During the struggle for decolonization, Frantz Fanon argued that artists who mimicked European aestheticism were “beginning at the end,” skipping the inventive phase of youth for a decadence thought more typical of Europe’s declining empires. Robert Stilling takes up Fanon’s assertion to argue that decadence became a key idea in postcolonial thought, describing both the failures of revolutionary nationalism and the assertion of new cosmopolitan ideas about poetry and art.

In Stilling’s account, anglophone postcolonial artists have reshaped modernist forms associated with the idea of art for art’s sake and often condemned as decadent. By reading decadent works by J. K. Huysmans, Walter Pater, Henry James, and Oscar Wilde alongside Chinua Achebe, Derek Walcott, Agha Shahid Ali, Derek Mahon, Yinka Shonibare, Wole Soyinka, and Bernardine Evaristo, Stilling shows how postcolonial artists reimagined the politics of aestheticism in the service of anticolonial critique. He also shows how fin de siècle figures such as Wilde questioned the imperial ideologies of their own era.

Like their European counterparts, postcolonial artists have had to negotiate between the imaginative demands of art and the pressure to conform to a revolutionary politics seemingly inseparable from realism. Beginning at the End argues that both groups—European decadents and postcolonial artists—maintained commitments to artifice while fostering oppositional politics. It asks that we recognize what aestheticism has contributed to politically engaged postcolonial literature. At the same time, Stilling breaks down the boundaries around decadent literature, taking it outside of Europe and emphasizing the global reach of its imaginative transgressions.

There is no planet B. Activists share how we must inform and organize ourselves to save the future.
 
“Act as though your house is on fire. Because it is.” Following Greta Thunberg, millions of young climate activists have been taking to the streets around the globe as part of the Fridays For Future movement. They demand that we “unite behind the science,” as, for too long, climate scientists have been ringing the alarm bells about rising temperatures, tipping points, and the devastating consequences of extreme weather—but politicians do nothing.
 
So how do you begin to end the climate crisis? Luisa Neubauer and Alexander Repenning begin by telling stories. Neubauer cofounded the youth climate activist group in Germany and has become its most prominent voice. In this book she and Repenning weave in personal accounts of their evolution as climate activists with a thorough analysis of how climate change impacts their generation, and what every one of us can and must do about it. The young and old in the United States and around the world can learn valuable lessons from their European counterparts.
 

Winner of the William Sanders Scarborough Prize

“This trenchant work of literary criticism examines the complex ways…African American authors have written about animals. In Bennett’s analysis, Richard Wright, Toni Morrison, Jesmyn Ward, and others subvert the racist comparisons that have ‘been used against them as a tool of derision and denigration.’...An intense and illuminating reevaluation of black literature and Western thought.”
—Ron Charles, Washington Post

For much of American history, Black people have been conceived and legally defined as nonpersons, a subgenre of the human. In Being Property Once Myself, prize-winning poet Joshua Bennett shows that Blackness has long acted as the caesura between human and nonhuman and delves into the literary imagination and ethical concerns that have emerged from this experience. Each chapter tracks a specific animal—the rat, the cock, the mule, the dog, the shark—in the works of Richard Wright, Toni Morrison, Zora Neale Hurston, Jesmyn Ward, and Robert Hayden. The plantation, the wilderness, the kitchenette overrun with pests, the valuation and sale of animals and enslaved people—all place Black and animal life in fraught proximity.

Bennett suggests that animals are deployed to assert a theory of Black sociality and to combat dominant claims about the limits of personhood. And he turns to the Black radical tradition to challenge the pervasiveness of anti-Blackness in discourses surrounding the environment and animals. Being Property Once Myself is an incisive work of literary criticism and a groundbreaking articulation of undertheorized notions of dehumanization and the Anthropocene.

“A gripping work…Bennett’s lyrical lilt in his sharp analyses makes for a thorough yet accessible read.”
—LSE Review of Books

“These absorbing, deeply moving pages bring to life a newly reclaimed ethics.”
—Colin Dayan, author of The Law Is a White Dog

“Tremendously illuminating…Refreshing and field-defining.”
—Salamishah Tillet, author of Sites of Slavery