A Foreign Affairs Best Book of 2016

Today, nations increasingly carry out geopolitical combat through economic means. Policies governing everything from trade and investment to energy and exchange rates are wielded as tools to win diplomatic allies, punish adversaries, and coerce those in between. Not so in the United States, however. America still too often reaches for the gun over the purse to advance its interests abroad. The result is a playing field sharply tilting against the United States.

“Geoeconomics, the use of economic instruments to advance foreign policy goals, has long been a staple of great-power politics. In this impressive policy manifesto, Blackwill and Harris argue that in recent decades, the United States has tended to neglect this form of statecraft, while China, Russia, and other illiberal states have increasingly employed it to Washington’s disadvantage.”
—G. John Ikenberry, Foreign Affairs

“A readable and lucid primer…The book defines the extensive topic and opens readers’ eyes to its prevalence throughout history…[Presidential] candidates who care more about protecting American interests would be wise to heed the advice of War by Other Means and take our geoeconomic toolkit more seriously.
—Jordan Schneider, Weekly Standard

The events of September 11, 2001, forever changed the world as we knew it. In their wake, the quest for international order has prompted a reshuffling of global aims and priorities. In a fresh approach, Gilles Kepel focuses on the Middle East as a nexus of international disorder and decodes the complex language of war, propaganda, and terrorism that holds the region in its thrall.

The breakdown of the Israeli-Palestinian peace process in 2000 was the first turn in a downward spiral of violence and retribution. Meanwhile, a neo-conservative revolution in Washington unsettled U.S. Mideast policy, which traditionally rested on the twin pillars of Israeli security and access to Gulf oil. In Saudi Arabia and Afghanistan, a transformation of the radical Islamist doctrine of Bin Laden and Zawahiri relocated the arena of terrorist action from Muslim lands to the West; Islamist radicals proclaimed jihad against their enemies worldwide.

Kepel examines the impact of global terrorism and the ensuing military operations to stem its tide. He questions the United States' ability to address the Middle East challenge with Cold War rhetoric, while revealing the fault lines in terrorist ideology and tactics. Finally, he proposes the way out of the Middle East quagmire that triangulates the interests of Islamists, the West, and the Arab and Muslim ruling elites. Kepel delineates the conditions for the acceptance of Israel, for the democratization of Islamist and Arab societies, and for winning the minds and hearts of Muslims in the West.

With increasing frequency, readers of literature are encountering barely intelligible, sometimes unrecognizable languages created by combining one or more languages with English. Evelyn Ch'ien argues that weird English constitutes the new language of literature, implicitly launching a new literary theory.

Weird English explores experimental and unorthodox uses of English by multilingual writers traveling from the canonical works of Nabokov and Hong Kingston to the less critiqued linguistic terrain of Junot Díaz and Arundhati Roy. It examines the syntactic and grammatical innovations of these authors, who use English to convey their ambivalence toward or enthusiasm for English or their political motivations for altering its rules. Ch'ien looks at how the collision of other languages with English invigorated and propelled the evolution of language in the twentieth century and beyond.

Ch'ien defines the allure and tactical features of a new writerly genre, even as she herself writes with a sassiness and verve that communicates her ideas with great panache.

Conceptions and practices of poetry change not only from time to time and from place to place but also from poet to poet. This has never been more the case than in recent years. Gerald Bruns’s magisterial What Are Poets For? explores typographical experiments that distribute letters randomly across a printed page, sound tracks made of vocal and buccal noises, and holographic poems that recompose themselves as one travels through their digital space. Bruns surveys one-word poems, found texts, and book-length assemblies of disconnected phrases; he even includes descriptions of poems that no one could possibly write, but which are no less interesting (or no less poetic) for all of that. The purpose of the book is to illuminate this strange poetic landscape, spotlighting and describing such oddities as they appear, anomalies that most contemporary poetry criticism ignores.

Winner, WILLA Literary Award for Creative Nonfiction, 2008

How do women experience the vast, arid, rugged land of the American Southwest? The Story Circle Network, a national organization dedicated to helping women write about their lives, posed this question, and nearly three hundred women responded with original pieces of writing that told true and meaningful stories of their personal experiences of the land. From this deep reservoir of writing—as well as from previously published work by writers including Joy Harjo, Denise Chávez, Diane Ackerman, Naomi Shihab Nye, Leslie Marmon Silko, Gloria Anzaldua, Terry Tempest Williams, and Barbara Kingsolver—the editors of this book have drawn nearly a hundred pieces that witness both to the ever-changing, ever-mysterious life of the natural world and to the vivid, creative, evolving lives of women interacting with it.

Through prose, poetry, creative nonfiction, and memoir, the women in this anthology explore both the outer landscape of the Southwest and their own inner landscapes as women living on the land—the congruence of where they are and who they are. The editors have grouped the writings around eight evocative themes:

• The way we live on the land
• Our journeys through the land
• Nature in cities
• Nature at risk
• Nature that sustains us
• Our memories of the land
• Our kinship with the animal world
• What we leave on the land when we are gone

From the Gulf Coast of Texas to the Pacific Coast of California, and from the southern borderlands to the Great Plains and the Rocky Mountains, these intimate portraits of women's lives on the land powerfully demonstrate that nature writing is no longer the exclusive domain of men, that women bring unique and transformative perspectives to this genre.

Since World War II, Protestant sermons have been an influential tool for defining American citizenship in the wake of national crises.

In the aftermath of national tragedies, Americans often turn to churches for solace. Because even secular citizens attend these services, they are also significant opportunities for the Protestant religious majority to define and redefine national identity and, in the process, to invest the nation-state with divinity. The sermons delivered in the wake of crises become integral to historical and communal memory—it matters greatly who is mourned and who is overlooked.

Melissa M. Matthes conceives of these sermons as theo-political texts. In When Sorrow Comes, she explores the continuities and discontinuities they reveal in the balance of state power and divine authority following the bombing of Pearl Harbor, the assassinations of JFK and MLK, the Rodney King verdict, the Oklahoma City bombing, the September 11 attacks, the Newtown shootings, and the Black Lives Matter movement. She argues that Protestant preachers use these moments to address questions about Christianity and citizenship and about the responsibilities of the Church and the State to respond to a national crisis. She also shows how post-crisis sermons have codified whiteness in ritual narratives of American history, excluding others from the collective account. These civic liturgies therefore illustrate the evolution of modern American politics and society.

Despite perceptions of the decline of religious authority in the twentieth century, the pulpit retains power after national tragedies. Sermons preached in such intense times of mourning and reckoning serve as a form of civic education with consequences for how Americans understand who belongs to the nation and how to imagine its future.

Heather D. Switzer's interviews with over one hundred Kenyan Maasai schoolgirls challenge the widespread view of education as a silver bullet solution to global poverty. In their own voices, the girls offer incisive insights into their commitments, aspirations, and desires. Switzer weaves this ethnographic material into an astute analysis of historical literature, education and development documents, and theoretical literature. Maasai schoolgirls express a particular knowledge about themselves and provocative hopes for their futures. Yet, as Switzer shows, new opportunities force them to face, and navigate, new vulnerabilities and insecurities within a society that is itself in flux.

When Lieutenant Uhura took her place on the bridge of the Starship Enterprise on Star Trek, the actress Nichelle Nichols went where no African American woman had ever gone before. Yet several decades passed before many other black women began playing significant roles in speculative (i.e., science fiction, fantasy, and horror) film and television—a troubling omission, given that these genres offer significant opportunities for reinventing social constructs such as race, gender, and class. Challenging cinema’s history of stereotyping or erasing black women on-screen, Where No Black Woman Has Gone Before showcases twenty-first-century examples that portray them as central figures of action and agency.

Writing for fans as well as scholars, Diana Adesola Mafe looks at representations of black womanhood and girlhood in American and British speculative film and television, including 28 Days Later, AVP: Alien vs. Predator, Children of Men, Beasts of the Southern Wild, Firefly, and Doctor Who: Series 3. Each of these has a subversive black female character in its main cast, and Mafe draws on critical race, postcolonial, and gender theories to explore each film and show, placing the black female characters at the center of the analysis and demonstrating their agency. The first full study of black female characters in speculative film and television, Where No Black Woman Has Gone Before shows why heroines such as Lex in AVP and Zoë in Firefly are inspiring a generation of fans, just as Uhura did.

Contemporary discussions of China tend to focus on politics and economics, giving Chinese culture little if any attention. Why Fiction Matters in Contemporary China offers a corrective, revealing the crucial role that fiction plays in helping contemporary Chinese citizens understand themselves and their nation. Where history fails to address the consequences of man-made and natural atrocities, David Der-Wei Wang argues, fiction arises to bear witness to the immemorial and unforeseeable.

Beginning by examining President Xi Jinping’s call in 2013 to “tell the good China story,” Wang illuminates how contemporary Chinese cultural politics have taken a “fictional turn,” which can trace its genealogy to early modern times. He does so by addressing a series of discourses by critics within China, including Liang Qichao, Lu Xun, and Shen Congwen, as well as critics from the West such as Arendt, Benjamin, and Deleuze. Wang highlights the variety and vitality of fictional works from China as well as the larger Sinophone world, ranging from science fiction to political allegory, erotic escapade to utopia and dystopia. The result is an insightful account of contemporary China, one that affords countless new insights and avenues for understanding.

Is there life after postmodernism? Many claim that it sounded the death knell for history, art, ideology, science, possibly all of Western philosophy, and certainly for the concept of reality itself. Responding to essential questions regarding whether the humanities can remain politically and academically relevant amid this twenty-first-century uncertainty, Why the Humanities Matter offers a guided tour of the modern condition, calling upon thinkers in a variety of disciplines to affirm essential concepts such as truth, goodness, and beauty.

Offering a lens of "new humanism," Frederick Aldama also provides a liberating examination of the current cultural repercussions of assertions by such revolutionary theorists as Said, Foucault, Lacan, and Derrida, as well as Latin Americanists such as Sommer and Mignolo. Emphasizing pedagogy and popular culture with equal verve, and writing in colloquial yet multifaceted prose, Aldama presents an enlightening way to explore what "culture" actually does—who generates it and how it shapes our identities—and the role of academia in sustaining it.

Barbara Mennel delves into the ways these films about female labor capture the tension between feminist advances and their appropriation by capitalism in a time of ongoing transformation. Looking at independent and genre films from a cross-section of European nations, Mennel sees a focus on economics and work adapted to the continent's varied kinds of capitalism and influenced by concepts in second-wave feminism. More than ever, narratives of work put female characters front and center--and female directors behind the camera. Yet her analysis shows that each film remains a complex mix of progressive and retrogressive dynamics as it addresses the changing nature of work in Europe.

Women's playwriting burgeoned in the United States and the United Kingdom as part of the feminist movement of the 1970s. Ever since, playwriting women have been embracing new subjects, experimenting with form, and devising new ways of looking at the world. To honor their achievements and inspire future endeavors, the Susan Smith Blackburn Prize was established in memory of an American actor, journalist, and feminist who died of breast cancer. In the nearly three decades of the award's existence, more than three hundred English-speaking women playwrights have been finalists for the Blackburn Prize in recognition of their work, including such prominent writers as Marsha Norman, Cheryl L. West, Wendy Wasserstein, Caryl Churchill, Paula Vogel, and Suzan-Lori Parks.

This volume offers a comprehensive overview of women's playwriting, as well as a celebration of the Susan Smith Blackburn Prize. It combines critical essays, playwrights' memoirs, and conversations and interviews with playwrights to explore how women's playwriting evolved in relation to the women's movement and how it continues to map new territory and find fresh modes of expression. The majority of contributors to this volume—playwrights, arts journalists, and theater critics—have had some connection to the Blackburn Prize, either as award recipients, play readers, or judges. The memoirs, conversations, and interviews come from some of the finest women playwrights of the last three decades. These dramatists offer fascinating insight into the playwriting art, theatrical careers, and women's goals in writing for the theater.

World Inequality Report 2018 is the most authoritative and up-to-date account of global trends in inequality. Researched, compiled, and written by a team of the world’s leading economists of inequality, it presents—with unrivaled clarity and depth—information and analysis that will be vital to policy makers and scholars everywhere.

Inequality has taken center stage in public debate as the wealthiest people in most parts of the world have seen their share of the economy soar relative to that of others, many of whom, especially in the West, have experienced stagnation. The resulting political and social pressures have posed harsh new challenges for governments and created a pressing demand for reliable data. The World Inequality Lab at the Paris School of Economics and the University of California, Berkeley, has answered this call by coordinating research into the latest trends in the accumulation and distribution of income and wealth on every continent. This inaugural report analyzes the Lab’s findings, which include data from major countries where information has traditionally been difficult to acquire, such as China, India, and Brazil. Among nations, inequality has been decreasing as traditionally poor countries’ economies have caught up with the West. The report shows, however, that inequality has been steadily deepening within almost every nation, though national trajectories vary, suggesting the importance of institutional and policy frameworks in shaping inequality.

World Inequality Report 2018 will be a key document for anyone concerned about one of the most imperative and contentious subjects in contemporary politics and economics.

A sobering account of how the United States trapped itself in endless wars—abroad and at home—and what it might do to break free.

Over the past half-century, Americans have watched their country extend its military power to what seemed the very ends of the earth. America’s might is felt on nearly every continent—and even on its own streets. Decades ago, the Wars on Drugs and Terror broke down the walls separating law enforcement from military operations. A World of Enemies tells the story of how an America plagued by fears of waning power and influence embraced foreign and domestic forever wars.

Osamah Khalil argues that the militarization of US domestic and foreign affairs was the product of America’s failure in Vietnam. Unsettled by their inability to prevail in Southeast Asia, US leaders increasingly came to see a host of problems as immune to political solutions. Rather, crime, drugs, and terrorism were enemies spawned in “badlands”—whether the Middle East or stateside inner cities. Characterized as sites of endemic violence, badlands lay beyond the pale of civilization, their ostensibly racially and culturally alien inhabitants best handled by force.

Yet militarized policy has brought few victories. Its failures—in Iraq, Afghanistan, US cities, and increasingly rural and borderland America—have only served to reinforce fears of weakness. It is time, Khalil argues, for a new approach. Instead of managing never-ending conflicts, we need to reinvest in the tools of traditional politics and diplomacy.

Dennis Cooper is one of the most inventive and prolific artists of our time. Working in a variety of forms and media since he first exploded onto the scene in the early 1970s, he has been a punk poet, a queercore novelist, a transgressive blogger, an indie filmmaker—each successive incarnation more ingenious and surprising than the last. Cooper’s unflinching determination to probe the obscure, often violent recesses of the human psyche have seen him compared with literary outlaws like Rimbaud, Genet, and the Marquis de Sade.

In this, the first book-length study of Cooper’s life and work, Diarmuid Hester shows that such comparisons hardly scratch the surface. A lively retrospective appraisal of Cooper’s fifty-year career, Wrong tracks the emergence of Cooper’s singular style alongside his participation in a number of American subcultural movements like New York School poetry, punk rock, and radical queercore music and zines. Using extensive archival research, close readings of texts, and new interviews with Cooper and his contemporaries, Hester weaves a complex and often thrilling biographical narrative that attests to Cooper’s status as a leading figure of the American post­–War avant-garde.