Addresses the shifting interpretations of the Treaty of Lausanne across national contexts, tracing how its provisions have been legally, socially, and politically reimagined.

The 1923 Treaty of Lausanne remains one of the few interwar peace settlements that has endured into the twenty-first century. Yet, the memory of Lausanne has proved deeply contested. Celebrated by some as a triumph of state sovereignty and peacemaking, it has also come to symbolize forced displacement, the erasure of minority rights, and the codification of population transfers as instruments of international order. 

Just over one hundred years after the signing of the Treaty of Lausanne, The Lausanne Moment revisits this diplomatic, legal, economic, and financial juncture that helped reshape the world and defined new norms of sovereignty, displacement, and identity. Building on a growing body of interdisciplinary scholarship and serving as a sequel to They All Made Peace—What is Peace?, also published by Gingko, this edited volume foregrounds the lived realities and long-term legacies of the treaty, critically re-examining the political, cultural, and social consequences of its provisions and aftershocks.

Rather than focusing solely on high diplomacy or legal text, The Lausanne Moment brings into view the human dimension of the Lausanne moment. Through case studies ranging from the refugee experience in Nikaia and Asia Minor orphans in Greece, to the enduring memory of loss in Pontic singing, the symbolic ethnicity of Cretan descendants, and the Kurdish experience in Turkey, the book documents the deeply personal and community-level consequences of forced migration and political rupture. These experiences are not confined to the immediate postwar period; they linger across time, informing the present-day politics of memory, migration, and identity.

This volume also interrogates the geopolitics of Lausanne through new thematic lenses. Essays explore how the treaty facilitated the continuation of imperial practices under new nationalist forms, shaped debates over public debt and cultural heritage, and affected actors and regions often overlooked in Lausanne historiography, such as Albania, Cyprus, and the Kurdish nationalist movements. Lausanne’s cultural afterlives, from its role in shaping archaeology, music, and education policy, are also covered in the book. Through its interdisciplinary and transregional approach, The Lausanne Moment breaks new ground in Lausanne studies, bringing together historians, anthropologists, archaeologists, political scientists, and cultural theorists, and introduces voices and perspectives—Kurdish, Cypriot, Pontic, Albanian, and Cretan—that have been marginal to mainstream narratives. By weaving together policy analysis, oral history, cultural production, and historical research, the volume offers an expansive and textured account of one of the twentieth century’s most consequential, yet paradoxical, peace settlements.

The Lausanne Moment situates the treaty within broader histories of state-led population engineering, colonial eugenic practices, and the moral politics of international humanitarianism. The “peace” of Lausanne, the volume suggests, was neither absolute nor apolitical—it was crafted, contested, and constantly renegotiated. The book’s contributors collectively ask not only what peace meant in 1923, but also what it means today for those still living with its consequences.

This first Special Report in a two-volume set on Black and African Americans’ experiences in libraries provides an overview of their historical exclusion from libraries and educational institutions in the United States, also exploring the ways in which this legacy is manifest in our contemporary context. A compelling call to action, it will serve as the beginning of many conversations in which librarianship reckons with its racist past to move towards a more equitable future.

Still a predominantly white profession, librarianship has a legacy of racial discrimination, and it is essential that we face the ways that race impacts how we meet the needs of diverse user communities. Identifying and acknowledging implicit and learned bias is a necessary step toward transforming not only our professional practice but also our scholarship, assessment, and evaluation practices. From this Special Report, readers will

• learn the hidden history of Africa’s contributions to libraries and educational institutions, which are often omitted from K-12, higher education, and library school curricula;
• engage with the racist legacies of libraries as well as contemporary scholarship related to Black and African American users’ experiences with libraries;
• be introduced to frameworks and theories that can help to identify and unpack the role of race in librarianship and in library users’ experiences; and
• garner practical takeaways to bring to their own views and practice of librarianship.

On the morning of February 13, 1969, members of Duke University's Afro-American Society barricaded themselves inside the Allen administration building. That evening, police were summoned to clear the building, firing tear gas at students in the melee that followed. When it was over, nearly twenty people were taken to the hospital, and many more injured. In Point of Reckoning, Theodore D. Segal narrates the contested fight for racial justice at Duke from the enrollment of the first Black undergraduates in 1963 to the events that led to the Allen Building takeover and beyond. Segal shows that Duke's first Black students quickly recognized that the university was unwilling to acknowledge their presence or fully address its segregationist past. By exposing the tortuous dynamics that played out as racial progress stalled at Duke, Segal tells both a local and national story about the challenges that historically white colleges and universities throughout the country have faced and continue to face.

The collection of poems in The Reckoning of Jeanne d’Antietam circles the U.S. Civil War and the failed revolution of Reconstruction, and Matthew Moore makes incursions into the histories and beliefs of the era through architectures of sound, but also via ancillary histories and histories stacked upon histories—densely and visibly scrawled—like Anselm Kiefer's sculptures of lead books, melted and dripping with the texts of illegible songs. His poems include the figure of Joan of Arc (Jeanne d'Arc) and her voices; the explosion of the U.S. prison system and racial legal fictions amid the groundswell of mass terror in the wake of the U.S. Civil War; the politically poisoned poetic lineage that moves from Modernism, to New Criticism, and dead-ends in Southern Agrarianism; and the destructive colonial histories of the sugar and cotton industries.  

The Reckoning of Jeanne d’Antietam stands imbricated with the spell of language-the-testament; language as hard rhyme and difficult music, evanescence and violence; and the invocation of names and events at their meeting places in history. Moore’s poems stand against sentiment and pity, and against the consolation of that which cannot be consoled. 

2025 Margaret Mead Award, Society for Applied Anthropology (SfAA) and the American Anthropological Association (AAA)

An ethnography of the Ecuadorian Amazon that demonstrates the need for a relational, place-based, contingent understanding of harm and toxicity.

Reckoning with Harm is a striking ethnographic analysis of the harm resulting from oil extraction. Covering fifty years of settler colonization and industrial transformation of the Ecuadorian Amazon, Amelia Fiske interrogates the relations of harm. She moves between forest-courtrooms and oily waste pits, farms and toxic tours, to explore both the ways in which harm from oil is entangled with daily life and the tensions surrounding efforts to verify and redress it in practice. Attempts to address harm from the oil industry in Ecuador have been consistently confounded by narrow, technocratic understandings of evidence, toxicity, and responsibility. Building on collaborators’ work to contest state and oil company insistence that harm is controlled and principally chemical in nature, Fiske shows that it is necessary to refigure harm as relational in order to reckon with unremediated contamination of the past while pushing for broad forms of accountability in the present. She theorizes that harm is both a relationship and an animating feature of relationships in this place, a contingent understanding that is needed to contemplate what comes next when living in a toxic world.

A revelatory exploration of one of Jean-François Millet’s most contentious paintings.

A monumentalizing portrayal of a peasant bowed over by brutal toil, Man with a Hoe (1860–62) by Jean-François Millet (1814–1875) is arguably the most art historically significant painting in the J. Paul Getty Museum’s collection of nineteenth-century European art. This volume situates the work in the arc of Millet’s career and traces its fascinating and contentious reception, from its scandalous debut at the 1863 Paris Salon to the years following its acquisition by American collectors in the 1890s. The essays examine the painting’s tumultuous public life, beginning in France, where critics attacked it on aesthetic and political grounds as a radical realist provocation; through its transformative movement in the art market during the remaining years of the artist’s life and following his death; to its highly publicized arrival in California as a celebrated masterpiece. In the United States it was enlisted to serve philanthropic interests, became the subject of a popular poem, and once again became embroiled in controversy, in this case one that was strongly inflected by American racial politics. This is the first publication dedicated to the work since its acquisition by the Getty Museum in 1985.

This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from September 12 to December 10, 2023.

In Reckoning with Restorative Justice, Leanne Trapedo Sims explores the experiences of women who are incarcerated at the Women’s Community Correctional Center, the only women’s prison in the state of Hawai‘i. Adopting a decolonial and pro-abolitionist lens, she focuses particularly on women’s participation in the Kailua Prison Writing Project and its accompanying Prison Monologues program. Trapedo Sims argues that while the writing project served as a vital resource for the inside women, it also remained deeply embedded within carceral logics at the institutional, state, and federal levels. She foregrounds different aspects of these programs, such as the classroom spaces and the dynamics that emerged between performers and audiences in the Prison Monologues. Blending ethnography, literary studies, psychological analysis, and criminal justice critique, Trapedo Sims centers the often-overlooked stories of incarcerated Native Hawaiian and Pacific Islander women in Hawai‘i in ways that resound with the broader American narrative: the disproportionate incarceration of people of color in the prison-industrial complex.

In Reckoning with Slavery Jennifer L. Morgan draws on the lived experiences of enslaved African women in the sixteenth and seventeenth centuries to reveal the contours of early modern notions of trade, race, and commodification in the Black Atlantic. From capture to transport to sale to childbirth, these women were demographically counted as commodities during the Middle Passage, vulnerable to rape, separated from their kin at slave markets, and subject to laws that enslaved their children upon birth. In this way, they were central to the binding of reproductive labor with kinship, racial hierarchy, and the economics of slavery. Throughout this groundbreaking study, Morgan demonstrates that the development of Western notions of value and race occurred simultaneously. In so doing, she illustrates how racial capitalism denied the enslaved their kinship and affective ties while simultaneously relying on kinship to reproduce and enforce slavery through enslaved female bodies.

For over a century, National Geographic has shaped American visual culture, captivating audiences with stunning photography and compelling storytelling. Yet behind its iconic yellow border lies a fraught legacy of gender bias, racial misrepresentation, and colonialist narratives.In this incisive study, Leland G. Spencer examines the brand's recent attempts to reckon with that legacy across its magazine and television platforms. From special issues spotlighting transgender lives, to a public acknowledgment of past racism, to a magazine edition created entirely by women, these efforts signal a move toward inclusivity. But as Spencer reveals through rigorous rhetorical analysis, these gestures often fall short. The texts themselves frequently echo the same systemic inequalities they seek to redress. National Geographic's progressive rebranding, he argues, remains tangled in the very histories it aims to transcend.
 

For many Koreans, Latin America is foreign and unfamiliar, but popular television shows have generated considerable interest in this region of the Global South. In Reckoning with the World, Benjamin Han explores this phenomenon by providing a close reading of Korean TV programs that take place, are shot in, or depict Latin America. These dramas, reality shows, and travel documentaries present South Koreans with an understanding of themselves by projecting an illusion of difference that underscores themes of identity, race, and modernity.

Historical dramas like The Land of Humans, about Korean migrants in Mexico, consider diasporic identity and nationalism, while the fantasy series Secret Garden explores issues of modernity. In addition, the TV drama Encounter and the entertainment show Traveler contrast the cultures of global Korea with Cuba. As these programs create appealing storytelling, characters, and aesthetics, they inspire and resonate with audiences and fans across the globe. However, Korean television’s imaginary of Latin America is not about its investment in fostering greater interculturality with Latin American nations and their cultures but instead projects a façade of progressive racial and cultural politics shaping Korea’s reckoning with the world.

In These Dark Skies, Arianne Zwartjes interweaves the experience of living in the southern Netherlands—with her wife, who is Russian—and the unfolding of both the refugee crisis across Europe and the uptick in terrorist acts in France, Greece, Austria, Germany, and the Balkans. She probes her own subjectivity, as a white American, as a queer woman in a transcultural marriage, as a writer, and as a witness.

The essays investigate and meditate on a broad array of related topics, including drone strikes, tear gas, and military intervention; the sugar trade, the Dutch blackface celebration of Zwarte Piet, and constructions of whiteness in Europe and the U.S.; and visual arts of Russian avant-garde painters, an Iraqi choreographer living in Belgium, and German choreographer Pina Bausch.

This is a lyrical, timely book deeply salient to the political moment we continue to find ourselves in: a moment of incredible anti-refugee and anti-immigrant sentiment, a moment of xenophobic and misogynistic violence.
 

A mother’s memoir that reckons with her son’s descent into severe mental illness. What appears to be substance use disorder in high school later becomes a dual diagnosis as bipolar disorder emerges. Her son soon grows disillusioned with prescribed pharmaceuticals and participates in a residential treatment program that assists people in forgoing medication altogether. However, the program ultimately ejects him from the community for the very behaviors that the medication once managed. The book chronicles Sandler's initial denial of her truth, her painful awakening to mental illness in her family, and her eventual acceptance that she cannot save her son—only he can save himself.