Over forty years after the formal end of colonialism, suffocating ties to Western financial systems continue to prevent African countries from achieving any meaningful monetary sovereignty.

Economic and Monetary Sovereignty in 21st Century Africa traces the recent history of African monetary and financial dependencies, looking at the ways African nations are resisting colonial legacies. Using a comparative, multi-disciplinary approach, this book uncovers what went wrong after the Pan-African approaches that defined the early stages of independence, and how most African economies fell into the firm grip of the IMF, World Bank, and the EU’s strict neoliberal policies.

This collection is the first to offer a wide-ranging, comparative and historical look at how African societies have attempted to increase their policy influence and move beyond neoliberal orthodoxy and US-dollar dependency. Economic and Monetary Sovereignty in 21st Century Africa is essential reading for anyone interested in the African quest for self-determination in a turbulent world of recurring economic and financial crises.

Ecopoetics: Essays in the Field makes a formidable intervention into the emerging field of ecopoetics. The volume’s essays model new and provocative methods for reading twentieth and twenty-first century ecological poetry and poetics, drawing on the insights of ecocriticism, contemporary philosophy, gender and sexuality studies, black studies, Native studies, critical race theory, and disability studies, among others. 

Contributors offer readings of a diverse range of poets, few of whom have previously been read as nature writers—from midcentury Beat poet Michael McClure, Objectivist poet George Oppen, and African American poets Melvin Tolson and Robert Hayden; to contemporary writers such as Diné poet Sherwin Bitsui, hybrid/ collage poets Claudia Rankine and Evelyn Reilly, emerging QPOC poet Xandria Phillips, and members of the Olimpias disability culture artists’ collective. While addressing preconceptions about the categories of nature writing and ecopoetics, contributors explore, challenge, and reimagine concepts that have been central to environmental discourse, from apocalypse and embodiment to toxicity and sustainability. 

This collection of essays makes the compelling argument that ecopoetics should be read as “coextensive with post-1945 poetry and poetics,” rather than as a subgenre or movement within it. It is essential reading for any student or scholar working on contemporary literature or in the environmental humanities today. 
Contributors: Joshua Bennett, Rob Halpern, Matt Hooley, Angela Hume, Lynn Keller, Petra Kuppers, Michelle Niemann, Gillian Osborne, Samia Rahimtoola, Joan Retallack, Joshua Schuster, Jonathan Skinner.
 

Offering the everyday tasks of literary editors as inspired sources of postwar literary history

Michel Foucault famously theorized “the author function” in his 1969 essay “What Is an Author?” proposing that the existence of the author limits textual meaning. Abram Foley shows a similar critique at work in the labor of several postwar editors who sought to question and undo the corporate “editorial/industrial complex.” Marking an end to the powerful trope of the editor as gatekeeper, The Editor Function demonstrates how practices of editing and publishing constitute their own kinds of thought, calling on us to rethink what we read and how.

The Editor Function follows avant-garde American literary editors and the publishing practices they developed to compete against the postwar corporate consolidation of the publishing industry. Foley studies editing and publishing through archival readings and small press and literary journal publishing lists as unique sites for literary inquiry. Pairing histories and analyses of well- and lesser-known figures and publishing formations, from Cid Corman’s Origin and Nathaniel Mackey’s Hambone to Dalkey Archive Press and Semiotext(e), Foley offers the first in-depth engagement with major publishing initiatives in the postwar United States.

The Editor Function proposes that from the seemingly mundane tasks of these editors—routine editorial correspondence, line editing, list formation—emerge visions of new, better worlds and new textual and conceptual spaces for collective action.

Empowered!examines Arizona’s recent political history and how it has been shaped and propelled by Latinos. It also provides a distilled reflection of U.S. politics more broadly, where the politics of exclusion and the desire for inclusion are forces of change.

Lisa Magaña and César S. Silva argue that the state of Arizona is more inclusive and progressive then it has ever been. Following in the footsteps of grassroots organizers in California and the southeastern states, Latinos in Arizona have struggled and succeeded to alter the anti-immigrant and racist policies that have been affecting Latinos in the state for many years. Draconian immigration policies have plagued Arizona’s political history. Empowered! shows innovative ways that Latinos have fought these policies.

Empowered! focuses on the legacy of Latino activism within politics. It raises important arguments about those who stand to profit financially and politically by stoking fear of immigrants and how resilient politicians and grassroots organizers have worked to counteract that fear mongering. Recognizing the long history of disenfranchisement and injustice surrounding minority communities in the United States, this book outlines the struggle to make Arizona a more just and equal place for Latinos to live. 

Hannah E. Britton examines the reasons gendered violence persists in relationship to social inequalities even after women assume political power. Venturing into South African communities, Britton invites service providers, religious and traditional leaders, police officers, and medical professionals to address gender-based violence in their own words. Britton finds the recent turn toward carceral solutions—with a focus on arrests and prosecutions—fails to address the complexities of the problem and looks at how changing specific community dynamics can defuse interpersonal violence. She also examines how place and space affect the implementation of policy and suggests practical ways policymakers can support street level workers.

Clear-eyed and revealing, Ending Gender-Based Violence offers needed tools for breaking cycles of brutality and inequality around the world.

Why hasn’t polygamous marriage died out in African cities, as experts once expected it would? Enduring Polygamy considers this question in one of Africa’s fastest-growing cities: Bamako, the capital of Mali, where one in four wives is in a polygamous marriage. Using polygamy as a lens through which to survey sweeping changes in urban life, it offers ethnographic and demographic insights into the customs, gender norms and hierarchies, kinship structures, and laws affecting marriage, and situates polygamy within structures of inequality that shape marital options, especially for young Malian women. Through an approach of cultural relativism, the book offers an open-minded but unflinching perspective on a contested form of marriage. Without shying away from questions of patriarchy and women’s oppression, it presents polygamy from the everyday vantage points of Bamako residents themselves, allowing readers to make informed judgments about it and to appreciate the full spectrum of human cultural diversity.

Engaging Modernity is Ousseina Alidou’s rich and compelling portrait of Muslim women in Niger as they confront the challenges and opportunities of the twentieth century. Contrary to Western stereotypes of passive subordination, these women are taking control of their own lives and resisting domination from indigenous traditions, westernization, and Islam alike.
    Based on thorough scholarly research and extensive fieldwork—including a wealth of interviews—Alidou’s work offers insights into the meaning of modernity for Muslim women in Niger. Mixing biography with sociological data, social theory and linguistic analysis, this is a multilayered vision of political Islam, education, popular culture, and war and its aftermath. A gripping look at one of the Muslim world’s most powerful untold stories.

Runner-up for the Aidoo-Snyder Book Prize, Women’s Caucus of the African Studies Association

Is today’s left really new? How has the European radical left evolved?

Giorgos Charalambous answers these questions by looking at three moments of rapid political change - the late 1960s to late 1970s; the turn of the millennium; and post-2008. He challenges the conventional understanding of a ‘new left’, drawing out continuities with earlier movements and parties.

Charalambous examines the ‘Long ‘68’, symbolised by the May uprisings in France, which saw the rise of new left forces and the widespread criticism by younger radical activists of traditional communist and socialist parties. He puts this side by side with the turn of the millennium when the Global Justice Movement rose to prominence and changed the face of the international left, and also the period after the financial crash of 2008 and the rise of anti-austerity politics which initiated the most recent wave of new left parties such as Podemos in Spain and Syriza in Greece. 

With a unique ‘two-level’ perspective, Charalambous approaches the left through both social movements and party politics, looking at identities, rhetoric and organization, and bringing a fresh new approach to radical history, as well as assessing challenges for both activists and scholars.

Every Wrong Direction recreates and dissects the bitter education of Dan Burt, an American émigré who never found a home in America. It begins in the row homes of Jewish immigrants and working-class Italians on the mean streets of 1950s South Philadelphia. Every Wrong Direction follows the author from the rough, working-class childhood that groomed him to be a butcher or charter boat captain, through America, Britain and Saudi Arabia as student, lawyer, spy, culture warrior, and expatriate, ending with a photo of his college rooms at St John’s College, Cambridge. Between this beginning and end, through a Philadelphia commuter college, to Cambridge, then Yale Law School, across the working to upper classes, three countries, and seven cities over 43 years, it maps his pursuit of, realization, disillusionment with and abandonment of America and the American Dream.

Praise for Dan Burt's previous memoir, You Think It Strange:

“Burt’s early life was indeed a triumph of wit and will. He managed to escape a world filled with violence and a culture that valued street smarts over book smarts, all the while knowing that just about everyone around him thought little of his prospects. That he made it out at all is extraordinary. That he became a successful lawyer and writer is virtually unimaginable.” —Commonweal

“Dan Burt is a fine poet, and this memoir has all the sensitivity and vigilance you might expect from a writer with such a background. But his prose also has a robustness and documentary power that continually startles and engages. As it combines these things, You Think It Strange catches the strangeness of the world and makes it familiar.”
—Sir Andrew Motion, Poet Laureate of the United Kingdom, 1999-2009
 

     One need only look at the front pages of newspapers over the past few years to see that something has changed. Stories are more personal, more inclusive, less distant from readers’ experiences. Once called the first draft of history, news has become more of an anecdotal companion. The evidence is telling: stories use more unofficial sources than ever before; the “inverted pyramid” form of news writing is barely practiced; and, especially after 9/11, tragedy has become more humanized.

            Scanning the crowded media landscape, Michele Weldon—a journalist passionate about her profession—takes a fresh look at how newspapers have carved out a narrative niche that reflects society’s fascination with personal stories and readers’ demands for diversity in content. Comparing some 850 stories, story approaches, and unofficial sourcing in twenty American newspapers for eight dates in 2001 and 2004—a total of 160 front pages—she shows a shift toward features over hard news, along with an increase in anecdotal or humanistic approaches to all stories.

            Everyman News offers a provocative look at why American newspapers have become story papers, with their content and style saying as much about our culture as they do about the journalists and the readers. Weldon shows that a variety of forces both inside and outside journalism—blogs, citizen journalism, newsroom diversity, and other factors—have converged to remake the front page, and she unveils the content of “everyman news” as a commodity apart from the mode of delivery. Her assessment also incorporates more than fifty interviews with people connected to journalism about what these changes mean—revealing that not everyone in the industry believes they are for the better.

            Is everyman news perhaps right for its time, or is it merely a symptom of what Weldon calls “Chicken Little journalism”? Weighing in on such matters as the New York Times’s “Portraits of Grief” series and the dangers of the blogosphere, she invites readers to make their own calls in this original and important contribution to the study of media. Everyman News is a book that will contribute to our understanding of newspapers in the new century—must reading for professionals and an eye-opener for anyone trying to comprehend the significant shifts in today’s front pages.

Winner, 2016 Miller Williams Poetry Prize, edited by Billy Collins

Randall Jarrell said that when you read a poem “you are entering a foreign country whose laws and language and life are a kind of translation of your own.” In [explicit lyrics], we are visitors to a world that is familiar as if the poems are occurring in our town, on the streets where we live. But the laws have changed, and what is normally important is no longer relevant. What was meaningless is now everything.

As the title indicates, these poems are lyrics—musings on the small decisions required by existence in the modern world. They contain the grand themes of art—life, love, and mortality—but not where you expect. The smallest and most mundane objects become the catalyst for reevaluating our roles in society and the world. This is not poetry as art. This is life as art, from a country where poetry is the only language.

Contributors. Elissa Auther, Anthea Black, Betty Bright, Nicole Burisch, Maria Elena Buszek, Jo Dahn, M. Anna Fariello, Betsy Greer, Andrew Jackson, Janis Jefferies, Louise Mazanti, Paula Owen, Karin E. Peterson, Lacey Jane Roberts, Kirsty Robertson, Dennis Stevens, Margaret Wertheim