereignty. Whether analyzing Wheatley's fame in relation to conceptions of race and freedom, notions of consent in Hemings's relationship with Thomas Jefferson, or Baartman's ability to enter into legal contracts, Pinto reveals the centrality of race, gender, and sexuality in the formation of political rights. In so doing, she contends that feminist theories of black women's vulnerable embodiment can be the starting point for future progressive political projects.

In Guinea’s capital city of Conakry, dance is everywhere. Most neighborhoods boast at least one dance troupe, and members of those troupes animate the city’s major rites of passage and social events. In Infinite Repertoire, Adrienne Cohen shows how dance became such a prominent—even infrastructural—feature of city life in Guinea, and tells a surprising story of the rise of creative practice under a political regime known for its authoritarianism and violent excesses. Guinea’s socialist state, which was in power from 1958 to 1984, used staged African dance or “ballet” strategically as a political tool, in part by tapping into indigenous conceptualizations of artisans as powerful figures capable of transforming the social fabric through their manipulation of vital energy. Far from dying with the socialist revolution, Guinean ballet continued to thrive in Conakry after economic liberalization in the 1980s, with its connection to transformative power retrofitted for a market economy and a rapidly expanding city. Infinite Repertoire follows young dancers and percussionists in Conakry as they invest in the present—using their bodies to build a creative urban environment and to perform and redefine social norms and political subjectivities passed down from the socialist generation before them. Cohen’s inventive ethnography weaves the political with the aesthetic, placing dance at the center of a story about dramatic political change and youthful resourcefulness in one of the least-studied cities on the African continent.

Set against critiques of neoliberal capitalism in the present, Infrastructural Attachments argues that the technopolitics of austerity have been the organizing logic of statecraft in Kenya since the late nineteenth century, calling into question the novelty of austerity as a mode of governance and a lived experience. Using infrastructures as a lens to explore state formation over the long twentieth century—roads in the early colonial period, radio broadcasting from the interwar through the postwar periods, and mobile phones and digital financial services in the present—historian Emma Park reveals that as the state drew on private capital to make up for limited budgets, it inaugurated a peculiar political-economic form: the corporate-state. For more than a century—in pursuit of minimizing costs and maximizing profits—the corporate-state crucially relied on the exploitation and expropriation of its subject-citizens. By foregrounding these workers, Park interrogates how Kenyans’ knowledge and expertise has been rescaled and subsumed, quietly underwriting the development of infrastructural expertise, the circuits of finance upon which (post)colonial infrastructural expansion has been premised, and the forms of profit-making it has enabled.

“An insightful and breathtaking exploration of humanity’s evolutionary baggage that explains some of our species’ greatest successes and failures.” —Yuval Noah Harari, author of Sapiens

The ancient inheritance that made us who we are—and is now driving us to ruin.

Each of us is endowed with an inheritance—a set of evolved biases and cultural tools that shape every facet of our behavior. For countless generations, this inheritance has taken us to ever greater heights: driving the rise of more sophisticated technologies, more organized religions, more expansive empires. But now, for the first time, it’s failing us. We find ourselves hurtling toward a future of unprecedented political polarization, deadlier war, and irreparable environmental destruction.

In Inheritance, renowned anthropologist Harvey Whitehouse offers a sweeping account of how our biases have shaped humanity’s past and imperil its future. He argues that three biases—conformism, religiosity, and tribalism—drive human behavior everywhere. Forged by natural selection and harnessed by thousands of years of cultural evolution, these biases catalyzed the greatest transformations in human history, from the birth of agriculture and the arrival of the first kings to the rise and fall of human sacrifice and the creation of multiethnic empires. Taking us deep into modern-day tribes, including terrorist cells and predatory ad agencies, Whitehouse shows how, as we lose the cultural scaffolding that allowed us to manage our biases, the world we’ve built is spiraling out of control.

By uncovering how human nature has shaped our collective history, Inheritance unveils a surprising new path to solving our most urgent modern problems. The result is a powerful reappraisal of the human journey, one that transforms our understanding of who we are, and who we could be.

The first English-language translation of the 1968 activist play about inequality and access to education

In The Inheritor, surrealist imagery and experimental forms convey the radically different experience of two students, the Inheritor and the Non-Inheritor, as they prepare for a high-stakes exam. Revealing a world of privilege where “there is no such thing as luck,” the play features a beheaded knight, a talking record player, and a boisterous chorus of professors depicted as a flock of squawking birds.

Based on sociologists Pierre Bourdieu and Jean-Claude Passeron’s The Inheritors: French Students and Their Relations to Culture, the play was collectively created by Théâtre de l’Aquarium, a company then composed entirely of students. It proved a powerful success when it premiered in May 1968 amid student and worker protests in Paris, and it continues to speak forcefully to education inequity on campuses across anglophone countries today.

Globalization promises to bring people around the world together, to unite them as members of the human community. To such sanguine expectations, Pheng Cheah responds deftly with a sobering account of how the "inhuman" imperatives of capitalism and technology are transforming our understanding of humanity and its prerogatives. Through an examination of debates about cosmopolitanism and human rights, Inhuman Conditions questions key ideas about what it means to be human that underwrite our understanding of globalization. Cheah asks whether the contemporary international division of labor so irreparably compromises and mars global solidarities and our sense of human belonging that we must radically rethink cherished ideas about humankind as the bearer of dignity and freedom or culture as a power of transcendence. Cheah links influential arguments about the new cosmopolitanism drawn from the humanities, the social sciences, and cultural studies to a perceptive examination of the older cosmopolitanism of Kant and Marx, and juxtaposes them with proliferating formations of collective culture to reveal the flaws in claims about the imminent decline of the nation-state and the obsolescence of popular nationalism. Cheah also proposes a radical rethinking of the normative force of human rights in light of how Asian values challenge human rights universalism.

In the Roman and Byzantine Near East, the holy fool emerged in Christianity as a way of describing individuals whose apparent madness allowed them to achieve a higher level of spirituality. Insanity and Sanctity in Byzantium examines how the figure of the mad saint or mystic was used as a means of individual and collective transformation in the period between the birth of Christianity and the rise of Islam. It presents a novel interpretation in revealing the central role that psychology plays in social and historical development.

Early Christians looked to figures who embodied extremes of behavior—like the holy fool, the ascetic, the martyr—to redefine their social, cultural, and mental settings by reading new values in abnormal behavior. Comparing such forms of extreme behavior in early Christian, pagan, and Jewish societies, and drawing on theories of relational psychoanalysis, anthropology, and sociology of religion, Youval Rotman explains how the sanctification of figures of extreme behavior makes their abnormality socially and psychologically functional. The sanctification of abnormal mad behavior created a sphere of ambiguity in the ambit of religious experience for early Christians, which brought about a deep psychological shift, necessary for the transition from paganism to Christianity.

A developing society leaves porous the border between what is normal and abnormal, between sanity and insanity, in order to use this ambiguity as a means of change. Rotman emphasizes the role of religion in maintaining this ambiguity to effect a social and psychological transformation.

A 2025 James Beard Foundation Book Award Nominee in Reference, History, and Scholarship and a Smithsonian Best Book of 2024

A history of food in the Crescent City that explores race, power, social status, and labor.
 
In Insatiable City, Theresa McCulla probes the overt and covert ways that the production of food and the discourse about it both created and reinforced many strains of inequality in New Orleans, a city significantly defined by its foodways. Tracking the city’s economy from nineteenth-century chattel slavery to twentieth-century tourism, McCulla uses menus, cookbooks, newspapers, postcards, photography, and other material culture to limn the interplay among the production and reception of food, the inscription and reiteration of racial hierarchies, and the constant diminishment and exploitation of working-class people. The consumption of food and people, she shows, was mutually reinforced and deeply intertwined. Yet she also details how enslaved and free people of color in New Orleans used food and drink to carve paths of mobility, stability, autonomy, freedom, profit, and joy. A story of pain and pleasure, labor and leisure, Insatiable City goes far beyond the task of tracing New Orleans's culinary history to focus on how food suffuses culture and our understandings and constructions of race and power.

Illuminating the abstract art of the Inka, what it conveys about Inka values, and its relationship to those who view it.

Inka visual culture is unusual in its tendency toward abstraction. Public stonework, vessels used at state feasts, garments worn by the imperial elite—these objects announcing status and power are adorned with geometric designs that refuse figuration. After searching in vain for hidden referents, many scholars have largely given up the search for meaning.

Inside Abstraction develops a novel interpretation. Eminent art historian Carolyn Dean proposes that Inka geometries are neither ornamental nor coded depictions of other objects. Rather, Dean shows that in the Andean world, the designs were functionally self-aware, possessing perspectives of their own, quite literally looking back at and addressing viewers directly. Further, Dean contends that these agent-abstractions were teachers, conveying particular messages concerning social hierarchy: the relations among geometries and colors instructed viewers as to their own proper social relations. Inka designs thereby served imperial aims by wordlessly communicating the state’s values and demands for submission. Extensively illustrated and rigorously argued, Inside Abstraction is a dramatic step forward in our understanding of Inka art and political order.

Throughout the nineteenth century, African heritage played an important role in black America, as personal memories and cultural practices continued to shape the everyday experience of people of African descent living under the shadow of slavery. Resisting efforts to de-Africanize their values, customs, and beliefs, Black Americans invoked their African roots in public arguments about their identity and place in the “new” world. At the outset of the twentieth century many still saw Africa primarily as the source of a common cultural and spiritual past. But after the 1920s, the meaning of African heritage changed as people of African descent expressed new relationships between themselves, the United States, and the African Diaspora.

In The Insistent Call, Aric Putnam studies the rhetoric of newspapers, literature, and political pamphlets that expressed this shift. He demonstrates that as people of African descent debated the United States' occupation of Haiti, the Liberian labor crisis, and the Italian invasion of Ethiopia, they formed a new collective identity, one that understood the African Diaspora in primarily political rather than cultural terms. In addition to uncovering a neglected period in the history of Black rhetoric, Putnam shows how rhetoric that articulates the interests of a population not defined by the boundaries of a state can still motivate collective action and influence policies.

The editors and contributors to this collection offer insights into the use of institutional ethnography for three primary purposes: to investigate and interrogate the cultures of work that are of interest to writing studies researchers, to understand more deeply what constitutes this work, and to consider how work takes shape within institutional contexts. Building on prior conversations about institutional ethnography, critical ethnography, and the complexities of writing programs, the editors and chapter authors consider their application to sites of writing and writing instruction. In doing so, they reveal the power of material conditions, institutional and field-based values, and the cultures of writing to shape how people carry out their everyday work in writing programs and other venues in which writing plays a central role. The findings shared in this edited collection provide insights into how institutional ethnography as a form of inquiry can make important contributions to the fields’ many ongoing conversations about the nature of our work, labor, and other writing-related interests.

An original history of music in the lives of American soldiers.
 
Since the Civil War, music has coursed through the United States military. Soldiers have sung while marching, listened to phonographs and armed forces radio, and packed the seats at large-scale USO shows. “Reveille” has roused soldiers in the morning and “Taps” has marked the end of a long day. Whether the sounds came from brass instruments, weary and homesick singers, or a pair of heavily used earbuds, where there was war, there was music, too.
 
Instrument of War is a first-of-its-kind study of music in the lives of American soldiers. Although musical activity has been part of war since time immemorial, the significance of the US military as a musical institution has generally gone unnoticed. Historian David Suisman traces how the US military used—and continues to use—music to train soldiers and regulate military life, and how soldiers themselves have turned to music to cope with war’s emotional and psychological realities. Opening our ears to these practices, Suisman reveals how music has enabled more than a century and a half of American war-making. Instrument of War unsettles assumptions about music as a force of uplift and beauty, demonstrating how it has also been entangled in large-scale state violence.
 
Whether it involves chanting “Sound off!” in basic training, switching on a phonograph or radio, or cueing up an iPod playlist while out on patrol, the sound of music has long resonated in soldiers’ wartime experiences. Now we all can finally hear it.
 

The musical instruments of East and Southeast Asia enjoy increasing recognition as parts of humanity’s intangible cultural heritage. Helen Rees edits a collection that offers vibrant new ways to link these objects to their materials of manufacture, the surrounding environment, the social networks they form and help sustain, and the wider ethnic or national imagination. Rees organizes the essays to reflect three angles of inquiry. The first section explores the characteristics and social roles of various categories of instruments, including the koto and an extinct Balinese wooden clapper. In section two, essayists focus on the life stories of individual instruments ranging from an heirloom Chinese qin to end-blown flutes in rural western Mongolia. Essays in the third section examine the ethics and other issues that surround instrument collections, but also show how collecting is a dynamic process that transforms an instrument’s habitat and social roles.

Original and expert, Instrumental Lives brings a new understanding of how musical instruments interact with their environments and societies. Contributors: Supeena Insee Adler, Marie-Pierre Lissoir, Terauchi Naoko, Jennifer C. Post, Helen Rees, Xiao Mei, Tyler Yamin, and Bell Yung

Around 1930, a group of guitar designers in Southern California fitted instruments with an electromagnetic device called a pickup--and forever changed the face of popular music. Taken up by musicians as diverse as Les Paul, Muddy Waters, Jimi Hendrix, and the MC5, the electric guitar would become not just a conduit of electrifying new sounds but also a symbol of energy, innovation, and desire in the music of the day. Instruments of Desire is the first full account of the historical and cultural significance of the electric guitar, a wide-ranging exploration of how and why the instrument has had such broad musical and cultural impact.

Instruments of Desire ranges across the history of the electric guitar by focusing on key performers who have shaped the use and meaning of the instrument: Charlie Christian, Les Paul, Chet Atkins, Muddy Waters, Chuck Berry, Jimi Hendrix, the MC5, and Led Zeppelin. The book traces two competing ideals for the sound of the instrument: one, focusing on tonal purity, has been favored by musicians seeking to integrate the electric guitar into the existing conventions of pop music; the other, centering on timbral distortion, has been used to challenge popular notions of "acceptable" and "unacceptable" noise. Instruments of Desire reveals how these different approaches to sound also entail different ideas about the place of the body in musical performance, the ways in which music articulates racialized and gendered identities, and the position of popular music in American social and political life.

In Insurgent Aesthetics Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war.

In a current era marked by carceral logics, authoritarianism, and white supremacy, there has never been a greater need for the tools and inspiration that radical feminism provides. In Insurgent Visions, Chandra Talpade Mohanty explores methods of anticapitalist resistance to radically transform everyday life. She presents insurgent feminism—a theory and praxis with which to contest and replace the practices of violence grounded in racialized gender relations. Insurgent feminism unsettles existing power structures in order to enact new relationships and forge new subjectivities, epistemologies, and communities. Drawing on organizing efforts in the US-Mexico borderlands, Palestine/Israel, and Kashmir, as well as on abolitionist and Dalit feminisms, Mohanty contends that the knowledge that emerges from the experiences of marginalized groups who are struggling for economic, racial, and social justice is key for imagining feminist futures. She also turns to the neoliberal landscape of higher education in the United States and the difficulties of instituting transformative antiracist and anti-imperialist feminist knowledge building. Mapping new challenges for radical praxis, Mohanty reconfigures feminist studies while offering a model for decolonial cross-border organizing and solidarity.

In Interface Frictions, Neta Alexander explores how ubiquitous design features in digital platforms reshape, condition, and break our bodies. She shows that while features such as refresh, playback speed, autoplay, and night mode are convenient, they can lead to “digital debility”—the slow and often invisible ways that technologies may harm human bodies. These features all assume an able-bodied user and at the same time push users to ignore their bodily limitations like the need for rest, nourishment, or movement. Building on the lived experiences of people with disabilities, Alexander explores alternative design solutions that arise from a multisensorial approach to communication. She demonstrates what can be gained from centering the nonaverage user, such as blind people who pioneered ways to control the playback speed of media, and Netflix subscribers with invisible disabilities like PTSD who successfully pushed the company to redesign its previews autoplay feature. Drawing on artworks, video games, and creative hacking by users with disabilities, Alexander challenges our understanding of media consumption, the attention economy, and the digital interface.

In Interplay of Things Anthony B. Pinn theorizes religion as a technology for interrogating human experiences and the boundaries between people and other things. Rather than considering religion in terms of institutions, doctrines, and creeds, Pinn shows how religion exposes the openness and porousness of all things and how they are always involved in processes of exchange and interplay. Pinn examines work by Nella Larsen and Richard Wright that illustrates an openness between things, and he traces how pop art and readymades point to the multidirectional nature of influence. He also shows how Ron Athey's and Clifford Owens's performance art draws out inherent interconnectedness to various cultural codes in ways that reveal the symbiotic relationship between art and religion as a technology. Theorizing that antiblack racism and gender- and class-based hostility constitute efforts to close off the porous nature of certain bodies, Pinn shows how many artists have rebelled against these attempts to counter openness. His analyses offer a means by which to understand the porous, unbounded, and open nature of humans and things.

Interrogating Integration explores how international sporting spectacles, media campaigns, and public debates construct racialized national identity in an era of rising right-wing nationalism. Across Europe, “integration” has emerged as a guiding concept to regulate cultural differences, particularly in Germany, where integration became a watchword after the introduction of birthright citizenship in 2000. The legal expansion of German citizenship threatened the homogeneous definition of the nation and spurred increased scrutiny of immigrants and Germans of color, primarily Muslim and Black Germans. This opened a new chapter in the long struggle over German identity. The celebrations, scandals, and debates analyzed here reveal how the admission of new citizens inspired an optimistic cosmopolitanism that claimed to differentiate the new Germany from its fascist past while simultaneously reinscribing racialized hierarchies and providing fuel for rising far-right politics.

Using touchstones of public memory, including events surrounding men’s World Cup soccer and the record-breaking success of a book blaming Muslims for Germany’s decline, Zambon examines persistent problems in European conceptions of race, where racializing projects take place under an “ideology of racelessness” and the atrocities of historical and transnational racisms are used to deny current local forms of racism.
 

In Intimate Eating Anita Mannur examines how notions of the culinary can create new forms of kinship, intimacy, and social and political belonging. Drawing on critical ethnic studies and queer studies, Mannur traces the ways in which people of color, queer people, and other marginalized subjects create and sustain this belonging through the formation of “intimate eating publics.” These spaces—whether established in online communities or through eating along in a restaurant—blur the line between public and private. In analyses of Julie Powell’s Julie and Julia, Nani Power’s Ginger and Ganesh, Ritesh Batra’s film The Lunchbox, Michael Rakowitz’s performance art installation Enemy Kitchen, and The Great British Bake Off, Mannur focuses on how racialized South Asian and Arab brown bodies become visible in various intimate eating publics. In this way, the culinary becomes central to discourses of race and other social categories of difference. By illuminating how cooking, eating, and distributing food shapes and sustains social worlds, Mannur reconfigures how we think about networks of intimacy beyond the family, heteronormativity, and nation.

In 1907 the U.S. Congress created a joint commission to investigate what many Americans saw as a national crisis: an unprecedented number of immigrants flowing into the United States. Experts—women and men trained in the new field of social science—fanned out across the country to collect data on these fresh arrivals. The trove of information they amassed shaped how Americans thought about immigrants, themselves, and the nation’s place in the world. Katherine Benton-Cohen argues that the Dillingham Commission’s legacy continues to inform the ways that U.S. policy addresses questions raised by immigration, over a century later.

Within a decade of its launch, almost all of the commission’s recommendations—including a literacy test, a quota system based on national origin, the continuation of Asian exclusion, and greater federal oversight of immigration policy—were implemented into law. Inventing the Immigration Problem describes the labyrinthine bureaucracy, broad administrative authority, and quantitative record-keeping that followed in the wake of these regulations. Their implementation marks a final turn away from an immigration policy motivated by executive-branch concerns over foreign policy and toward one dictated by domestic labor politics.

The Dillingham Commission—which remains the largest immigration study ever conducted in the United States—reflects its particular moment in time when mass immigration, the birth of modern social science, and an aggressive foreign policy fostered a newly robust and optimistic notion of federal power. Its quintessentially Progressive formulation of America’s immigration problem, and its recommendations, endure today in almost every component of immigration policy, control, and enforcement.

Henry Petroski’s previous bestsellers have delighted readers with intriguing stories about the engineering marvels around us, from the lowly pencil to the soaring suspension bridge. In this book, Petroski delves deeper into the mystery of invention, to explore what everyday artifacts and sophisticated networks can reveal about the way engineers solve problems.

Engineering entails more than knowing the way things work. What do economics and ecology, aesthetics and ethics, have to do with the shape of a paper clip, the tab of a beverage can, the cabin design of a turbojet, or the course of a river? How do the idiosyncrasies of individual engineers, companies, and communities leave their mark on projects from Velcro® to fax machines to waterworks? Invention by Design offers an insider’s look at these political and cultural dimensions of design and development, production and construction.

Readers unfamiliar with engineering will find Petroski’s enthusiasm contagious, whether the topic is the genesis of the Ziploc® baggie or the averted collapse of Manhattan’s sleekest skyscraper. And those who inhabit the world of engineering will discover insights to challenge their customary perspective, whether their work involves failure analysis, systems design, or public relations. Written with the flair that readers have come to expect from his books, Invention by Design reaffirms Petroski as the master explicator of the principles and processes that turn thoughts into the many things that define our made world.

Law and Society is a rapidly-growing interdisciplinary field that turns on its head the conventional, idealized view of the “Law” as a magisterial abstraction. Kitty Calavita’s Invitation to Law and Society brilliantly brings to life the ways in which law shapes and manifests itself in the institutions and interactions of human society, while inviting the reader into conversations that introduce the field’s dominant themes and most lively disagreements. 

Deftly interweaving scholarship with familiar personal examples, Calavita shows how scholars in the discipline are collectively engaged in a subversive exposé of law’s public mythology. While surveying prominent issues and distinctive approaches to the use of the law in everyday life, as well as its potential as a tool for social change, this volume provides a view of law that is more real but just as compelling as its mythic counterpart. In a field of inquiry that has long lacked a sophisticated yet accessible introduction to its ways of thinking, Invitation to Law and Society will serve as an engaging and indispensible guide.

In Invited to Witness, Jennifer Lynn Kelly explores the significance of contemporary solidarity tourism across Occupied Palestine. Examining the relationships among race, colonialism, and movement-building in spaces where tourism and military occupation operate in tandem, Kelly argues that solidarity tourism in Palestine functions as both political strategy and emergent industry. She draws from fieldwork on solidarity tours in Palestine/Israel and interviews with guides, organizers, community members, and tourists, asking what happens when tourism is marketed as activism and when anticolonial work functions through tourism. Palestinian organizers, she demonstrates, have refashioned the conventions of tourism by extending invitations to tourists to witness Palestinian resistance and the effects of Israeli state practice on Palestinian land and lives. In so doing, Kelly shows how Palestinian guides and organizers wrest from Israeli control the capacity to invite and the permission to narrate both their oppression and their liberation.

A must-read that reshapes how we think about the social underpinnings of our financial choices.

In Irrational Together, economic sociologist Adam S. Hayes takes readers on a fascinating journey to uncover the often-unseen social forces that shape our financial behavior. Drawing on original research and engaging real-world examples, Hayes challenges not only the notion that economic decisions are purely rational but also the prevailing behavioral economics view that irrational choices stem primarily from individual beliefs. Instead, he argues that our economic choices and actions are deeply embedded in our social and cultural contexts and that understanding these influences is crucial to fully grasp the complexities of financial decision-making.

From the impact of social class and cultural capital on risk-taking and the role of social networks and group identities in shaping consumer choices to the gendered dimensions of financial advice and literacy, this book weaves together insights from sociology, behavioral economics, and cultural studies to paint a nuanced picture of how we navigate the economic landscape as inherently social beings. Why, for example, would someone choose to continue paying 20% interest on a large credit card debt rather than taking out a low-interest mortgage on their home to pay off the card? As Hayes makes clear through rigorous analysis, cultural values—like those related to home ownership—hold as much or more sway over us than financial best practices.

Bridging the gap between behavioral economics and sociology, this groundbreaking work paves the way for a more holistic understanding of the social and cultural influences on economic behavior. Hayes also looks to the future and argues that to correct major disparities in our social understanding of wealth and money, we need to construct financial systems that consider a diversity of social backgrounds.

With its accessible language and thought-provoking insights, Irrational Together is an essential guide for anyone seeking to understand the intersection of money, society, and human behavior.
 

From police on the street, to the mayor of New Orleans and FEMA administrators, government officials monumentally failed to protect the most vulnerable residents of New Orleans and the Gulf Coast during the Katrina disaster. This violation of the social contract undermined the foundational narratives and myths of the American nation and spawned a profound, often contentious public debate over the meaning of Katrina’s devastation. A wide range of voices and images attempted to clarify what happened, name those responsible, identify the victims, and decide what should be done. This debate took place in forums ranging from mass media and the political arena to the arts and popular culture, as various narratives emerged and competed to tell the story of Katrina.

Is This America? explores how Katrina has been constructed as a cultural trauma in print media, the arts and popular culture, and television coverage. Using stories told by the New York Times, New Orleans Times-Picayune, Time, Newsweek, NBC, and CNN, as well as the works of artists, writers, musicians, filmmakers, and graphic designers, Ron Eyerman analyzes how these narratives publicly articulated collective pain and loss. He demonstrates that, by exposing a foundational racial cleavage in American society, these expressions of cultural trauma turned individual experiences of suffering during Katrina into a national debate about the failure of the white majority in the United States to care about the black minority.

At a time when more nuanced understandings of Muslim countries and their legal and social practices are urgently needed in the West, the appearance of this collection is especially welcome. In these illuminating and accessible essays, the contributors explain how Islam sees itself in terms of social policy, how it treats women, and how it encourages charity, education, and general social welfare.
 

The essays encompass many regional cultures and draw on court records and legal debates, field work on government ministries, and an extensive reading of Islamic law. In his overview of waqf (similar to the Western idea of a foundation, in which an endowment is set aside in perpetuity for specified purposes), Ahmad Dallal explains how charity, a central organizing principle in Islam, is itself organized and how waqf, traditionally a source of revenue for charitable purposes, can also become a source of tension and conflict. Donna Lee Bowen, in her essay on the position of women in Islamic law, points out the crucial differences between the Islamic principles of family equity and the Western notion of individual equality. In a subsequent essay, Bowen addresses the problems surrounding family planning and the dilemmas that have arisen within the Muslim world over differing ideas about birth control. The two final essays look at specific instances of how the modern state has treated Islamic social policy. Gail Richardson examines zakat, an Islamic tax used to assist the poor, and its administration in Pakistan. Carol Underwood, meanwhile, explores public health policy in Iran, both before and after the Islamic revolution that deposed the Shah.
 

Addressing some of the most profound misunderstandings between Islamic and Western societies, Islam and Social Policy will be of vital interest not only to scholars and policymakers but to anyone concerned with Islam's critical place in the modern world.

A close look at how wylers, a popular musical style from the island of St. Kitts and Nevis, expresses a unique mode of relation in the postcolonial Caribbean.
 
In Island Time, ethnomusicologist Jessica Swanston Baker examines wylers, a musical form from St. Kitts and Nevis that is characterized by speed. Baker argues that this speed becomes a useful and highly subjective metric for measuring the relationship between Caribbean aspirations and the promises of economic modernity; women’s bodily autonomy and the nationalist fantasies that would seek to curb that autonomy; and the material realities of Kittitian-Nevisian youth living in the disillusionment following postcolonial independence. She traces the wider Caribbean musical, cultural, and media-based resonances of wylers, posing an alternative model to scholarship on Caribbean music that has tended to privilege the big islands—Trinidad, Jamaica, and Haiti—thus neglecting not only the unique cultural worlds of smaller nations but also the unbounded nature of musical exchange in the region. The archipelago emerges as a useful model for apprehending the relationality across scales that governs the temporal and spatial logics that undergird Caribbean performance. The archipelago and its speeds ultimately emerge as a meaningful medium for postcolonial, postmodern world-making.
 

Since the late 1960s a ubiquitous feature of popular culture in Japan has been the "idol," an attractive young actor, male or female, packaged and promoted as an adolescent role model and exploited by the entertainment, fashion, cosmetic, and publishing industries to market trendy products. This book offers ethnographic case studies regarding the symbolic qualities of idols and how these qualities relate to the conceptualization of selfhood among adolescents in Japan and elsewhere in East Asia. The author explores how the idol-manufacturing industry absorbs young people into its system of production, molds them into marketable personalities, commercializes their images, and contributes to the construction of ideal images of the adolescent self.

Since the relationship between the idols and their consumers is dynamic, the study focuses on the fans of idols as well. Ultimately, Aoyagi argues, idol performances substantiate capitalist values in the urban consumer society of contemporary Japan and East Asia. Regardless of how crude their performances may appear in the eyes of critics, the idols have helped establish the entertainment industry as an agent of public socialization by driving public desires toward the consumption of commoditized fantasies.

The Trobriand Islands of Papua New Guinea have been depicted as a place of sexual freedom ever since these small atolls in the southwest Pacific were made famous by anthropologist Bronislaw Malinowski in the early twentieth century. Today in the era of the HIV/AIDS pandemic, how do Trobrianders respond to public health interventions that link their cultural practices to the risk of HIV? How do they weigh HIV prevention messages of abstinence, fidelity, and condom use against traditional sexual practices that strengthen interclan relationships in a gift economy?
Written by an anthropologist who has direct ties to the Trobriands through marriage and who has been involved in Papua New Guinea's national response to the HIV epidemic since the mid-1990s, Islands of Love, Islands of Risk is an unusual insider ethnography. Katherine Lepani describes in vivid detail the cultural practices of regeneration, from the traditional dance called Wosimwaya to the elaborate exchanges that are part of the mortuary feasts called sagali. Focusing on the sexual freedom of young people, the author reveals the social value of sexual practice. By bringing cultural context and lived experience to the fore, the book addresses the failure of standardized public health programs to bridge the persistent gap between HIV awareness and prevention. The book offers insights on the interplay between global and local understandings of gender, sexuality, and disease and suggests the possibility of viewing sexuality in terms other than risk.
Islands of Love, Islands of Risk illustrates the contribution of ethnographic research methodology in facilitating dialogue between different ways of knowing. As a contemporary perspective on Malinowski's classic accounts of Trobriand sexuality, the book reaffirms the Trobriands' central place in the study of anthropology.
This book is the recipient of the annual Norman L. and Roselea J. Goldberg Prize for the best project in the area of medicine.

Everyone worries about privacy these days. As corporations and governments devise increasingly sophisticated data gathering tools and joining Facebook verges on obligatory, concerns over the use and abuse of personal information are undeniable. But the way privacy functions on the virtual frontier of the Internet is only a subset of the fascinating ways we work to achieve it throughout our everyday lives. In Islands of Privacy, Christena Nippert-Eng pries open the blinds, giving us an intimate view into the full range of ordinary people’s sometimes extraordinary efforts to preserve the border between themselves and the rest of the world.

Packed with stories that are funny and sad, familiar and strange, Islands of Privacy tours the myriad arenas where privacy battles are fought, lost, and won. Nippert-Eng explores how we manage our secrets, our phone calls and e-mail, the perimeters of our homes, and our interactions with neighbors. She discovers that everybody practices the art of selectively concealing and disclosing information on a daily basis. This important balancing act governs a wide range of behaviors, from deciding whether to give our bosses our cell phone numbers to choosing what we carry in our wallets or purses. Violations of privacy and anxiety about how we grant it to each other also come under Nippert-Eng’s microscope as she crafts a compelling argument that successfully managing privacy is critical for successfully maintaining our relationships with each other and our selves.

Roaming from the beach to the bank and from the bathroom to the bus, Nippert-Eng’s keenly observed and vividly told book gives us the skinny on how we defend our shrinking islands of privacy in the vast ocean of accessibility that surrounds us.

The volume contains selected papers from an international workshop in 2005, at the Hungarian Academy in Rome. They aim at investigating the registers of fifteenth-century supplications to the Apostolic Penitentiary of the Holy See and to analyze the multiplicity of issues in which a context of the local needs of Western Christians and the central power of the Pope had been occurring.

The contributions make clear that local and individual factors and practice of Christian faith and religion must not be seen as separated from the global power of the Roman curia. The latter’s influence could become directly important for any individual in any local space, also … et usque ad ultimum terrae (Acts 1:8), in the utmost peripheries of the Christian world. The assistance by the Apostolic Penitentiary was indispensable in a large variety of cases. The occupation with such cases happened in the local and regional space as well as in the globalized centre of the Holy See.

The recent flashpoint of Colin Kaepernick taking a knee renews a long tradition of athlete-activists speaking out against racism, injustice, and oppression. Like Kaepernick, Jackie Robinson, Paul Robeson, Muhammad Ali, Bill Russell, Tommie Smith, and John Carlos—among many others, of all races, male and female, pro and amateur—all made the choice to take a side to command public awareness and attention rather than “shut up and play,” as O. J. Simpson, Michael Jordan, and Tiger Woods did. Using their celebrity to demand change, these activists inspired fans but faced great personal and professional risks in doing so. It Was Always a Choice traces the history and impact of these decisive moments throughout the history of U.S. sports.

David Steele identifies the resonances and antecedents throughout the twentieth century of the choices faced by athletes in the post-Kaepernick era, including the advance of athletes’ political organizing in the era of activism following the death of George Floyd. He shows which athletes chose silence instead of action—“dropping the baton,” as it were—in the movement to end racial inequities and violence against Black Americans. The examples of courageous athletes multiply as LeBron James, Megan Rapinoe and the activist-athletes of the NBA, WNBA, and NFL remain committed to fighting daily and vibrantly for social change.

2025 John G. Cawelti Award for the Best Textbook/Primer, Popular Culture Association/American Culture Association (PCA/ACA)
2025 Longlist, Kraszna-Krausz Moving Image Book Award

How changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women’s reproductive roles and rights.

Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball’s real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown’s controversial single motherhood; Arnold Schwarzenegger’s pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra.

In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now.

Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women’s work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US.