In The Genuine Article Paul Gilmore examines the interdependence of literary and mass culture at a crucial moment in U. S. history. Demonstrating from a new perspective the centrality of race to the construction of white manhood across class lines, Gilmore argues that in the years before the Civil War, as literature increasingly became another commodity in the capitalist cultural marketplace, American authors appropriated middle-brow and racially loaded cultural forms to bolster their masculinity.
From characters in Indian melodramas and minstrel shows to exhibits in popular museums and daguerrotype galleries, primitive racialized figures circulated as “the genuine article” of manliness in the antebellum United States. Gilmore argues that these figures were manipulated, translated, and adopted not only by canonical authors such as Hawthorne, Thoreau, Cooper, and Melville but also by African American and Native American writers like William Wells Brown and Okah Tubbee. By examining how these cultural notions of race played out in literary texts and helped to construct authorship as a masculine profession, Gilmore makes a unique contribution to theories of class formation in nineteenth-century America.
The Genuine Article will enrich students and scholars of American studies, gender studies, literature, history, sociology, anthropology, popular culture, and race.

Born in 1901, Louise Thompson Patterson was a leading and transformative figure in radical African American politics. Throughout most of the twentieth century she embodied a dedicated resistance to racial, economic, and gender exploitation. In this, the first biography of Patterson, Keith Gilyard tells her compelling story, from her childhood on the West Coast, where she suffered isolation and persecution, to her participation in the Harlem Renaissance and beyond. In the 1930s and 1940s she became central, along with Paul Robeson, to the labor movement, and later, in the 1950s, she steered proto-black-feminist activities. Patterson was also crucial to the efforts in the 1970s to free political prisoners, most notably Angela Davis. In the 1980s and 1990s she continued to work as a progressive activist and public intellectual. To read her story is to witness the courage, sacrifice, vision, and discipline of someone who spent decades working to achieve justice and liberation for all.

Passing refers to the process whereby a person of one race, gender, nationality, or sexual orientation adopts the guise of another. Historically, this has often involved black slaves passing as white in order to gain their freedom. More generally, it has served as a way for women and people of color to access male or white privilege. In their examination of this practice of crossing boundaries, the contributors to this volume offer a unique perspective for studying the construction and meaning of personal and cultural identities.
These essays consider a wide range of texts and moments from colonial times to the present that raise significant questions about the political motivations inherent in the origins and maintenance of identity categories and boundaries. Through discussions of such literary works as Running a Thousand Miles for Freedom, The Autobiography of an Ex–Coloured Man, Uncle Tom’s Cabin, The Hidden Hand, Black Like Me, and Giovanni’s Room, the authors examine issues of power and privilege and ways in which passing might challenge the often rigid structures of identity politics. Their interrogation of the semiotics of behavior, dress, language, and the body itself contributes significantly to an understanding of national, racial, gender, and sexual identity in American literature and culture.
Contextualizing and building on the theoretical work of such scholars as Judith Butler, Diana Fuss, Marjorie Garber, and Henry Louis Gates Jr., Passing and the Fictions of Identity will be of value to students and scholars working in the areas of race, gender, and identity theory, as well as U.S. history and literature.

Contributors. Martha Cutter, Katharine Nicholson Ings, Samira Kawash, Adrian Piper, Valerie Rohy, Marion Rust, Julia Stern, Gayle Wald, Ellen M. Weinauer, Elizabeth Young

While the first healers were musicians who relied on rhythm and song to help cure the sick, over time Western thinkers and doctors lost touch with these traditions. In the West, for almost two millennia, the roles of the healer and the musician have been strictly separated.

Until recently, that is. Over the past few decades there has been a resurgence of interest in healing music. In the midst of this nascent revival, Ted Gioia, a musician, composer, and widely praised author, offers the first detailed exploration of the uses of music for curative purposes from ancient times to the present. Gioia’s inquiry into the restorative powers of sound moves effortlessly from the history of shamanism to the role of Orpheus as a mythical figure linking Eastern and Western ideas about therapeutic music, and from Native American healing ceremonies to what clinical studies can reveal about the efficacy of contemporary methods of sonic healing.

Gioia considers a broad range of therapies, providing a thoughtful, impartial guide to their histories and claims, their successes and failures. He examines a host of New Age practices, including toning, Cymatics, drumming circles, and the Tomatis method. And he explores how the medical establishment has begun to recognize and incorporate the therapeutic power of song. Acknowledging that the drumming circle will not—and should not—replace the emergency room, nor the shaman the cardiologist, Gioia suggests that the most promising path is one in which both the latest medical science and music—with its capacity to transform attitudes and bring people together—are brought to bear on the multifaceted healing process.

In Healing Songs, as in its companion volume Work Songs, Gioia moves beyond studies of music centered on specific performers, time periods, or genres to illuminate how music enters into and transforms the experiences of everyday life.

All societies have relied on music to transform the experience of work. Song accompanied the farmer's labors, calmed the herder's flock, and set in motion the spinner's wheel. Today this tradition continues. Music blares on the shop floor; song accompanies transactions in the retail store; the radio keeps the trucker going on the long-distance haul.

Now Ted Gioia, author of several acclaimed books on the history of jazz, tells the story of work songs from prehistoric times to the present. Vocation by vocation, Gioia focuses attention on the rhythms and melodies that have attended tasks such as the cultivation of crops, the raising and lowering of sails, the swinging of hammers, the felling of trees. In an engaging, conversational writing style, he synthesizes a breathtaking amount of material, not only from songbooks and recordings but also from travel literature, historical accounts, slave narratives, folklore, labor union writings, and more. He draws on all of these to describe how workers in societies around the world have used music to increase efficiency, measure time, relay commands, maintain focus, and alleviate drudgery.

At the same time, Gioia emphasizes how work songs often soar beyond utilitarian functions. The heart-wringing laments of the prison chain gang, the sailor’s shanties, the lumberjack’s ballads, the field hollers and corn-shucking songs of the American South, the pearl-diving songs of the Persian Gulf, the rich mbube a cappella singing of South African miners: Who can listen to these and other songs borne of toil and hard labor without feeling their sweep and power? Ultimately, Work Songs, like its companion volume Healing Songs, is an impassioned tribute to the extraordinary capacity of music to enter into day-to-day lives, to address humanity’s deepest concerns and most heartfelt needs.

Paper Knowledge is a remarkable book about the mundane: the library card, the promissory note, the movie ticket, the PDF (Portable Document Format). It is a media history of the document. Drawing examples from the 1870s, the 1930s, the 1960s, and today, Lisa Gitelman thinks across the media that the document form has come to inhabit over the last 150 years, including letterpress printing, typing and carbon paper, mimeograph, microfilm, offset printing, photocopying, and scanning. Whether examining late nineteenth century commercial, or "job" printing, or the Xerox machine and the role of reproduction in our understanding of the document, Gitelman reveals a keen eye for vernacular uses of technology. She tells nuanced, anecdote-filled stories of the waning of old technologies and the emergence of new. Along the way, she discusses documentary matters such as the relation between twentieth-century technological innovation and the management of paper, and the interdependence of computer programming and documentation. Paper Knowledge is destined to set a new agenda for media studies.

The 1960s were heady years in Argentina. Visual artists, curators, and critics sought to fuse art and politics; to broaden the definition of art to encompass happenings and assemblages; and, above all, to achieve international recognition for new, cutting-edge Argentine art. A bestseller in Argentina, Avant-Garde, Internationalism, and Politics is an examination of the 1960s as a brief historical moment when artists, institutions, and critics joined to promote an international identity for Argentina’s visual arts.

The renowned Argentine art historian and critic Andrea Giunta analyzes projects specifically designed to internationalize Argentina’s art and avant-garde during the 1960s: the importation of exhibitions of contemporary international art, the sending of Argentine artists abroad to study, the organization of prize competitions involving prestigious international art critics, and the export of exhibitions of Argentine art to Europe and the United States. She looks at the conditions that made these projects possible—not least the Alliance for Progress, a U.S. program of “exchange” and “cooperation” meant to prevent the spread of communism through Latin America in the wake of the Cuban Revolution—as well as the strategies formulated to promote them. She describes the influence of Romero Brest, prominent art critic, supporter of abstract art, and director of the Centro de Artes Visuales del Instituto Tocuato Di Tella (an experimental art center in Buenos Aires); various group programs such as Nueva Figuración and Arte Destructivo; and individual artists including Antonio Berni, Alberto Greco, León Ferrari, Marta Minujin, and Luis Felipe Noé. Giunta’s rich narrative illuminates the contentious postwar relationships between art and politics, Latin America and the United States, and local identity and global recognition.

In December 1987 a group of published novelists, poets, and journalists met in Vienna to participate in the Wheatland Conference on Literature. The writers presented papers addressing their common experience—that of being exiled. Each explored different facets of the condition of exile, providing answers to questions such as: What do exiled writers have in common? What is the exile’s obligation to colleagues and readers in the country of origin? Is the effect of changing languages one of enrichment or impoverishment? How does the new society treat the emigre? Following each essay is a peer discussion of the topic addressed.
The volume includes writers whose origins lie in Central Europe, South Africa, Israel, Cuba, Chile, Somalia, and Turkey. Through their testimony of the creative process in exile, we gain insight into the forces which affect the creative process as a whole.

Contributors. William Gass, Yury Miloslavsky, Jan Vladislav, Jiri Grusa, Guillermo Cabrera Infante, Horst Bienek, Edward Limonov, Nedim Gursel, Nuruddin Farah, Jaroslav Vejvoda, Anton Shammas, Joseph Brodsky, Wojciech Karpinski, Thomas Venclova, Yuri Druzhnikov

An entire generation of Russian writers have been living in exile from their homeland. Although today's glasnost has special meaning for many of these banished writers, it does not dissolve their experience of forced separation from their country of origin. In Conversations in Exile, John Glad brings together interviews with fourteen prominent Russian writers in exile, all of whom currently live in the United States, France, or Germany. Conducted between 1978 and 1989, these frank and captivating interviews provide a rich and complex portrait of a national literature in exile.
Glad's introduction situates the three distinct waves of westward emigration in their historical and political framework. Organized by genre, the book begins with discussions with the older generation of writers and then moves on to more recent arrivals: the makers of fantasy and humor, the aesthetes, the moralists, and the realists. Each voice is compelling for its invaluable testimony--some reveal startling insights into the persecution of dissidents under Soviet rule while others address the relationship between creativity, writing, and conditions of exile. Taken together these interviews reveal the range of modern Russian writing and document the personalities and positions that have made Russian writers in emigration so diverse, experimental, and controversial.

The Writers: Vasily Aksyonov, Joseph Brodsky, Igor Chinnov, Natalya Goranevskaya, Frifrikh Gorensetin, Roman Goul, Yury Ivask, Boris Khazanov, Edward Liminov, Vladimir Makisimov, Andrei Siniavsky and Maria Rozanova, Sasha Sokolov, Vladimir Voinovich, Aleksandr Zinoviev

Excerpt
John Glad: You're a Russian poet but an American essayist. Does that bring on any measure of split personality? Do you think you are becoming less and less Russian?
Joseph Brodsky (recipient of 1987 Nobel Prize for Literature): That's not for me to say. As far as I'm concerned, in my inner self, inside, it feels quite natural. I think being a Russian poet and an American essayist is an ideal situation. It's all a matter of whether you have (a) the heart and (b) the brains to be able to do both. Sometimes I think I do. Sometimes I think I don't. Sometimes I think that one interferes with the other.

The first book of its kind, Our Caribbean is an anthology of lesbian and gay writing from across the Antilles. The author and activist Thomas Glave has gathered outstanding fiction, nonfiction, memoir, and poetry by little-known writers together with selections by internationally celebrated figures such as José Alcántara Almánzar, Reinaldo Arenas, Dionne Brand, Michelle Cliff, Audre Lorde, Achy Obejas, and Assotto Saint. The result is an unprecedented literary conversation on gay, lesbian, bisexual, and transgendered experiences throughout the Caribbean and its far-flung diaspora. Many selections were originally published in Spanish, Dutch, or creole languages; some are translated into English here for the first time.

The thirty-seven authors hail from the Bahamas, Barbados, Cuba, the Dominican Republic, Grenada, Guyana, Haiti, Jamaica, Panama, Puerto Rico, St. Vincent, St. Kitts, Suriname, and Trinidad. Many have lived outside the Caribbean, and their writing depicts histories of voluntary migration as well as exile from repressive governments, communities, and families. Many pieces have a political urgency that reflects their authors’ work as activists, teachers, community organizers, and performers. Desire commingles with ostracism and alienation throughout: in the evocative portrayals of same-sex love and longing, and in the selections addressing religion, family, race, and class. From the poem “Saturday Night in San Juan with the Right Sailors” to the poignant narrative “We Came All the Way from Cuba So You Could Dress Like This?” to an eloquent call for the embrace of difference that appeared in the Nassau Daily Tribune on the eve of an anti-gay protest, Our Caribbean is a brave and necessary book.

Contributors: José Alcántara Almánzar, Aldo Alvarez, Reinaldo Arenas, Rane Arroyo, Jesús J. Barquet, Marilyn Bobes, Dionne Brand, Timothy S. Chin, Michelle Cliff, Wesley E. A. Crichlow,
Mabel Rodríguez Cuesta, Ochy Curiel, Faizal Deen, Pedro de Jesús, R. Erica Doyle, Thomas Glave,
Rosamond S. King, Helen Klonaris, Lawrence La Fountain-Stokes, Audre Lorde, Shani Mootoo,
Anton Nimblett, Achy Obejas, Leonardo Padura Fuentes, Virgilio Piñera, Patricia Powell, Kevin Everod Quashie, Juanita Ramos, Colin Robinson, Assotto Saint, Andrew Salkey, Lawrence Scott,
Makeda Silvera, H. Nigel Thomas, Rinaldo Walcott, Gloria Wekker, Lawson Williams

Reading for Realism presents a new approach to U.S. literary history that is based on the analysis of dominant reading practices rather than on the production of texts. Nancy Glazener’s focus is the realist novel, the most influential literary form of the nineteenth and twentieth centuries—a form she contends was only made possible by changes in the expectations of readers about pleasure and literary value. By tracing readers’ collaboration in the production of literary forms, Reading for Realism turns nineteenth-century controversies about the realist, romance, and sentimental novels into episodes in the history of readership. It also shows how works of fiction by Rebecca Harding Davis, Henry James, Nathaniel Hawthorne, and others participated in the debates about literary classification and reading that, in turn, created and shaped their audiences.
Combining reception theory with a materialist analysis of the social formations in which realist reading practices circulated, Glazener’s study reveals the elitist underpinnings of literary realism. At the book’s center is the Atlantic group of magazines, whose influence was part of the cultural machinery of the Northeastern urban bourgeoisie and crucial to the development of literary realism in America. Glazener shows how the promotion of realism by this group of publications also meant a consolidation of privilege—primarily in terms of class, gender, race, and region—for the audience it served. Thus American realism, so often portrayed as a quintessentially populist form, actually served to enforce existing structures of class and power.

Bringing together historically and ethnographically grounded studies of the social and political life of Brazil and Mexico, this collection of essays revitalizes resistance as an area of study. Resistance studies boomed in the 1980s and then was subject to a wave of critique in the 1990s. Covering the colonial period to the present day, the case studies in this collection suggest that, even if much of that critique was justified, resistance remains a useful analytic rubric. The collection has three sections, each of which is preceded by a short introduction. A section focused on religious institutions and movements is bracketed by one featuring historical studies from the sixteenth through the nineteenth centuries and another gathering more contemporary, ethnographically-based studies. Introducing the collection, the anthropologist John Gledhill traces the debates about resistance studies. In the conclusion, Alan Knight provides a historian’s perspective on the broader implications of the contributors’ findings.

Contributors. Helga Baitenmann, Marcus J. M. de Carvalho, Guillermo de la Peña, John Gledhill, Matthew Gutmann, Maria Gabriela Hita, Alan Knight, Ilka Boaventura Leite, Jean Meyer, John Monteiro, Luis Nicolau Parés, Patricia R. Pessar, Patience A. Schell, Robert Slenes, Juan Pedro Viqueira, Margarita Zárate

Combining history, autobiography, and ethnography, Georges Woke Up Laughing provides a portrait of the Haitian experience of migration to the United States that illuminates the phenomenon of long-distance nationalism, the voicelessness of certain citizens, and the impotency of government in an increasingly globalized world. By presenting lively ruminations on his life as a Haitian immigrant, Georges Eugene Fouron—along with Nina Glick Schiller, whose own family history stems from Poland and Russia—captures the daily struggles for survival that bind together those who emigrate and those who stay behind.
According to a long-standing myth, once emigrants leave their homelands—particularly if they emigrate to the United States—they sever old nationalistic ties, assimilate, and happily live the American dream. In fact, many migrants remain intimately and integrally tied to their ancestral homeland, sometimes even after they become legal citizens of another country. In Georges Woke Up Laughing the authors reveal the realities and dilemmas that underlie the efforts of long-distance nationalists to redefine citizenship, race, nationality, and political loyalty. Through discussions of the history and economics that link the United States with countries around the world, Glick Schiller and Fouron highlight the forces that shape emigrants’ experiences of government and citizenship and create a transborder citizenry. Arguing that governments of many countries today have almost no power to implement policies that will assist their citizens, the authors provide insights into the ongoing sociological, anthropological, and political effects of globalization.
Georges Woke up Laughing will entertain and inform those who are concerned about the rights of people and the power of their governments within the globalizing economy.

“In my dream I was young and in Haiti with my friends, laughing, joking, and having a wonderful time. I was walking down the main street of my hometown of Aux Cayes. The sun was shining, the streets were clean, and the port was bustling with ships. At first I was laughing because of the feeling of happiness that stayed with me, even after I woke up. I tried to explain my wonderful dream to my wife, Rolande. Then I laughed again but this time not from joy. I had been dreaming of a Haiti that never was.”—from Georges Woke Up Laughing

In Infrahumanisms Megan H. Glick considers how conversations surrounding nonhuman life have impacted a broad range of attitudes toward forms of human difference such as race, sexuality, and health. She examines the history of human and nonhuman subjectivity as told through twentieth-century scientific and cultural discourses that include pediatrics, primatology, eugenics, exobiology, and obesity research. Outlining how the category of the human is continuously redefined in relation to the infrahuman—a liminal position of speciation existing between the human and the nonhuman—Glick reads a number of phenomena, from early twentieth-century efforts to define children and higher order primates as liminally human and the postwar cultural fascination with extraterrestrial life to anxieties over AIDS, SARS, and other cross-species diseases. In these cases the efforts to define a universal humanity create the means with which to reinforce notions of human difference and maintain human-nonhuman hierarchies. In foregrounding how evolving definitions of the human reflect shifting attitudes about social inequality, Glick shows how the consideration of nonhuman subjectivities demands a rethinking of long-held truths about biological meaning and difference.

Nearly a hundred years after its debut in 1897, Dracula is still one of the most popular of all Gothic narratives, always in print and continually adapted for stage and screen. Paradoxically, David Glover suggests, this very success has obscured the historical conditions and authorial circumstances of the novel’s production. By way of a long overdue return to the novels, short stories, essays, journalism, and correspondence of Bram Stoker, Vampires, Mummies, and Liberals reconstructs the cultural and political world that gave birth to Dracula. To bring Stoker’s life into productive relationship with his writing, Glover offers a reading that locates the author within the changing commercial contours of the late-Victorian public sphere and in which the methods of critical biography are displaced by those of cultural studies.
Glover’s efforts reveal a writer who was more wide-ranging and politically engaged than his current reputation suggests. An Irish Protestant and nationalist, Stoker nonetheless drew his political inspiration from English liberalism at a time of impending crisis, and the tradition’s contradictions and uncertainties haunt his work. At the heart of Stoker’s writing Glover exposes a preoccupation with those sciences and pseudo-sciences—from physiognomy and phrenology to eugenics and sexology—that seemed to cast doubt on the liberal faith in progress. He argues that Dracula should be read as a text torn between the stances of the colonizer and the colonized, unable to accept or reject the racialized images of backwardness that dogged debates about Irish nationhood. As it tracks the phantasmatic form given to questions of character and individuality, race and production, sexuality and gender, across the body of Stoker’s writing, Vampires, Mummies, and Liberals draws a fascinating portrait of an extraordinary transitional figure.
Combining psychoanalysis and cultural theory with detailed historical research, this book will be of interest to scholars of Victorian and Irish fiction and to those concerned with cultural studies and popular culture.

On the premise that words have the power to make worlds, each essay in this book follows a word as it travels around the globe and across time. Scholars from five disciplines address thirteen societies to highlight the social and political life of words in Asia, Europe, and the Middle East, from the mid-nineteenth century to the present. The approach is consciously experimental, in that rigorously tracking specific words in specific settings frequently leads in unexpected directions and alters conventional depictions of global modernity.

Such words as security in Brazil, responsibility in Japan, community in Thailand, and hijāb in France changed the societies in which they moved even as the words were changed by them. Some words threatened to launch wars, as injury did in imperial Britain’s relations with China in the nineteenth century. Others, such as secularism, worked in silence to agitate for political change in twentieth-century Morocco. Words imposed or imported from abroad could be transformed by those who wielded them to oppose the very powers that first introduced them, as happened in Turkey, Indonesia, and the Philippines. Taken together, this selection of fourteen essays reveals commonality as well as distinctiveness across modern societies, making the world look different from the interdisciplinary and transnational perspective of “words in motion.”

Contributors. Mona Abaza, Itty Abraham, Partha Chatterjee, Carol Gluck, Huri Islamoglu, Claudia Koonz, Lydia H. Liu, Driss Maghraoui, Vicente L. Rafael, Craig J. Reynolds, Seteney Shami, Alan Tansman, Kasian Tejapira, Anna Lowenhaupt Tsing

During the latter half of the 1980s and throughout the 1990s, television talk shows, infotainment news, and screaming supermarket headlines became ubiquitous in America as the “tabloidization” of the nation’s media took hold. In Tabloid Culture Kevin Glynn draws on diverse theoretical sources and an unprecedented range of electronic and print media in order to analyze important aspects and key debates that have emerged around this phenomenon.
Glynn begins by situating these media shifts within the context of Reaganism, which gave rise to distinctive ideological currents in society and led the socially and economically disenfranchised to access new forms of information via the exploding television industry. He then tackles specific daytime talk shows and tabloid newscasts such as Jerry Springer and A Current Affair, reality-TV programs such as Cops and America’s Most Wanted, and two different supermarket tabloids’ coverage of the O.J. Simpson case. Tabloid Culture is the first book to treat these diverse yet related media forms and events in tandem. Rejecting the elitist dismissal of sensationalist media, Glynn instead traces the cultural currents and countercurrents running through their forms and products. Locating both reactionary and oppositional meanings in these texts, he demonstrates how these particular media genres draw on and contribute to important cultural struggles over the meanings of race, sexuality, gender, class, “normality,” “truth,” and “reality.” The study ends by discussing how the growing use of the Internet provides an entirely new realm in which such material can circulate, distort, inform, and flourish.
This innovative and provocative study of contemporary mainstream media culture in the United States will be valuable to those interested in both print and television media, the cultural-political influence of the Reagan era, and American culture in general.

When the United States took control of the Philippines and Puerto Rico in the wake of the Spanish-American War, it declared that it would transform its new colonies through lessons in self-government and the ways of American-style democracy. In both territories, U.S. colonial officials built extensive public school systems, and they set up American-style elections and governmental institutions. The officials aimed their lessons in democratic government at the political elite: the relatively small class of the wealthy, educated, and politically powerful within each colony. While they retained ultimate control for themselves, the Americans let the elite vote, hold local office, and formulate legislation in national assemblies.

American Empire and the Politics of Meaning is an examination of how these efforts to provide the elite of Puerto Rico and the Philippines a practical education in self-government played out on the ground in the early years of American colonial rule, from 1898 until 1912. It is the first systematic comparative analysis of these early exercises in American imperial power. The sociologist Julian Go unravels how American authorities used “culture” as both a tool and a target of rule, and how the Puerto Rican and Philippine elite received, creatively engaged, and sometimes silently subverted the Americans’ ostensibly benign intentions. Rather than finding that the attempt to transplant American-style democracy led to incommensurable “culture clashes,” Go assesses complex processes of cultural accommodation and transformation. By combining rich historical detail with broader theories of meaning, culture, and colonialism, he provides an innovative study of the hidden intersections of political power and cultural meaning-making in America’s earliest overseas empire.

In 1898 the United States declared sovereignty over the Philippines, an archipelago of seven thousand islands inhabited by seven million people of various ethnicities. While it became a colonial power at the zenith of global imperialism, the United States nevertheless conceived of its rule as exceptional—an exercise in benevolence rather than in tyranny and exploitation. In this volume, Julian Go and Anne L. Foster untangle this peculiar self-fashioning and insist on the importance of studying U.S. colonial rule in the context of other imperialist ventures. A necessary expansion of critical focus, The American Colonial State in the Philippines is the first systematic attempt to examine the creation and administration of the American colonial state from comparative, global perspectives.

Written by social scientists and historians, these essays investigate various aspects of American colonial government through comparison with and contextualization within colonial regimes elsewhere in the world—from British Malaysia and Dutch Indonesia to Japanese Taiwan and America's other major overseas colony, Puerto Rico. Contributors explore the program of political education in the Philippines; constructions of nationalism, race, and religion; the regulation of opium; connections to politics on the U.S. mainland; and anticolonial resistance. Tracking the complex connections, circuits, and contests across, within, and between empires that shaped America's colonial regime, The American Colonial State in the Philippines sheds new light on the complexities of American imperialism and turn-of-the-century colonialism.

Contributors. Patricio N. Abinales, Donna J. Amoroso, Paul Barclay, Vince Boudreau, Anne L. Foster, Julian Go, Paul A. Kramer

Michel Gobat deftly interweaves political, economic, cultural, and diplomatic history to analyze the reactions of Nicaraguans to U.S. intervention in their country from the heyday of Manifest Destiny in the mid–nineteenth century through the U.S. occupation of 1912–33. Drawing on extensive research in Nicaraguan and U.S. archives, Gobat accounts for two seeming paradoxes that have long eluded historians of Latin America: that Nicaraguans so strongly embraced U.S. political, economic, and cultural forms to defend their own nationality against U.S. imposition and that the country’s wealthiest and most Americanized elites were transformed from leading supporters of U.S. imperial rule into some of its greatest opponents.

Gobat focuses primarily on the reactions of the elites to Americanization, because the power and identity of these Nicaraguans were the most significantly affected by U.S. imperial rule. He describes their adoption of aspects of “the American way of life” in the mid–nineteenth century as strategic rather than wholesale. Chronicling the U.S. occupation of 1912–33, he argues that the anti-American turn of Nicaragua’s most Americanized oligarchs stemmed largely from the efforts of U.S. bankers, marines, and missionaries to spread their own version of the American dream. In part, the oligarchs’ reversal reflected their anguish over the 1920s rise of Protestantism, the “modern woman,” and other “vices of modernity” emanating from the United States. But it also responded to the unintended ways that U.S. modernization efforts enabled peasants to weaken landlord power. Gobat demonstrates that the U.S. occupation so profoundly affected Nicaragua that it helped engender the Sandino Rebellion of 1927–33, the Somoza dictatorship of 1936–79, and the Sandinista Revolution of 1979–90.

As people cluster on the coast in increasing numbers, coastal populations become more vulnerable to severe damage from catastrophic coastal storms. The authors contented that current public policy has proved unable to cope with the growing problem, and in response they present a comprehensive analysis of coastal storm hazards, standard policy approaches, and promising new means of managing coastal growth.

Catastrophic Coastal Storms offers a solution to the policy problem by proposing a merger of hazard mitigation with development management, basing this on extensive surveys of at-risk coastal locations and case studies of post-hurricane recovery. Starting with the local level of government and proceeding to state and federal levels, the authors propose a strategy for overcoming the formidable obstacles to safeguarding the shoreline population and its structures from hurricanes and other severe storms.

Kant’s philosophy is often treated as a closed system, without reference to how it was written or how Kant arrived at its familiar form, the critique. In fact, the style of the critique seems so artless that readers think of it as an unfortunate by-product—a style of stylelessness. In Constituting Critique, Willi Goetschel shows how this apparent gracelessness was deliberately achieved by Kant through a series of writing experiments. By providing an account of the process that culminated in his three Critiques, this book offers a new perspective on Kant’s philosophical thought and practice.
Constituting Critique traces the stages in Kant’s development to reveal how he redefined philosophy as a critical task. Following the philosopher through the experiments of his early essays, Goetschel demonstrates how Kant tests, challenges, and transforms the philosophical essay in his pursuit of a new self-reflective literary genre. From these experiments, critique emerges as the philosophical form for the critical project of the Enlightenment. The imperatives of its transcendental style, Goetschel contends, not only constitute and inform the critical moment of Kant’s philosophical praxis, but also have an enduring place in post-Kantian philosophy and literature.
By situating the Critiques within the context of Kant’s early essays, this work will redirect the attention of Kant scholars to the origins of their form. It will also encourage contemporary critical theorists to reconsider their own practice through an engagement with its source in Kant.

The Bibliographical Guide remains the most useful handbook of its kind now available to scholars for research in the field. The fifth revised edition includes updating and considerable but highly selective expansion as well as a section on Women's Studies. This edition includes over 100 new editions as well as more than 750 additional studies and reference works for a total of approximately 1,900 reference items, all annotated with the exception of a few with explanatory subtitles.

In the Time of Trees and Sorrows showcases peasants’ memories of everyday life in North India under royal rule and their musings on the contrast between the old days and the unprecedented shifts that a half century of Indian Independence has wrought. It is an oral history of the former Kingdom of Sawar in the modern state of Rajasthan as it was from the 1930s to the 1950s.
Based on testimonies from the 1990s, this book stands as a polyvocal account of the radical political and environmental changes the region and its people have faced in the twentieth century. Not just the story of modernity from the perspective of a rural village, these interviews and author commentaries narrate this small rural community’s relatively sudden transformation from subjection to a local despot and to a remote colonial power to citizenship in a modern postcolonial democracy. Unlike other recent studies of Rajasthan, the current study gives voice exclusively to former subjects who endured the double oppression of colonial and regional rulers. Gold and Gujar thus place subjective subaltern experiences of daily routines, manifestations of power relations, and sweeping changes to the environment (after the fall of kings) that turned lush forests into a barren landscape on equal footing with historical “fact” and archival sources. Ambiguous, complex, and culturally laden as it is in Western thought, the concept of nature is queried in this ethnographic text. For persons in Sawar the environment is not only a means of sustenance, its deterioration is linked to human morality and to power, both royal and divine. The framing questions of this South Asian history revealed through memories are: what was it like in the time of kings and what happened to the trees?

In virtually every aspect of human behavior, ritual, language, and art, perceptions are organized through the act of framing. In the writing of Benito Perez Galdós, Spain's most prolific and innovative nineteenth-century novelist, Hazel Gold finds this principle insistently at work. By exploring Galdós's methods of structuring and evaluating literary and historical experience, Gold illuminates the novelist's art and uncovers the far-reaching narratological, social, and epistemological implications of his framing strategies.
A close look at Galdós's novels reveals the artist at pains to contain and interpret what he perceived to be the distinctive and often disheartening experience of bourgeois liberalism of his day. At the same time, he can be seen here undermining or negating the accepted conventions of realist fiction. Looking beyond text to context, Gold examines the ways in which Galdós's work itself has been framed by readers and critics in accordance with changing allegiances to contemporary literary theory and the canon.
The highly ambiguous status of the frame in Galdós's fictions confirms the author's own signal position as a writer poised at the limits between realism and modernity. Gold's work will command the interest of students of Spanish and comparative literature, narrative theory, and the novel, as well as all those for whom realism and representation are at issue.

Offering a new queer theorization of melodrama, Jonathan Goldberg explores the ways melodramatic film and literature provide an aesthetics of impossibility. Focused on the notion of what Douglas Sirk termed the "impossible situation" in melodrama, such as impasses in sexual relations that are not simply reflections of social taboo and prohibitions, Goldberg pursues films by Rainer Werner Fassbinder and Todd Haynes that respond to Sirk's prompt. His analysis hones in on melodrama's original definition--a form combining music and drama--as he explores the use of melodrama in Beethoven's opera Fidelio, films by Alfred Hitchcock, and fiction by Willa Cather and Patricia Highsmith, including her Ripley novels. Goldberg illuminates how music and sound provide queer ways to promote identifications that exceed the bounds of the identity categories meant to regulate social life. The interaction of musical, dramatic, and visual elements gives melodrama its indeterminacy, making it resistant to normative forms of value and a powerful tool for creating new potentials. 

 

Queering the Renaissance offers a major reassessment of the field of Renaissance studies. Gathering essays by sixteen critics working within the perspective of gay and lesbian studies, this collection redraws the map of sexuality and gender studies in the Renaissance. Taken together, these essays move beyond limiting notions of identity politics by locating historically forms of same-sex desire that are not organized in terms of modern definitions of homosexual and heterosexual.
The presence of contemporary history can be felt throughout the volume, beginning with an investigation of the uses of Renaissance precedents in the 1986 U.S. Supreme Court decision Bowers v. Hardwick, to a piece on the foundations of 'our' national imaginary, and an afterword that addresses how identity politics has shaped the work of early modern historians. The volume examines canonical and noncanonical texts, including highly coded poems of the fifteenth-century Italian poet Burchiello, a tale from Marguerite de Navarre's Heptameron, and Erasmus's letters to a young male acolyte. English texts provide a central focus, including works by Spenser, Shakespeare, Bacon, Donne, Beaumont and Fletcher, Crashaw, and Dryden. Broad suveys of the complex terrains of friendship and sodomy are explored in one essay, while another offers a cross-cultural reading of the discursive sites of lesbian desire.

Contributors. Alan Bray, Marcie Frank, Carla Freccero, Jonathan Goldberg, Janet Halley, Graham Hammill, Margaret Hunt, Donald N. Mager, Jeff Masten, Elizabeth Pittenger, Richard Rambuss, Alan K. Smith, Dorothy Stephens, Forrest Tyler Stevens, Valerie Traub, Michael Warner

After many years as one of the premier scholars of English Renaissance literature, Jonathan Goldberg turns his attention to the work of American novelist Willa Cather. With a focus on Cather’s artistic principle of “the thing not named,” Willa Cather and Others illuminates the contradictions and complexities inherent in notions of identity and shows how her fiction transforms the very categories—regarding gender, sexuality, race, and class—around which most recent Cather scholarship has focused.
The “others” referred to in the title are women, for the most part Cather’s contemporaries, whose artistic projects allow for points of comparison with Cather. They include the Wagnerian diva Olive Fremstad, renowned for her category-defying voice; Blair Niles, an ethnographer and novelist of jazz-age Harlem and the prisons of New Guinea; Laura Gilpin, photographer of the American Southwest; and Pat Barker, whose Regeneration trilogy places World War I writers—and questions of sexuality and gender—at its center. In the process of studying these women and their work, Goldberg forms innovative new insights into a wide range of Cather’s celebrated works, from O Pioneers! and My Ántonia to her later books The Song of the Lark, One of Ours, The Professor’s House, Death Comes for the Archbishop, and Sapphira and the Slave Girl.
By applying his unique talent to the study of Cather’s literary genius, Jonathan Goldberg makes a significant and new contribution to the study of American literature and queer studies.

The Weather in Proust gathers pieces written by the eminent critic and theorist Eve Kosofsky Sedgwick in the last decade of her life, as she worked toward a book on Proust. This book takes its title from the first essay, a startlingly original interpretation of Proust. By way of Neoplatonism, Buddhism, and the work of Melanie Klein, Sedgwick establishes the sense of refreshment and surprise that the author of the Recherche affords his readers. Proust also figures in pieces on the poetry of C. P. Cavafy, object relations, affect theory, and Sedgwick’s textile art practices. More explicitly connected to her role as a pioneering queer theorist are an exuberant attack against reactionary refusals of the work of Guy Hocquenghem and talks in which she lays out her central ideas about sexuality and her concerns about the direction of US queer theory. Sedgwick lived for more than a dozen years with a diagnosis of terminal cancer; its implications informed her later writing and thinking, as well as her spiritual and artistic practices. In the book’s final and most personal essay, she reflects on the realization of her impending death. Featuring thirty-seven color images of her art, The Weather in Proust offers a comprehensive view of Sedgwick’s later work, underscoring its diversity and coherence.

In classrooms, museums, health clinics and beyond, the educational uses of visual media have proliferated over the past fifty years. Film, video, television, and digital media have been integral to the development of new pedagogical theories and practices, globalization processes, and identity and community formation. Yet, Brian Goldfarb argues, the educational roles of visual technologies have not been fully understood or appreciated. He contends that in order to understand the intersections of new media and learning, we need to recognize the sweeping scope of the technologically infused visual pedagogy—both in and outside the classroom. From Samoa to the United States mainland to Africa and Brazil, from museums to city streets, Visual Pedagogy explores the educational applications of visual media in different institutional settings during the past half century.

Looking beyond the popular media texts and mainstream classroom technologies that are the objects of most analyses of media and education, Goldfarb encourages readers to see a range of media subcultures as pedagogical tools. The projects he analyzes include media produced by AIDS/HIV advocacy groups and social services agencies for classroom use in the 1990s; documentary and fictional cinemas of West Africa used by the French government and then by those resisting it; museum exhibitions; and TV Anhembi, a municipally sponsored collaboration between the television industry and community-based videographers in São Paolo, Brazil.

Combining media studies, pedagogical theory, and art history, and including an appendix of visual media resources and ideas about the most productive ways to utilize visual technologies for educational purposes, Visual Pedagogy will be useful to educators, administrators, and activists.

Bridging the multiple histories and present-day iterations of U.S. settler colonialism in North America and its overseas imperialism in the Caribbean and the Pacific, the essays in this groundbreaking volume underscore the United States as a fluctuating constellation of geopolitical entities marked by overlapping and variable practices of colonization. By rethinking the intertwined experiences of Native Americans, Puerto Ricans, Chamorros, Filipinos, Hawaiians, Samoans, and others subjected to U.S. imperial rule, the contributors consider how the diversity of settler claims, territorial annexations, overseas occupations, and circuits of slavery and labor—along with their attendant forms of jurisprudence, racialization, and militarism—both facilitate and delimit the conditions of colonial dispossession. Drawing on the insights of critical indigenous and ethnic studies, postcolonial theory, critical geography, ethnography, and social history, this volume emphasizes the significance of U.S. colonialisms as a vital analytic framework for understanding how and why the United States is what it is today.

Contributors. Julian Aguon, Joanne Barker, Berenika Byszewski, Jennifer Nez Denetdale, Augusto Espiritu, Alyosha Goldstein, J. K?haulani Kauanui, Barbara Krauthamer, Lorena Oropeza, Vicente L. Rafael, Dean Itsuji Saranillio, Lanny Thompson, Lisa Uperesa, Manu Vimalassery
 

After the Second World War, the idea that local community action was indispensable for the alleviation of poverty was broadly embraced by US policymakers, social scientists, international development specialists, and grassroots activists. Governmental efforts to mobilize community action in the name of democracy served as a volatile condition of possibility for poor people and dispossessed groups negotiating the tension between calls for self-help and demands for self-determination in the era of the Cold War and global decolonization. In Poverty in Common, Alyosha Goldstein suggests new ways to think about the relationship among liberalism, government, and inequality in the United States. He does so by analyzing historical dynamics including Progressive-era reform as a precursor to community development during the Cold War, the ways that the language of "underdevelopment" articulated ideas about poverty and foreignness, the use of poverty as a crucible of interest group politics, and radical groups' critical reframing of community action in anticolonial terms. During the mid-twentieth century, approaches to poverty in the United States were linked to the racialized and gendered negotiation of boundaries—between the foreign and the domestic, empire and nation, violence and order, and dependency and autonomy.

In Outlawed, Daniel M. Goldstein reveals how indigenous residents of marginal neighborhoods in Cochabamba, Bolivia, struggle to balance security with rights. Feeling abandoned to the crime and violence that grip their communities, they sometimes turn to vigilante practices, including lynching, to apprehend and punish suspected criminals. Goldstein describes those in this precarious position as "outlawed": not protected from crime by the law but forced to comply with legal measures in other areas of their lives, their solutions to protection criminalized while their needs for security are ignored. He chronicles the complications of the government's attempts to provide greater rights to indigenous peoples, including a new constitution that recognizes "community justice." He also examines how state definitions of indigeneity ignore the existence of marginal neighborhoods, continuing long-standing exclusionary practices. The insecurity felt by the impoverished residents of Cochabamba—and, more broadly, by the urban poor throughout Bolivia and Latin America—remains. Outlawed illuminates the complex interconnections between differing definitions of security and human rights at the local, national, and global levels.

 

Since the Bolivian revolution in 1952, migrants have come to the city of Cochabamba, seeking opportunity and relief from rural poverty. They have settled in barrios on the city’s outskirts only to find that the rights of citizens—basic rights of property and security, especially protection from crime—are not available to them. In this ethnography, Daniel M. Goldstein considers the significance of and similarities between two kinds of spectacles—street festivals and the vigilante lynching of criminals—as they are performed in the Cochabamba barrio of Villa Pagador. By examining folkloric festivals and vigilante violence within the same analytical framework, Goldstein shows how marginalized urban migrants, shut out of the city and neglected by the state, use performance to assert their national belonging and to express their grievances against the inadequacies of the state’s official legal order.

During the period of Goldstein’s fieldwork in Villa Pagador in the mid-1990s, residents attempted to lynch several thieves and attacked the police who tried to intervene. Since that time, there have been hundreds of lynchings in the poor barrios surrounding Cochabamba. Goldstein presents the lynchings of thieves as a form of horrific performance, with elements of critique and political action that echo those of local festivals. He explores the consequences and implications of extralegal violence for human rights and the rule of law in the contemporary Andes. In rich detail, he provides an in-depth look at the development of Villa Pagador and of the larger metropolitan area of Cochabamba, illuminating a contemporary Andean city from both microethnographic and macrohistorical perspectives. Focusing on indigenous peoples’ experiences of urban life and their attempts to manage their sociopolitical status within the broader context of neoliberal capitalism and political decentralization, The Spectacular City highlights the deep connections between performance, law, violence, and the state.

Leviathans at the Gold Mine is an ethnographic account of the relationship between the Ipili, an indigenous group in Papua New Guinea, and the large international gold mine operating on their land. It was not until 1939 that Australian territorial patrols reached the Ipili. By 1990, the third largest gold mine on the planet was operating in their valley. Alex Golub examines how "the mine" and "the Ipili" were brought into being in relation to one another, and how certain individuals were authorized to speak for the mine and others to speak for the Ipili. Considering the relative success of the Ipili in their negotiations with a multinational corporation, Golub argues that a unique conjuncture of personal relationships and political circumstances created a propitious moment during which the dynamic and fluid nature of Ipili culture could be used to full advantage. As that moment faded away, social problems in the valley increased. The Ipili now struggle with the extreme social dislocation brought about by the massive influx of migrants and money into their valley.

Accounts of lynching in the United States have primarily focused on violence against African Americans in the South. Ken Gonzales-Day reveals racially motivated lynching as a more widespread practice. His research uncovered 350 instances of lynching that occurred in the state of California between 1850 and 1935. The majority were perpetrated against Latinos, Native Americans, and Asian Americans; more Latinos were lynched in California than were persons of any other race or ethnicity.

An artist and writer, Gonzales-Day began this study by photographing lynching sites in order to document the absences and empty spaces that are emblematic of the forgotten history of lynching in the West. Drawing on newspaper articles, periodicals, court records, historical photographs, and souvenir postcards, he attempted to reconstruct the circumstances surrounding the lynchings that had occurred in the spaces he was photographing. The result is an unprecedented textual and visual record of a largely unacknowledged manifestation of racial violence in the United States. Including sixteen color illustrations, Lynching in the West juxtaposes Gonzales-Day’s evocative contemporary photographs of lynching sites with dozens of historical images.

Gonzales-Day examines California’s history of lynching in relation to the spectrum of extra-legal vigilantism common during the nineteenth century—from vigilante committees to lynch mobs—and in relation to race-based theories of criminality. He explores the role of visual culture as well, reflecting on lynching as spectacle and the development of lynching photography. Seeking to explain why the history of lynching in the West has been obscured until now, Gonzales-Day points to popular misconceptions of frontier justice as race-neutral and to the role of the anti-lynching movement in shaping the historical record of lynching in the United States.

In Securing Paradise, Vernadette Vicuña Gonzalez shows how tourism and militarism have functioned together in Hawai`i and the Philippines, jointly empowering the United States to assert its geostrategic and economic interests in the Pacific. She does so by interpreting fiction, closely examining colonial and military construction projects, and delving into present-day tourist practices, spaces, and narratives. For instance, in both Hawai`i and the Philippines, U.S. military modes of mobility, control, and surveillance enable scenic tourist byways. Past and present U.S. military posts, such as the Clark and Subic Bases and the Pearl Harbor complex, have been reincarnated as destinations for tourists interested in World War II. The history of the U.S. military is foundational to tourist itineraries and imaginations in such sites. At the same time, U.S. military dominance is reinforced by the logics and practices of mobility and consumption underlying modern tourism. Working in tandem, militarism and tourism produce gendered structures of feeling and formations of knowledge. These become routinized into everyday life in Hawai`i and the Philippines, inculcating U.S. imperialism in the Pacific.

Published in 1499 and centered on the figure of a bawd and witch, Fernando de Rojas' dark and disturbing Celestina was destined to become the most suppressed classic in Spanish literary history. Routinely ignored in Spanish letters, the book nonetheless echoes through contemporary Spanish and Latin American literature. This is the phenomenon that Celestina's Brood explores.
Roberto González Echevarría, one of the most eminent and influential critics of Hispanic literature writing today, uses Rojas' text as his starting point to offer an exploration of modernity in the Hispanic literary tradition, and of the Baroque as an expression of the modern. His analysis of Celestina reveals the relentless probing of the limits of language and morality that mark the work as the beginning of literary modernity in Spanish, and the start of a tradition distinguished by a penchant for the excesses of the Baroque. González Echevarría pursues this tradition and its meaning through the works of major figures such as Cervantes, Lope de Vega, Calderón de la Barca, Alejo Carpentier, Carlos Fuentes, Gabriel García Márquez, Nicolás Guillén, and Severo Sarduy, as well as through the works of lesser-known authors.
By revealing continuities of the Baroque, Celestina's Brood cuts across conventional distinctions between Spanish and Latin American literary traditions to show their profound and previously unimagined affinity.

Myth and Archive presents a new theory of the origin and evolution of Latin American literature and the emergence of the modern novel. In this influential, award-winning exploration of Latin American writing from colonial times to the present, Roberto González Echevarría dispenses with traditional literary history to reveal the indebted relationship of the novel to legal, scientific, and anthropological discourses.
Providing ways to link literary and nonliterary narratives, González Echevarría examines a variety of archival writings—from the chronicles of the discovery and conquest of the New World to scientific travel narratives and records of criminal confessions—and explores the relationship of these writings to novels by authors such as García Márquez, Borges, Barnet, Sarmiento, Carpentier, and Garcilaso de la Vega. Moving beyond demonstrating that early forms of creative narrative had their geneses in the sixteenth-century authoritative discourse of the Spanish Empire, González Echevarría shows how this same originating process has been repeated in other key moments in the history of the Latin American narrative. He shows how the discourse of scientific discovery was the model for much nineteenth-century literature, as well as how anthropological writings on the nature of language and myth have come to shape the ideology and form of literature in the twentieth century. This most recent form of Latin American narrative creates its own mythic form through an atavistic return to its legal origins—the archive.
This acclaimed book—originally published in 1990—will be of continuing interest to historians, anthropologists, literary theorists, and students of Latin American culture.

Viewing stories and novels from an ethnographic perspective, Eduardo González here explores the relationship between myth, ritual, and death in writings by Borges, Vargas Llosa, Cortázar, and Roa Bastos. He then weaves this analysis into a larger cultural fabric composed of the works of Chaucer, Shakespeare, Joyce, Benjamin, H. G. Wells, Kafka, Poe, and others.
What interests González is the signature of authorial selfhood in narrative and performance, which he finds willfully and temptingly disfigured in the works he examines: horrific and erotic, subservient and tyrannical, charismatic and repellent. Searching out the personal image and plot, González uncovers two fundamental types of narrative: one that strips character of moral choice; and another in which characters' choices deprive them of personal autonomy and hold them in ritual bondage to a group. Thus The Monstered Self becomes a study of the conflict between individual autonomy and the stereotypes of solidarity.
Written in a characteristically allusive, elliptical style, and drawing on psychoanalysis, religion, mythology, and comparative literature, The Monstered Self is in itself a remarkable performance, one that will engage readers in anthropology, psychology, and cultural history as well as those specifically interested in Latin American narrative.

This anthology provides an overview of the history and theory of Chicano/a art from the 1960s to the present, emphasizing the debates and vocabularies that have played key roles in its conceptualization. In Chicano and Chicana Art—which includes many of Chicano/a art's landmark and foundational texts and manifestos—artists, curators, and cultural critics trace the development of Chicano/a art from its early role in the Chicano civil rights movement to its mainstream acceptance in American art institutions. Throughout this teaching-oriented volume they address a number of themes, including the politics of border life, public art practices such as posters and murals, and feminist and queer artists' figurations of Chicano/a bodies. They also chart the multiple cultural and artistic influences—from American graffiti and Mexican pre-Columbian spirituality to pop art and modernism—that have informed Chicano/a art's practice.

Contributors. Carlos Almaraz, David Avalos, Judith F. Baca, Raye Bemis, Jo-Anne Berelowitz, Elizabeth Blair, Chaz Bojóroquez, Philip Brookman, Mel Casas, C. Ondine Chavoya, Karen Mary Davalos, Rupert García, Alicia Gaspar de Alba, Shifra Goldman, Jennifer A. González, Rita Gonzalez, Robb Hernández, Juan Felipe Herrera, Louis Hock, Nancy L. Kelker, Philip Kennicott, Josh Kun, Asta Kuusinen, Gilberto “Magu” Luján, Amelia Malagamba-Ansotegui, Amalia Mesa-Bains, Dylan Miner, Malaquias Montoya, Judithe Hernández de Neikrug, Chon Noriega, Joseph Palis, Laura Elisa Pérez, Peter Plagens, Catherine Ramírez, Matthew Reilly, James Rojas, Terezita Romo, Ralph Rugoff, Lezlie Salkowitz-Montoya, Marcos Sanchez-Tranquilino, Cylena Simonds, Elizabeth Sisco, John Tagg, Roberto Tejada, Rubén Trejo, Gabriela Valdivia, Tomás Ybarra-Frausto, Victor Zamudio-Taylor

Theology of Money is a philosophical inquiry into the nature and role of money in the contemporary world. Philip Goodchild reveals the significance of money as a dynamic social force by arguing that under its influence, moral evaluation is subordinated to economic valuation, which is essentially abstract and anarchic. His rigorous inquiry opens into a complex analysis of political economy, encompassing markets and capital, banks and the state, class divisions, accounting practices, and the ecological crisis awaiting capitalism.

Engaging with Christian theology and the thought of Carl Schmitt, Georg Simmel, Karl Marx, Adam Smith, and many others, Goodchild develops a theology of money based on four contentions, which he elaborates in depth. First, money has no intrinsic value; it is a promise of value, a crystallization of future hopes. Second, money is the supreme value in contemporary society. Third, the value of assets measured by money is always future-oriented, dependent on expectations about how much might be obtained for those assets at a later date. Since this value, when realized, will again depend on future expectations, the future is forever deferred. Financial value is essentially a degree of hope, expectation, trust, or credit. Fourth, money is created as debt, which involves a social obligation to work or make profits to repay the loan. As a system of debts, money imposes an immense and irresistible system of social control on individuals, corporations, and governments, each of whom are threatened by economic failure if they refuse their obligations to the money system. This system of debt has progressively tightened its hold on all sectors and regions of global society. With Theology of Money, Goodchild aims to make conscious our collective faith and its dire implications.

Originally published in 1903, The Souls of Black Folk is W. E. B. Du Bois’s biting critique of the racist and nationalist ideologies that animated the political culture of post-Reconstruction, Jim Crow America. This special issue of Public Culture celebrates and considers the influence of Souls during the last one hundred years. Featuring the work of a new generation of Du Bois scholars, it suggests that a full appreciation of Souls requires reading it as both literary art and political theory.

This collection relies on the language of literary aesthetics to examine Du Bois’s political agenda and, conversely, on varying accounts of that political agenda to assess his aesthetic choices. It also helps us understand why Souls became a literary and political classic and has played such a decisive role in the formation of twentieth-century African American literature and political thought. The essays explore a variety of topics, including the possibility that Souls was modeled on Richard Wagner’s idea of a total artwork, Du Bois’s thinking about the political significance of homosociality, and the interplay of racialism, nationalism, and globalism in Souls.

Contributors. Anne E. Carroll, Vilashini Cooppan, Robert Gooding-Williams, Sheila Lloyd, Dwight A. McBride, Charles I. Nero, Cheryl A. Wall, Alexander G. Weheliye

Since the show's debut in 2007, Mad Men has invited viewers to immerse themselves in the lush period settings, ruthless Madison Avenue advertising culture, and arresting characters at the center of its 1960s fictional world. Mad Men, Mad World is a comprehensive analysis of this groundbreaking TV series. Scholars from across the humanities consider the AMC drama from a fascinating array of perspectives, including fashion, history, architecture, civil rights, feminism, consumerism, art, cinema, and the serial format, as well as through theoretical frames such as critical race theory, gender, queer theory, global studies, and psychoanalysis.

In the introduction, the editors explore the show's popularity; its controversial representations of race, class, and gender; its powerful influence on aesthetics and style; and its unique use of period historicism and advertising as a way of speaking to our neoliberal moment. Mad Men, Mad World also includes an interview with Phil Abraham, an award-winning Mad Men director and cinematographer. Taken together, the essays demonstrate that understanding Mad Men means engaging the show not only as a reflection of the 1960s but also as a commentary on the present day.

Contributors. Michael Bérubé, Alexander Doty, Lauren M. E. Goodlad, Jim Hansen, Dianne Harris, Lynne Joyrich, Lilya Kaganovsky, Clarence Lang, Caroline Levine, Kent Ono, Dana Polan, Leslie Reagan, Mabel Rosenheck, Robert A. Rushing, Irene Small, Michael Szalay, Jeremy Varon

Historically, economists have had very little to say about art: in the latter half of this century, that has begun to change. Difficult issues, like pricing and art valuation, the influence on pricing by what is fashionable in art, and the nature of the auction, have recently been tackled by economists in spite of elusive answers. Economic Engagements with Art suggests that taste and fashion in art need not be mysterious or outside rational discourse, and that they can be studied by economists to the great benefit of the discipline.
This volume, which deals mostly with painting, is divided into three sections that consider the interplay between art and economics from different perspectives. In the first section, Art and Economic Theory, economists clarify the need to construct a framework for understanding the roles of taste and fashion in art valuation. A historical view is considered in a piece about the teacher of Velasquez and artistic adviser to the Inquisition in Seville, who took into account not only market factors, like demand, but also the "truth" and the nobility of the artist’s profession and of the painting itself. Also in this section is an essay on Rousseau’s perspective on the worth of a painting based on its envy value in social circles; other contributions focus on William Stanley Jevons, a nineteenth century British political economist, whose problems with art stemmed from the uniqueness of each work, rendering definitive market and economic terms irrelevant. The second section of the book, Art and Economic Policy, looks at broader policy issues with regard to the historical role of art. Essays consider policy with respect to art exports and imports and federal patronage of the arts during theDepression; Lionel Robbins and the political economy of art; and the interplay among economy, architecture, and politics as shown in certain postwar Hilton hotels. In the final section, The Business of Art, a variety of perspectives are considered: the economics of art in early modern times, discussed in the context of both humanist and scholastic approaches; the pricing of pictures based on a study of the Smith-Reynolds connection; and the relationships between Otto Nuerath, graphic art, and the social order.
The first collaborative and historical treatment of the connection between art and economics, Economic Engagements with Art will appeal to people across, from history and economics to art history.

Contributors. Márcia Balisciano, William J. Barber, Neil de Marchi, Bertil Fridén, Crauford D. Goodwin, Guido Guerzoni, Robert J. Leonard, Harro Maas, Ernest Mathijs, Steven G. Medema, Bert Mosselmans, Zarinés Negrón, Marcia Pointon, Helen Rees, Toon van Houdt, Annabel Wharton, Sara Zablotney

Historically, economists have had very little to say about art: in the latter half of this century, that has begun to change. Difficult issues, like pricing and art valuation, the influence on pricing by what is fashionable in art, and the nature of the auction, have recently been tackled by economists in spite of elusive answers. Economic Engagements with Art suggests that taste and fashion in art need not be mysterious or outside rational discourse, and that they can be studied by economists to the great benefit of the discipline.
This volume, which deals mostly with painting, is divided into three sections that consider the interplay between art and economics from different perspectives. In the first section, Art and Economic Theory, economists clarify the need to construct a framework for understanding the roles of taste and fashion in art valuation. A historical view is considered in a piece about the teacher of Velasquez and artistic adviser to the Inquisition in Seville, who took into account not only market factors, like demand, but also the "truth" and the nobility of the artist’s profession and of the painting itself. Also in this section is an essay on Rousseau’s perspective on the worth of a painting based on its envy value in social circles; other contributions focus on William Stanley Jevons, a nineteenth century British political economist, whose problems with art stemmed from the uniqueness of each work, rendering definitive market and economic terms irrelevant. The second section of the book, Art and Economic Policy, looks at broader policy issues with regard to the historical role of art. Essays consider policy with respect to art exports and imports and federal patronage of the arts during theDepression; Lionel Robbins and the political economy of art; and the interplay among economy, architecture, and politics as shown in certain postwar Hilton hotels. In the final section, The Business of Art, a variety of perspectives are considered: the economics of art in early modern times, discussed in the context of both humanist and scholastic approaches; the pricing of pictures based on a study of the Smith-Reynolds connection; and the relationships between Otto Nuerath, graphic art, and the social order.
The first collaborative and historical treatment of the connection between art and economics, Economic Engagements with Art will appeal to people across, from history and economics to art history.

Contributors. Márcia Balisciano, William J. Barber, Neil de Marchi, Bertil Fridén, Crauford D. Goodwin, Guido Guerzoni, Robert J. Leonard, Harro Maas, Ernest Mathijs, Steven G. Medema, Bert Mosselmans, Zarinés Negrón, Marcia Pointon, Helen Rees, Toon van Houdt, Annabel Wharton, Sara Zablotney

This new, revised, and expanded edition of the popular Academic’s Handbook is an essential guide for those planning or beginning an academic career.

Faculty members, administrators, and professionals with experience at all levels of higher education offer candid, practical advice to help beginning academics understand matters including:
— The different kinds of institutions of higher learning and expectations of faculty at each.
— The advantages and disadvantages of teaching at four-year colleges instead of research universities.
— The ins and outs of the job market.
— Alternatives to tenure-track, research-oriented positions.
— Salary and benefits.
— The tenure system.
— Pedagogy in both large lecture courses and small, discussion-based seminars.
— The difficulties facing women and minorities within academia.
— Corporations, foundations, and the federal government as potential sources of research funds.
— The challenges of faculty mentoring.
— The impact of technology on contemporary teaching and learning.
— Different types of publishers and the publishing process at university presses.
— The modern research library.
— The structure of university governance.
— The role of departments within the university.

With the inclusion of eight new chapters, this edition of The Academic’s Handbook is designed to ease the transition from graduate school to a well-rounded and rewarding career.

Contributors. Judith K. Argon, Louis J. Budd, Ronald R. Butters, Norman L. Christensen, Joel Colton, Paul L. Conway, John G. Cross, Fred E. Crossland, Cathy N. Davidson, A. Leigh DeNeef, Beth A. Eastlick, Matthew W. Finkin, Jerry G. Gaff, Edie N. Goldenberg, Craufurd D. Goodwin, Stanley M. Hauerwas, Deborah L. Jakubs, L. Gregory Jones, Nellie Y. McKay, Patrick M. Murphy, Elizabeth Studley Nathans, A. Kenneth Pye, Zachary B. Robbins, Anne Firor Scott, Sudhir Shetty, Samuel Schuman, Philip Stewart, Boyd R. Strain, Emily Toth, P. Aarne Vesilind, Judith S. White, Henry M. Wilbur, Ken Wissoker

Something is blooming every day of the year in the renowned gardens at Montrose, Nancy Goodwin’s nineteenth-century property in historic Hillsborough, North Carolina. Since moving to Montrose with her husband Craufurd in 1977, Goodwin has transformed more than twenty acres into an extraordinary complex of interlocking gardens that come in and out of focus as the seasons overlap and change.

Beautifully written and illustrated, Montrose: Life in a Garden is Goodwin’s affectionate biography of her gardens, recounting how and why each section was developed over the years, including the Dianthus Walk, Nandinaland, Hellebore Slope, Mother-in-Law Walk, Snowdrop Woods, and Jo’s Bed. It is also a meticulous month-by-month chronicle of a specific year in these gardens—a year that saw a punishing drought that threatened Goodwin’s no-irrigation policy, a damaging December ice storm, and the beginnings of a plan to preserve Montrose in the future.

Working on her knees for long days throughout the year, Nancy Goodwin always has a vision of how her gardens will appear in twelve months or in twelve years. She will spend weeks, for instance, planting hundreds of snow drops along a woodsy path in order to enjoy a fleeting week of exquisite beauty in coming years. She never puts anything into the ground without imagining what form, color, and texture it will add to a bed. With tireless patience and unflagging optimism, Goodwin will wait years to see a single plant bloom.

Following Goodwin’s activities throughout the year, readers will learn the fundamentals of maintaining a four-season garden in Zone 7 in the South. Award-winning garden illustrator Ippy Patterson has provided more than 160 lavish illustrations of the gardens at Montrose and these meticulously detailed drawings appear throughout the book.

A Nation Rising chronicles the political struggles and grassroots initiatives collectively known as the Hawaiian sovereignty movement. Scholars, community organizers, journalists, and filmmakers contribute essays that explore Native Hawaiian resistance and resurgence from the 1970s to the early 2010s. Photographs and vignettes about particular activists further bring Hawaiian social movements to life. The stories and analyses of efforts to protect land and natural resources, resist community dispossession, and advance claims for sovereignty and self-determination reveal the diverse objectives and strategies, as well as the inevitable tensions, of the broad-tent sovereignty movement. The collection explores the Hawaiian political ethic of ea, which both includes and exceeds dominant notions of state-based sovereignty. A Nation Rising raises issues that resonate far beyond the Hawaiian archipelago, issues such as Indigenous cultural revitalization, environmental justice, and demilitarization.

Contributors. Noa Emmett Aluli, Ibrahim G. Aoudé, Kekuni Blaisdell, Joan Conrow, Noelani Goodyear-Ka'opua, Edward W. Greevy, Ulla Hasager, Pauahi Ho'okano, Micky Huihui, Ikaika Hussey, Manu Ka‘iama, Le‘a Malia Kanehe, J. Kehaulani Kauanui, Anne Keala Kelly, Jacqueline Lasky, Davianna Pomaika'i McGregor, Nalani Minton, Kalamaoka'aina Niheu, Katrina-Ann R. Kapa'anaokalaokeola Nakoa Oliveira, Jonathan Kamakawiwo'ole Osorio, Leon No'eau Peralto, Kekailoa Perry, Puhipau, Noenoe K. Silva, D. Kapua‘ala Sproat, Ty P. Kawika Tengan, Mehana Blaich Vaughan, Kuhio Vogeler, Erin Kahunawaika’ala Wright

In Unruly Visions Gayatri Gopinath brings queer studies to bear on investigations of diaspora and visuality, tracing the interrelation of affect, archive, region, and aesthetics through an examination of a wide range of contemporary queer visual culture. Spanning film, fine art, poetry, and photography, these cultural forms—which Gopinath conceptualizes as aesthetic practices of queer diaspora—reveal the intimacies of seemingly disparate histories of (post)colonial dwelling and displacement and are a product of diasporic trajectories. Countering standard formulations of diaspora that inevitably foreground the nation-state, as well as familiar formulations of queerness that ignore regional gender and sexual formations, she stages unexpected encounters between works by South Asian, Middle Eastern, African, Australian, and Latinx artists such as Tracey Moffatt, Akram Zaatari, and Allan deSouza. Gopinath shows how their art functions as regional queer archives that express alternative understandings of time, space, and relationality. The queer optics produced by these visual practices creates South-to-South, region-to-region, and diaspora-to-region cartographies that profoundly challenge disciplinary and area studies rubrics. Gopinath thereby provides new critical perspectives on settler colonialism, empire, military occupation, racialization, and diasporic dislocation as they indelibly mark both bodies and landscapes.

By bringing queer theory to bear on ideas of diaspora, Gayatri Gopinath produces both a more compelling queer theory and a more nuanced understanding of diaspora. Focusing on queer female diasporic subjectivity, Gopinath develops a theory of diaspora apart from the logic of blood, authenticity, and patrilineal descent that she argues invariably forms the core of conventional formulations. She examines South Asian diasporic literature, film, and music in order to suggest alternative ways of conceptualizing community and collectivity across disparate geographic locations. Her agile readings challenge nationalist ideologies by bringing to light that which has been rendered illegible or impossible within diaspora: the impure, inauthentic, and nonreproductive.

Gopinath juxtaposes diverse texts to indicate the range of oppositional practices, subjectivities, and visions of collectivity that fall outside not only mainstream narratives of diaspora, colonialism, and nationalism but also most projects of liberal feminism and gay and lesbian politics and theory. She considers British Asian music of the 1990s alongside alternative media and cultural practices. Among the fictional works she discusses are V. S. Naipaul’s classic novel A House for Mr. Biswas, Ismat Chughtai’s short story “The Quilt,” Monica Ali’s Brick Lane, Shyam Selvadurai’s Funny Boy, and Shani Mootoo’s Cereus Blooms at Night. Analyzing films including Deepa Mehta’s controversial Fire and Mira Nair’s Monsoon Wedding, she pays particular attention to how South Asian diasporic feminist filmmakers have reworked Bollywood’s strategies of queer representation and to what is lost or gained in this process of translation. Gopinath’s readings are dazzling, and her theoretical framework transformative and far-reaching.

Landscapes of Devils is a rich, historically grounded ethnography of the western Toba, an indigenous people in northern Argentina’s Gran Chaco region. In the early twentieth century, the Toba were defeated by the Argentinean army, incorporated into the seasonal labor force of distant sugar plantations, and proselytized by British Anglicans. Gastón R. Gordillo reveals how the Toba’s memory of these processes is embedded in their experience of “the bush” that dominates the Chaco landscape.

As Gordillo explains, the bush is the result of social, cultural, and political processes that intertwine this place with other geographies. Labor exploitation, state violence, encroachment by settlers, and the demands of Anglican missionaries all transformed this land. The Toba’s lives have been torn between alienating work in sugar plantations and relative freedom in the bush, between moments of domination and autonomy, abundance and poverty, terror and healing. Part of this contradictory experience is culturally expressed in devils, evil spirits that acquire different features in different places. The devils are sources of death and disease in the plantations, but in the bush they are entities that connect with humans as providers of bush food and healing power. Enacted through memory, the experiences of the Toba have produced a tense and shifting geography. Combining extensive fieldwork conducted over a decade, historical research, and critical theory, Gordillo offers a nuanced analysis of the Toba’s social memory and a powerful argument that geographic places are not only objective entities but also the subjective outcome of historical forces.

At the foot of the Argentine Andes, bulldozers are destroying forests and homes to create soy fields in an area already strewn with rubble from previous waves of destruction and violence. Based on ethnographic research in this region where the mountains give way to the Gran Chaco lowlands, Gastón R. Gordillo shows how geographic space is inseparable from the material, historical, and affective ruptures embodied in debris. His exploration of the significance of rubble encompasses lost cities, derelict train stations, overgrown Jesuit missions and Spanish forts, stranded steamships, mass graves, and razed forests. Examining the effects of these and other forms of debris on the people living on nearby ranches and farms, and in towns, Gordillo emphasizes that for the rural poor, the rubble left in the wake of capitalist and imperialist endeavors is not romanticized ruin but the material manifestation of the violence and dislocation that created it.
 

At age 42, Barbara L. Gordon was diagnosed with Stage II breast cancer. Two years later, it appeared that the cancer had metastasized. Along with her oncologist and other experts, Gordon has written the book that she wished she had as she faced late-stage breast cancer and the prospect of dying from the disease. Filled with information and advice, and designed to enable informed decisions and improved quality of life, this comprehensive guide gathers in one place authoritative medical information about recurrence and late-stage breast cancer, and it addresses the practical, emotional, spiritual, and interpersonal aspects of dying and death.

This indispensable book aids those diagnosed with recurrent or late-stage breast cancer, those wanting to reduce the chance of a recurrence, and those with other types of late-stage cancer. It is also a valuable resource for healthcare professionals, friends, and family members.

Topics covered include

• Types of recurrence, their symptoms, and ways of minimizing the chance of a recurrence
• Diagnostic tests, potential surgeries, and treatments to manage late-stage cancer
• Getting the best care, evaluating complementary therapies, and alleviating pain and depression
• Cessation of treatment and what one may experience as the disease progresses
• End-of-life issues including dealing with financial and legal matters, communicating with loved ones and hospice workers, and planning memorial services

Breast Cancer Recurrence and Advanced Disease includes a glossary of medical terms, appendices on nutrition and integrative health centers, and links to current Web sites addressing matters such as clinical trials, patients’ rights, and medical expenses.

PADS #84
This book presents a sociolinguistic study of the Northern Cities Shift, a complex pattern of vowel changes heard across the traditional Inland North dialect region of the United States. The study reports on how residents of small towns are reacting to these changes, which are associated with urban speech. Utilizing both quantitative and qualitative evidence, the author offers a richly detailed account of the sociolinguistic distribution of the changes in the communities investigated. This work sheds new light on this important pattern of change as well as on the processes involved in the diffusion of language change in general.

The posthumous publication of Theodor W. Adorno’s works on music continues to reveal the special relationship between music and philosophy in his thinking. These important works have not, however, received as much scholarly attention as they deserve. Contributors to this issue seek to provide insight into some of the key themes raised in these works, including the sociology of musical genre, the historical transformation of music from the "heroic" or high-bourgeois era to late modernity, the meaning of both performance and listening in the era of mass communication, and the specific challenges or deformations of the radio on musical form, a theme that implicates many of the digital practices of our own age. There is much left to discover in these new publications, and they pose again, with renewed vigor, the question of Adorno’s Aktualität—his polyvalent, untranslatable term for, among other things, the intellectual relationship between the present and the past.

Contributors
Daniel K. L. Chua, Lydia Goehr, Peter E. Gordon, Martin Jay, Brian Kane, Max Paddison, Alexander Rehding, Fred Rush, Martin Scherzinger

The French sociologist Pierre Bourdieu had a broader theoretical agenda than is generally acknowledged. Introducing this innovative collection of essays, Philip S. Gorski argues that Bourdieu's reputation as a theorist of social reproduction is the misleading result of his work's initial reception among Anglophone readers, who focused primarily on his mid-career thought. A broader view of his entire body of work reveals Bourdieu as a theorist of social transformation as well. Gorski maintains that Bourdieu was initially engaged with the question of social transformation and that the question of historical change not only never disappeared from his view, but re-emerged with great force at the end of his career.

The contributors to Bourdieu and Historical Analysis explore this expanded understanding of Bourdieu's thought and its potential contributions to analyses of large-scale social change and historical crisis. Their essays offer a primer on his concepts and methods and relate them to alternative approaches, including rational choice, Lacanian psychoanalysis, pragmatism, Latour's actor-network theory, and the "new" sociology of ideas. Several contributors examine Bourdieu's work on literature and sports. Others extend his thinking in new directions, applying it to nationalism and social policy. Taken together, the essays initiate an important conversation about Bourdieu's approach to sociohistorical change.

Contributors. Craig Calhoun, Charles Camic, Christophe Charle, Jacques Defrance, Mustafa Emirbayer, Ivan Ermakoff, Gil Eyal, Chad Alan Goldberg, Philip S. Gorski, Robert A. Nye, Erik Schneiderhan, Gisele Shapiro, George Steinmetz, David Swartz

This special issue of Radical History Review (RHR) offers not only a self-portrait of the journal but also a retrospective of radical history as a movement, an ideology, and a transformative force in historical scholarship. In an engaging combination of interviews, articles, and round-table discussions, this issue highlights the relentless challenge that radical history has posed to liberal and conservative paradigms.
Recognizing the creative power of pluralism, the RHR editors have marshalled a diverse troop of historical scholars in this issue. In “Forum on Radical History,” sixteen historians discuss how the notion of radicalism has affected the way they write, teach, and live, and in "A Conversation about the Radical History Review," past and present members of the editorial board zero in on the journal itself and the political and academic context in which it was born. Offering a more personal perspective, Mike Wallace, Pulitzer Prize winner and radical history founder, shares his thoughts on RHR and the movement. Other articles in this special issue tackle the state of radicalism today, analyzing the academic labor movement, the significance of physical space in Pinochet’s reign of terror, and the enduring symbolism of a particular statue in Prague.
This retrospective issue celebrates the journal’s past, but it also reflects on the present and looks forward to a future in which radicalism will continue to shape the landscape of historical and political discourse.

Contributors. Tani E. Barlow, Dan Bender, Paul Buhle, Gabriela Cano, Anna Clark, Martin Duberman, Ellen Carol DuBois, Ian Christopher Fletcher, Rob Gregg, Harry D. Harootunian, Winston James, Nikki R. Keddie, Dave Kinkela, Staughton Lynd, Teresa Meade, Joanne Pope Melish, Ellen Noonan, Enrique C. Ochoa, Gary Y. Okihiro, Cynthia Paces, Max Page, Vijay Prashad, David Price, David Roediger, Andor Skotnes, Mike Wallace

Terror and History brings together historians and leading scholars from around the world to examine, document, and reflect on the political and historical category of terror. Breaking with the traditional format of academic journals, the issue delivers short, sharp pieces of political and personal analysis rather than footnoted, monographic articles. Ranging from Guatemala to Palestine, interrogating notions of homeland, and unpacking the myths of the Irish Republican Army, the Red Army Faction, and Sendero Luminoso, the contributors to Terror and History revise our notions of terror and terrorism. The issue also includes a critique of the new war movies like Saving Private Ryan, Pearl Harbor, and Black Hawk Down. In an interview, Mike Davis discusses his book-in-progress Heroes from Hell, delving into the revolutionary terror that gripped most of Europe after the French Revolution.

Contributors. Joel Beinin, Lisa Brock, Horace Campbell, Duane J. Corpis, Belinda Davis, Allen Feldman, Ian Christopher Fletcher, Van Gosse, Joy James, J. Angus Johnston, Amy Kaplan, Thomas Miller Klubock, R. J. Lambrose, Jesse Lemisch, Deborah Levenson, Walter Benn Michaels, Donnacha Ó Beacháin, Deborah Poole, Vijay Prashad, David Prochaska, Gerardo Rénique, Cedric J. Robinson, Nikhil Pal Singh, Stephanie J. Smith, Akinyele O. Umoja, Verónica Valdivia Ortiz de Zárate, Jon Wiener, Marilyn B. Young, Joseba Zulaika

This special issue of Radical History Review focuses on the “Irish question”—the historical role of British imperialism in Ireland and its legacies in the modern Republic of Ireland and in Northern Ireland. This collection of essays places Ireland in a comparative context, addressing the broader relevance of the Irish experience to questions of empire and colonialism worldwide. Examining how the Irish nationalist movement functioned for more than two centuries within the context of various forms of British imperialism, the issue analyzes the evolution of contemporary Ireland’s politics of race, immigration, and armed resistance.

One contributor addresses the issue of constitutional nationalism in late-nineteenth- and early-twentieth-century Ireland, while another looks at the recent history of Irish republicanism in relation to the peace process. Other essays examine Protestant society and Unionist hegemony in nineteenth-century Ulster, immigration and racism as the Irish experienced them in postwar Britain, and the historiography of race and racialization in Ireland. The historical adviser for the award-winning film The Wind That Shakes the Barley reflects on its portrayal of the period of the Irish War of Independence and Civil War and a photographic essay focuses on supporters of the modern Irish republican movement in the United States and Ireland.

Contributors. Kevin Bean, Pauline Collombier-Lakeman, Mary Conley, John Corbally, Steve Garner, Diane George, Van Gosse, Martin Hayes, Bill Kissane, Conor McGrady, Kerby Miller, Kevin Noble, Donal Ó Drisceoil

Ninety percent of the indigenous population in the Americas lives in the Andean and Mesoamerican nations of Bolivia, Ecuador, Mexico, Peru, and Guatemala. Recently indigenous social movements in these countries have intensified debate about racism and drawn attention to the connections between present-day discrimination and centuries of colonialism and violence. In Histories of Race and Racism, anthropologists, historians, and sociologists consider the experiences and representations of Andean and Mesoamerican indigenous peoples from the early colonial era to the present. Many of the essays focus on Bolivia, where the election of the country’s first indigenous president, Evo Morales, sparked fierce disputes over political power, ethnic rights, and visions of the nation. The contributors compare the interplay of race and racism with class, gender, nationality, and regionalism in Bolivia, Ecuador, Guatemala, Mexico, and Peru. In the process, they engage issues including labor, education, census taking, cultural appropriation and performance, mestizaje, social mobilization, and antiracist legislation. Their essays shed new light on the present by describing how race and racism have mattered in particular Andean and Mesoamerican societies at specific moments in time.

Contributors
Rossana Barragán
Kathryn Burns
Andrés Calla
Pamela Calla
Rudi Colloredo-Mansfeld
María Elena García
Laura Gotkowitz
Charles R. Hale
Brooke Larson
Claudio Lomnitz
José Antonio Lucero
Florencia E. Mallon
Khantuta Muruchi
Deborah Poole
Seemin Qayum
Arturo Taracena Arriola
Sinclair Thomson
Esteban Ticona Alejo

A Revolution for Our Rights is a critical reassessment of the causes and significance of the Bolivian Revolution of 1952. Historians have tended to view the revolution as the result of class-based movements that accompanied the rise of peasant leagues, mineworker unions, and reformist political projects in the 1930s. Laura Gotkowitz argues that the revolution had deeper roots in the indigenous struggles for land and justice that swept through Bolivia during the first half of the twentieth century. Challenging conventional wisdom, she demonstrates that rural indigenous activists fundamentally reshaped the military populist projects of the 1930s and 1940s. In so doing, she chronicles a hidden rural revolution—before the revolution of 1952—that fused appeals for equality with demands for a radical reconfiguration of political power, landholding, and rights.

Gotkowitz combines an emphasis on national political debates and congresses with a sharply focused analysis of Indian communities and large estates in the department of Cochabamba. The fragmented nature of Cochabamba’s Indian communities and the pioneering significance of its peasant unions make it a propitious vantage point for exploring contests over competing visions of the nation, justice, and rights. Scrutinizing state authorities’ efforts to impose the law in what was considered a lawless countryside, Gotkowitz shows how, time and again, indigenous activists shrewdly exploited the ambiguous status of the state’s pro-Indian laws to press their demands for land and justice. Bolivian indigenous and social movements have captured worldwide attention during the past several years. By describing indigenous mobilization in the decades preceding the revolution of 1952, A Revolution for Our Rights illuminates a crucial chapter in the long history behind present-day struggles in Bolivia and contributes to an understanding of indigenous politics in modern Latin America more broadly.

Challenging the widely held belief that Nicaragua has been ethnically homogeneous since the nineteenth century, To Die in This Way reveals the continued existence and importance of an officially “forgotten” indigenous culture. Jeffrey L. Gould argues that mestizaje—a cultural homogeneity that has been hailed as a cornerstone of Nicaraguan national identity—involved a decades-long process of myth building.

Through interviews with indigenous peoples and records of the elite discourse that suppressed the expression of cultural differences and rationalized the destruction of Indian communities, Gould tells a story of cultural loss. Land expropriation and coerced labor led to cultural alienation that shamed the indigenous population into shedding their language, religion, and dress. Beginning with the 1870s, Gould historicizes the forces that prompted a collective movement away from a strong identification with indigenous cultural heritage to an “acceptance” of a national mixed-race identity.

By recovering a significant part of Nicaraguan history that has been excised from the national memory, To Die in This Way critiques the enterprise of third world nation-building and thus marks an important step in the study of Latin American culture and history that will also interest anthropologists and students of social and cultural historians.

Cauca, located in southwestern Colombia and home to the largest indigenous population in the country, is renowned as a site of indigenous mobilization. In 1994, following a destructive earthquake, many families in Cauca were forced to leave their communities of origin and relocate to other areas within the province where the state provided them with land and housing. Noting that disasters offer communities the opportunity to remake themselves and their priorities, David D. Gow examines how three different communities established after the earthquake wrestled with conflicting visions of development. He shows how they each countered traditional notions of development by moving beyond a myopic obsession with poverty alleviation to demand that Colombia become more inclusive and treat all of its people as citizens with full rights and responsibilities.

Through ethnographic fieldwork conducted annually in Cauca from 1995 through 2002, Gow compares the development plans of the three communities, looking at both the planning processes and the plans themselves. In so doing, he demonstrates that there is no single indigenous approach to development and modernity. He describes differences in how each community defined and employed the concept of culture, how they connected a concern with culture to economic and political reconstruction, and how they sought to assert their own priorities while engaging with the existing development resources at their disposal. Ultimately, Gow argues that the moral vision advanced by the indigenous movement, combined with the growing importance attached to human rights, offers a fruitful way to think about development: less as a process of integration into a rigidly defined modernity than as a critical modernity based on a radical politics of inclusive citizenship.

You know it when you hear it, but can you say what it is? How you know? Why you either love or loathe it? What makes it original or derivative? To a music that tends to render its aficionados and detractors equally inarticulate, Theodore Gracyk brings a rare critical clarity. His book tells us once and for all what makes rock music rock. A happy marriage of aesthetic theory and the aesthetic practice that moved a generation, Rhythm and Noise is the only thorough-going account of rock as a distinct artistic medium rather than a species of popular culture.
What’s in a name? “Rock” or “Rock ’n’ Roll?” Grayck argues that rock and roll is actually a performance style, one in a number of musical styles comprising rock. What distinguishes rock, Gracyk tells us, is how it is mediated by technology: The art is in the recording. The lesson is a heady one, entailing a tour through the history of rock music from Elvis Presley’s first recordings in 1954 to Kurt Cobain’s suicide in 1994. Gracyk takes us through key recordings, lets us hear what rock musicians and their critics have to say, shows us how other kinds of music compare, and gives us the philosophical background to make more than passing sense of the medium. His work takes up the common myths and stereotypes about rock, popular and academic, and focuses on the features of the music that electrify fans and consistently generate controversy. When Elvis came to town, did southern sheriffs say that rock was barbaric and addictive? Well so did Theodor Adorno, in his way, and Allan Bloom, in his, and Gracyk takes aim at this charge as it echoes through the era of recorded music. He looks at what rock has to do with romanticism and, even more, with commercialism. And he questions the orthodoxy of making grand distinctions between “serious” and “popular” art.
Keenly attuned to the nuances of music and of all the ways that we can think about it, this exhilarating book tunes us in, as no other has, to the complex role of rock in American culture.

Challenging U.S. Apartheid is an innovative, richly detailed history of Black struggles for human dignity, equality, and opportunity in Atlanta from the early 1960s through the end of the initial term of Maynard Jackson, the city’s first Black mayor, in 1977. Winston A. Grady-Willis provides a seamless narrative stretching from the student nonviolent direct action movement and the first experiments in urban field organizing through efforts to define and realize the meaning of Black Power to the reemergence of Black women-centered activism. The work of African Americans in Atlanta, Grady-Willis argues, was crucial to the broader development of late-twentieth-century Black freedom struggles.

Grady-Willis describes Black activism within a framework of human rights rather than in terms of civil rights. As he demonstrates, civil rights were only one part of a larger struggle for self-determination, a fight to dismantle a system of inequalities that he conceptualizes as “apartheid structures.” Drawing on archival research and interviews with activists of the 1960s and 1970s, he illuminates a wide range of activities, organizations, and achievements, including the neighborhood-based efforts of Atlanta’s Black working poor, clandestine associations such as the African American women’s group Sojourner South, and the establishment of autonomous Black intellectual institutions such as the Institute of the Black World. Grady-Willis’s chronicle of the politics within the Black freedom movement in Atlanta brings to light overlapping ideologies, gender and class tensions, and conflicts over divergent policies, strategies, and tactics. It also highlights the work of grassroots activists, who take center stage alongside well-known figures in Challenging U.S. Apartheid. Women, who played central roles in the human rights struggle in Atlanta, are at the foreground of this history.

While Jews figure in the work of many modern Latin American writers, the questions of how and to what end they are represented have received remarkably little critical attention. Helping to correct this imbalance, Erin Graff Zivin traces the symbolic presence of Jews and Jewishness in late-nineteenth- through late-twentieth-century literary works from Argentina, Brazil, Peru, Mexico, Colombia, and Nicaragua. Ultimately, Graff Zivin’s investigation of representations of Jewishness reveals a broader, more complex anxiety surrounding difference in modern Latin American culture.

In her readings of Spanish American and Brazilian fiction, Graff Zivin highlights inventions of Jewishness in which the concept is constructed as a rhetorical device. She argues that Jewishness functions as a wandering signifier that while not wholly empty, can be infused with meaning based on the demands of the textual project in question. Just as Jews in Latin America possess distinct histories relative to their European and North American counterparts, they also occupy different symbolic spaces in the cultural landscape. Graff Zivin suggests that in Latin American fiction, anxiety, desire, paranoia, attraction, and repulsion toward Jewishness are always either in tension with or representative of larger attitudes toward otherness, whether racial, sexual, religious, national, economic, or metaphysical. She concludes The Wandering Signifier with an inquiry into whether it is possible to ethically represent the other within the literary text, or whether the act of representation necessarily involves the objectification of the other.

Stepping Left simultaneously unveils the radical roots of modern dance and recalls the excitement and energy of New York City in the 1930s. Ellen Graff explores the relationship between the modern dance movement and leftist political activism in this period, describing the moment in American dance history when the revolutionary fervor of "dancing modern" was joined with the revolutionary vision promised by the Soviet Union. This account reveals the major contribution of Communist and left-wing politics to modern dance during its formative years in New York City.
From Communist Party pageants to union hall performances to benefits for the Spanish Civil War, Graff documents the passionate involvement of American dancers in the political and social controversies that raged throughout the Depression era. Dancers formed collectives and experimented with collaborative methods of composition at the same time that they were marching in May Day parades, demonstrating for workers’ rights, and protesting the rise of fascism in Europe. Graff records the explosion of choreographic activity that accompanied this lively period—when modern dance was trying to establish legitimacy and its own audience. Stepping Left restores a missing legacy to the history of American dance, a vibrant moment that was supressed in the McCarthy era and almost lost to memory. Revisiting debates among writers and dancers about the place of political content and ethnicity in new dance forms, Stepping Left is a landmark work of dance history.

This reader brings together more than 200 texts and images in a broad introduction to Guatemala's history, culture, and politics. In choosing the selections, the editors sought to avoid representing the country only in terms of its long experience of conflict, racism, and violence. And so, while offering many perspectives on that violence, this anthology portrays Guatemala as a real place where people experience joys and sorrows that cannot be reduced to the contretemps of resistance and repression. It includes not only the opinions of politicians, activists, and scholars, but also poems, songs, plays, jokes, novels, short stories, recipes, art, and photographs that capture the diversity of everyday life in Guatemala. The editors introduce all of the selections, from the first piece, an excerpt from the Popol Vuh, a mid-sixteenth-century text believed to be the single most important source documenting pre-Hispanic Maya culture, through the final selections, which explore contemporary Guatemala in relation to neoliberalism, multiculturalism, and the dynamics of migration to the United States and of immigrant life. Many pieces were originally published in Spanish, and most of those appear in English for the first time.

Over the latter half of the twentieth century, the Guatemalan state slaughtered more than two hundred thousand of its citizens. In the wake of this violence, a vibrant pan-Mayan movement has emerged, one that is challenging Ladino (non-indigenous) notions of citizenship and national identity. In The Blood of Guatemala Greg Grandin locates the origins of this ethnic resurgence within the social processes of eighteenth- and nineteenth-century state formation rather than in the ruins of the national project of recent decades.
Focusing on Mayan elites in the community of Quetzaltenango, Grandin shows how their efforts to maintain authority over the indigenous population and secure political power in relation to non-Indians played a crucial role in the formation of the Guatemalan nation. To explore the close connection between nationalism, state power, ethnic identity, and political violence, Grandin draws on sources as diverse as photographs, public rituals, oral testimony, literature, and a collection of previously untapped documents written during the nineteenth century. He explains how the cultural anxiety brought about by Guatemala’s transition to coffee capitalism during this period led Mayan patriarchs to develop understandings of race and nation that were contrary to Ladino notions of assimilation and progress. This alternative national vision, however, could not take hold in a country plagued by class and ethnic divisions. In the years prior to the 1954 coup, class conflict became impossible to contain as the elites violently opposed land claims made by indigenous peasants.
This “history of power” reconsiders the way scholars understand the history of Guatemala and will be relevant to those studying nation building and indigenous communities across Latin America.

Fado, Portugal's most celebrated genre of popular music, can be heard in Lisbon clubs, concert halls, tourist sites, and neighborhood bars. Fado sounds traverse the globe, on internationally marketed recordings, as the "soul" of Lisbon. A fadista might sing until her throat hurts, the voice hovering on the break of a sob; in moments of sung beauty listeners sometimes cry. Providing an ethnographic account of Lisbon's fado scene, Lila Ellen Gray draws on research conducted with amateur fado musicians, fadistas, communities of listeners, poets, fans, and cultural brokers during the first decade of the twenty-first century. She demonstrates the power of music to transform history and place into feeling in a rapidly modernizing nation on Europe's periphery, a country no longer a dictatorship or an imperial power. Gray emphasizes the power of the genre to absorb sounds, memories, histories, and styles and transform them into new narratives of meaning and "soul."

Anna Katharine Green was the most famous and prolific writer of detective fiction in the United States prior to Dashiell Hammett. Her first novel, The Leavenworth Case, was the bestseller of 1878. Green is credited with a number of “firsts” within the mystery genre, including the gentleman murdered as he makes out his will and the icicle as murder weapon. She created the first female detectives in American fiction. Her amateur spinster sleuth, Amelia Butterworth, became the prototype for numerous women detectives to follow, including Agatha Christie’s Miss Marple. Nosy, opinionated, and tenacious, Amelia Butterworth engages in a sustained rivalry with Ebenezer Gryce, a police detective. In the interaction between these characters, Green developed two more conventions adopted by future generations of mystery writers: the investigation as battle between the sexes and between the professional and the unexpectedly sharp, observant amateur. This volume presents two of Green’s Amelia Butterworth tales: That Affair Next Door (1897) and Lost Man’s Lane (1898).

Herbert Daniel was a significant and complex figure in Brazilian leftist revolutionary politics and social activism from the mid-1960s until his death in 1992. As a medical student, he joined a revolutionary guerrilla organization but was forced to conceal his sexual identity from his comrades, a situation Daniel described as internal exile. After a government crackdown, he spent much of the 1970s in Europe, where his political self-education continued. He returned to Brazil in 1981, becoming engaged in electoral politics and social activism to champion gay rights, feminism, and environmental justice, achieving global recognition for fighting discrimination against those with HIV/AIDS. In Exile within Exiles, James N. Green paints a full and dynamic portrait of Daniel's deep commitment to leftist politics, using Daniel's personal and political experiences to investigate the opposition to Brazil's military dictatorship, the left's construction of a revolutionary masculinity, and the challenge that the transition to democracy posed to radical movements. Green positions Daniel as a vital bridge linking former revolutionaries to the new social movements, engendering productive dialogue between divergent perspectives in his writings and activism.

From the first encounters between the Portuguese and indigenous peoples in 1500 to the current political turmoil, the history of Brazil is much more complex and dynamic than the usual representations of it as the home of Carnival, soccer, the Amazon, and samba would suggest. This extensively revised and expanded second edition of the best-selling Brazil Reader dives deep into the past and present of a country marked by its geographical vastness and cultural, ethnic, and environmental diversity. Containing over one hundred selections—many of which appear in English for the first time and which range from sermons by Jesuit missionaries and poetry to political speeches and biographical portraits of famous public figures, intellectuals, and artists—this collection presents the lived experience of Brazilians from all social and economic classes, racial backgrounds, genders, and political perspectives over the past half millennium. Whether outlining the legacy of slavery, the roles of women in Brazilian public life, or the importance of political and social movements, The Brazil Reader provides an unparalleled look at Brazil’s history, culture, and politics.

In 1964, Brazil’s democratically elected, left-wing government was ousted in a coup and replaced by a military junta. The Johnson administration quickly recognized the new government. The U.S. press and members of Congress were nearly unanimous in their support of the “revolution” and the coup leaders’ anticommunist agenda. Few Americans were aware of the human rights abuses perpetrated by Brazil’s new regime. By 1969, a small group of academics, clergy, Brazilian exiles, and political activists had begun to educate the American public about the violent repression in Brazil and mobilize opposition to the dictatorship. By 1974, most informed political activists in the United States associated the Brazilian government with its torture chambers. In We Cannot Remain Silent, James N. Green analyzes the U.S. grassroots activities against torture in Brazil, and the ways those efforts helped to create a new discourse about human-rights violations in Latin America. He explains how the campaign against Brazil’s dictatorship laid the groundwork for subsequent U.S. movements against human rights abuses in Chile, Uruguay, Argentina, and Central America.

Green interviewed many of the activists who educated journalists, government officials, and the public about the abuses taking place under the Brazilian dictatorship. Drawing on those interviews and archival research from Brazil and the United States, he describes the creation of a network of activists with international connections, the documentation of systematic torture and repression, and the cultivation of Congressional allies and the press. Those efforts helped to expose the terror of the dictatorship and undermine U.S. support for the regime. Against the background of the political and social changes of the 1960s and 1970s, Green tells the story of a decentralized, international grassroots movement that effectively challenged U.S. foreign policy.

Nancy L. Green offers a critical and lively look at New York’s Seventh Avenue and the Parisian Sentier in this first comparative study of the two historical centers of the women’s garment industry. Torn between mass production and "art," this industry is one of the few manufactauring sectors left in the service-centered cities of today. Ready-to-Wear and Ready-to-Work tells the story of urban growth, the politics of labor, and the relationships among the many immigrant groups who have come to work the sewing machines over the last century.
Green focuses on issues of fashion and fabrication as they involve both the production and consumption of clothing. Traditionally, much of the urban garment industry has been organized around small workshops and flexible homework, and Green emphasizes the effect this labor organization had on the men and mostly women who have sewn the garments. Whether considering the immigrant Jews, Italians, Puerto Ricans, Dominicans, and Chinese in New York or the Chinese-Cambodians, Turks, Armenians, and Russian, Polish, and Tunisian Jews in Paris, she outlines similarities of social experience in the shops and the unions, while allowing the voices of the workers, in all their diversity to be heard.
A provocative examination of gender and ethnicity, historical conflict and consensus, and notions of class and cultural difference, Ready-to-Wear and Ready-to-Work breaks new ground in the methodology of comparative history.

For more than two decades, the artist Renée Green has created an impressive body of work in which language is an essential element. Green is also a prolific writer and a major voice in the international art world. Other Planes of There gathers for the first time a substantial collection of the work she wrote between 1981 and 2010. The selected essays initially appeared in publications in different countries and languages, making their availability in this volume a boon to those wanting to follow Green's artistic and intellectual trajectory.

Charting this cosmopolitan artist’s thinking through the decades, Other Planes of There brings essays, film scripts, reviews, and polemics together with reflections on Green's own artistic practice and seminal artworks. It immerses the reader in three decades of contemporary art showcasing the art and thought, the incisive critiques and prescient observations of one of our foremost artists and intellectuals. Sound, cinema, literature, time-based media, and the relationship between art forms and other forms of knowledge are just a few of the matters that Green takes up and thinks through. Sixty-four pages of color plates were selected by the artist for this lavishly illustrated volume.
 

Race on the Line is the first book to address the convergence of race, gender, and technology in the telephone industry. Venus Green—a former Bell System employee and current labor historian—presents a hundred year history of telephone operators and their work processes, from the invention of the telephone in 1876 to the period immediately before the break-up of the American Telephone and Telegraph Company in 1984. Green shows how, as technology changed from a manual process to a computerized one, sexual and racial stereotypes enabled management to manipulate both the workers and the workplace.
More than a simple story of the impact of technology, Race on the Line combines oral history, personal experience, and archival research to weave a complicated history of how skill is constructed and how its meanings change within a rapidly expanding industry. Green discusses how women faced an environment where male union leaders displayed economic as well as gender biases and where racism served as a persistent system of division. Separated into chronological sections, the study moves from the early years when the Bell company gave both male and female workers opportunities to advance; to the era of the “white lady” image of the company, when African American women were excluded from the industry and feminist working-class consciousness among white women was consequently inhibited; to the computer era, a time when black women had waged a successful struggle to integrate the telephone operating system but faced technological displacement and unrewarding work.
An important study of working-class American women during the twentieth century, this book will appeal to a wide audience, particularly students and scholars with interest in women’s history, labor history, African American history, the history of technology, and business history.

“Competition. Deregulation. Free market forces. The debate over competition in health care that raged in the 1970s brought with it a new economic jargon, a vocabulary of concepts and issues unheard of in hospitals a decade earlier.
“Competition in health care has developed to a greater degree than most economists predicted ten years ago. That is the conclusion of Warren Greenberg in his introduction to Competition in the Health Care Sector: Ten Years Later, a retrospective of a 1977 Federal Trade Commission conference, which produced the landmark treatise Competition in the Health Care Sector: Past, Present, and Future. Seven of the ten original papers are reexamined; a chapter on the nursing home industry has been added.
“As with the original volume, Greenberg predicts that the retrospective will become a critical element in the health care economic literature.”—Hospitals