Why are many readers drawn to stories that texture ethnic experiences and identities other than their own? How do authors such as Salman Rushdie and Maxine Hong Kingston, or filmmakers in Bollywood or Mexico City produce complex fiction that satisfies audiences worldwide? In Analyzing World Fiction, fifteen renowned luminaries use tools of narratology and insights from cognitive science and neurobiology to provide answers to these questions and more.

With essays ranging from James Phelan's "Voice, Politics, and Judgments in Their Eyes Were Watching God" and Hilary Dannenberg's "Narrating Multiculturalism in British Media: Voice and Cultural Identity in Television" to Ellen McCracken's exploration of paratextual strategies in Chicana literature, this expansive collection turns the tide on approaches to postcolonial and multicultural phenomena that tend to compress author and narrator, text and real life. Striving to celebrate the art of fiction, the voices in this anthology explore the "ingredients" that make for powerful, universally intriguing, deeply human story-weaving.

Systematically synthesizing the tools of narrative theory along with findings from the brain sciences to analyze multicultural and postcolonial film, literature, and television, the contributors pioneer new techniques for appreciating all facets of the wonder of storytelling.

Robert Rodriguez stands alone as the most successful U.S. Latino filmmaker today, whose work has single-handedly brought U.S. Latino filmmaking into the mainstream of twenty-first-century global cinema. Rodriguez is a prolific (eighteen films in twenty-one years) and all-encompassing filmmaker who has scripted, directed, shot, edited, and scored nearly all his films since his first breakout success, El Mariachi, in 1992. With new films constantly coming out and the launch of his El Rey Network television channel, he receives unceasing coverage in the entertainment media, but systematic scholarly study of Rodriguez’s films is only just beginning.

The Cinema of Robert Rodriguez offers the first extended investigation of this important filmmaker’s art. Accessibly written for fans as well as scholars, it addresses all of Rodriguez’s feature films through Spy Kids 4 and Machete Kills, and his filmmaking process from initial inspiration, to script, to film (with its myriad visual and auditory elements and choices), to final product, to (usually) critical and commercial success. In addition to his close analysis of Rodriguez’s work, Frederick Luis Aldama presents an original interview with the filmmaker, in which they discuss his career and his relationship to the film industry. This entertaining and much-needed scholarly overview of Rodriguez’s work shines new light on several key topics, including the filmmaker’s creative, low-cost, efficient approach to filmmaking; the acceptance of Latino films and filmmakers in mainstream cinema; and the consumption and reception of film in the twenty-first century.

From the influential work of Los Bros Hernandez in Love & Rockets, to comic strips and political cartoons, to traditional superheroes made nontraditional by means of racial and sexual identity (e.g., Miles Morales/Spider-Man), comics have become a vibrant medium to express Latino identity and culture. Indeed, Latino fiction and nonfiction narratives are rapidly proliferating in graphic media as diverse and varied in form and content as is the whole of Latino culture today.

Graphic Borders presents the most thorough exploration of comics by and about Latinos currently available. Thirteen essays and one interview by eminent and rising scholars of comics bring to life this exciting graphic genre that conveys the distinctive and wide-ranging experiences of Latinos in the United States. The contributors’ exhilarating excavations delve into the following areas: comics created by Latinos that push the boundaries of generic conventions; Latino comic book author-artists who complicate issues of race and gender through their careful reconfigurations of the body; comic strips; Latino superheroes in mainstream comics; and the complex ways that Latino superheroes are created and consumed within larger popular cultural trends. Taken as a whole, the book unveils the resplendent riches of comics by and about Latinos and proves that there are no limits to the ways in which Latinos can be represented and imagined in the world of comics.

Frederick Aldama’s The Cinema of Robert Rodriguez (2014) was the first full-scale study of one of the most prolific and significant Latino directors making films today. In this companion volume, Aldama enlists a corps of experts to analyze a majority of Rodriguez’s feature films, from his first break-out success El Mariachi in 1992 to Machete in 2010. The essays explore the formal and thematic features present in his films from the perspectives of industry (context, convention, and distribution), the film blueprint (auditory and visual ingredients), and consumption (ideal and real audiences). The authors illuminate the manifold ways in which Rodriguez’s films operate internally (plot, character, and event) and externally (audience perception, thought, and feeling).

The volume is divided into three parts: “Matters of Mind and Media” includes essays that use psychoanalytic and cognitive psychology to shed light on how Rodriguez’s films complicate Latino identity, as well as how they succeed in remaking audiences’ preconceptions of the world. “Narrative Theory, Cognitive Science, and Sin City: A Case Study” offers tools and models of analysis for the study of Rodriguez’s film re-creation of a comic book (on which Frank Miller was credited as codirector). “Aesthetic and Ontological Border Crossings and Borderlands” considers how Rodriguez’s films innovatively critique fixed notions of Latino identity and experience, as well as open eyes to racial injustices. As a whole, the volume demonstrates how Rodriguez’s career offers critical insights into the filmmaking industry, the creative process, and the consuming and reception of contemporary film.

Multicultural Comics: From Zap to Blue Beetle is the first comprehensive look at comic books by and about race and ethnicity. The thirteen essays tease out for the general reader the nuances of how such multicultural comics skillfully combine visual and verbal elements to tell richly compelling stories that gravitate around issues of race, ethnicity, gender, and sexuality within and outside the U.S. comic book industry. Among the explorations of mainstream and independent comic books are discussions of the work of Adrian Tomine, Grant Morrison, and Jessica Abel as well as Marv Wolfman and Gene Colan's The Tomb of Dracula; Native American Anishinaabe-related comics; mixed-media forms such as Kerry James Marshall's comic-book/community performance; DJ Spooky's visual remix of classic film; the role of comics in India; and race in the early Underground Comix movement. The collection includes a "one-stop shop" for multicultural comic book resources, such as archives, websites, and scholarly books. Each of the essays shows in a systematic, clear, and precise way how multicultural comic books work in and of themselves and also how they are interconnected with a worldwide tradition of comic-book storytelling.

A bold exploration of Black internationalism’s origins, Fear of a Black Republic links the Haitian revolution to the global Black pursuit of liberation, justice, and social equality.

In The Future of Art in a Postdigital Age, artist and educator Mel Alexenberg offers a vision of a postdigital future that reveals a paradigm shift from the Hellenistic to the Hebraic roots of Western culture. He ventures beyond the digital to explore postdigital perspectives rising from creative encounters among art, science, technology, and human consciousness. The interrelationships between these perspectives demonstrate the confluence between postdigital art and the dynamic, Jewish structure of consciousness. Alexenberg’s pioneering artwork––a fusion of spiritual and technological realms––exemplifies the theoretical thesis of this investigation into interactive and collaborative forms that imaginatively envisages the vast potential of art in a postdigital future.   

Hollywood is often characterised as a stronghold of left-liberal ideals. In Reel Power, Matthew Alford shows that it is in fact deeply complicit in serving the interests of the most regressive US corporate and political forces.

Films like Transformers, Terminator: Salvation and Black Hawk Down are constructed with Defence Department assistance as explicit cheerleaders for the US military, but Matthew Alford also emphasises how so-called 'radical' films like Three Kings, Hotel Rwanda and Avatar present watered-down alternative visions of American politics that serve a similar function.

Reel Power is the first book to examine the internal workings of contemporary Hollywood as a politicised industry as well as scores of films across all genres. No matter what the progressive impulses of some celebrities and artists, Alford shows how they are part of a system that is hard-wired to encourage American global supremacy and frequently the use of state violence.

In this ethnographic study, the author examines the policies and practices of family planning programs in Egypt to see how an elitist, Western-informed state attempts to create obliging citizens. The state sees voluntary compliance with the law for the common good as the cornerstone of modernity. Family planning programs are a training ground for the construction of self-disciplined individuals, and thus a rewarding area of study for the fate of social programs in developing countries.

Through a careful examination of state-endorsed family planning practices in urban and rural contexts, the author shows us the pervasive, high-pressure persuasion of women, who are encouraged to think as individual decision makers of their immediate families and their national interests. But what of the other forces at work in these women’s lives, binding them to their extended families and to their religious identities? And what of the laws that allow for polygamy and discriminate against women in marriage, inheritance, and as part of the workforce?

These forces operate against the received wisdom of the state. Is the Muslim community thought to end at the borders of Egypt? What about local constructions of masculinity when the state appeals to wives to decide for themselves? How does widespread labor migration to foreign countries affect attitudes toward family planning? How is female contraception viewed by the Islamic Brotherhood and other modern Muslim groups?

This book questions much that we have taken for granted and gives us grounds for reexamining our assumptions about family planning and the individual and state in developing countries such as Egypt.

What did it mean to be a wife, woman, or slave in a society in which a land-owning woman was forbidden to lay with her male slave but the same slave might be allowed to take concubines? Jurists of the nascent Maliki, Hanafi, and Shafi‘i legal schools frequently compared marriage to purchase and divorce to manumission. Juggling scripture, precedent, and custom on one hand, and the requirements of logical consistency on the other, legal scholars engaged in vigorous debate. The emerging consensus demonstrated a self-perpetuating analogy between a husband’s status as master and a wife’s as slave, even as jurists insisted on the dignity of free women and, increasingly, the masculine rights of enslaved husbands.

Marriage and Slavery in Early Islam presents the first systematic analysis of how these jurists conceptualized marriage—its rights and obligations—using the same rhetoric of ownership used to describe slavery. Kecia Ali explores parallels between marriage and concubinage that legitimized sex and legitimated offspring using eighth- through tenth-century legal texts. As the jurists discussed claims spouses could make on each other—including dower, sex, obedience, and companionship–they returned repeatedly to issues of legal status: wife and concubine, slave and free, male and female.

Complementing the growing body of scholarship on Islamic marital and family law, Ali boldly contributes to the ongoing debates over feminism, sexuality, and reform in Islam.

Considering such factors as artistic intention, institutional deployment, critical interpretation, and popular reception, Alinder provides calibrated readings of the photographs from this period. She uncovers the tension between Dorothea Lange's moving and critical images of the camps and the War Relocation Authority's blindly positive captions. She also analyzes Ansel Adams's attempt to combat negative war propaganda through humanizing photographs of Japanese Americans and locates the limits of such a counternarrative in the midst of a national mobilization against Japan.

Moving Images examines the work of Japanese American photographers operating both during and after the incarceration, including Manzanar inmate Toyo Miyatake, who constructed his own camera to document the complicated realities of camp life for his fellow inmates. More recently, contemporary artists Patrick Nagatani and Masumi Hayashi have used photography to reckon with the legacy of incarceration by journeying to the camp sites and creating photographs that bridge the intergenerational divides between their parents, themselves, and their children.

Illustrated with more than forty photographs, Moving Images reveals the significance of the camera in the process of incarceration as well as the construction of race, citizenship, and patriotism in this complex historical moment.

Organized alphabetically as a reference guide, this volume provides a biographical sketch of each architect's life, education, and professional career, and a list of known works and sources for further research. Many of these remarkable women have never before appeared in any other history, making The First American Women Architects a unique and invaluable reference for students and scholars interested in women's history and architecture. As an instructive record of the legacy of women in architectural history, this book will also serve as a stimulating indicator of the broadening potential for women and other minorities within the field of architecture.

Filled with varied and eye-opening perspectives, Latin American Migrations to the U.S. Heartland reveals how identities, economies, and geographies are changing as Latin Americans adjust to their new homes, jobs, and communities.

Contributors: Linda Allegro, Tisa M. Anders, Scott Carter, Caitlin Didier, Miranda Cady Hallett, Edmund Hamann, Albert Iaroi, Errol D. Jones, Jane Juffer, László J. Kulcsár, Janelle Reeves, Jennifer F. Reynolds, Sandi Smith-Nonini, and Andrew Grant Wood.

An in-depth look at the diverging paths of Vietnamese American communities, or “Little Saigons,” in America’s built environment.

In the final days before the fall of Saigon in 1975, 125,000 Vietnamese who were evacuated or who made their own way out of the country resettled in the United States. Finding themselves in unfamiliar places yet still connected in exile, these refugees began building their own communities as memorials to a lost homeland. Known both officially and unofficially as Little Saigons, these built landscapes offer space for everyday activities as well as the staging of cultural heritage and political events.

Building Little Saigon examines nearly fifty years of city building by Vietnamese Americans—who number over 2.2 million today. Author Erica Allen-Kim highlights architecture and planning ideas adapted by the Vietnamese communities who, in turn, have influenced planning policies and mainstream practices. Allen-Kim traveled to ten Little Saigons in the United States to visit archives, buildings, and public art and to converse with developers, community planners, artists, business owners, and Vietnam veterans. By examining everyday buildings—who made them and what they mean for those who know them—Building Little Saigon shows us the complexities of migration unfolding across lifetimes and generations.

Once there was a Quechua folktale. It begins with a trickster fox's penis with a will of its own and ends with a daughter returning to parents who cannot recognize her until she recounts the uncanny adventures that have befallen her since she ran away from home. Following the strange twists and turnings of this tale, Catherine J. Allen weaves a narrative of Quechua storytelling and story listening that links these arts to others—fabric weaving, in particular—and thereby illuminates enduring Andean strategies for communicating deeply felt cultural values.

In this masterful work of literary nonfiction, Allen draws out the connections between two prominent markers of ethnic identity in Andean nations—indigenous language and woven cloth—and makes a convincing case that the connection between language and cloth affects virtually all aspects of expressive culture, including the performing arts. As she explores how a skilled storyteller interweaves traditional tales and stock characters into new stories, just as a skilled weaver combines traditional motifs and colors into new patterns, she demonstrates how Andean storytelling and weaving both embody the same kinds of relationships, the same ideas about how opposites should meet up with each other. By identifying these pervasive patterns, Allen opens up the Quechua cultural world that unites story tellers and listeners, as listeners hear echoes and traces of other stories, layering over each other in a kind of aural palimpsest.

Few events in the history of humanity rival the Industrial Revolution. Following its onset in eighteenth-century Britain, sweeping changes in agriculture, manufacturing, transportation, and technology began to gain unstoppable momentum throughout Europe, North America, and eventually much of the world—with profound effects on socioeconomic and cultural conditions.

Allen critically assesses the many new approaches and causes that Cooper championed: introducing celebrity news and colorful features to a service previously known for stodgy reliability, pushing through disruptive technological innovations like the instantaneous transmission of news photos, and leading a crusade to bring American-style press freedom--inseparable from private ownership, in Cooper’s view--to every country. His insistence on truthfulness and impartiality presents a sharp contrast to much of today’s fractured journalistic landscape.

Deeply researched and engagingly written, Mr. Associated Press traces Cooper’s career as he built a new foundation for the modern AP and shaped the twentieth-century world of news.

In this gustatory tour of human history, John S. Allen demonstrates that the everyday activity of eating offers deep insights into human beings’ biological and cultural heritage.

We humans eat a wide array of plants and animals, but unlike other omnivores we eat with our minds as much as our stomachs. This thoughtful relationship with food is part of what makes us a unique species, and makes culinary cultures diverse. Not even our closest primate relatives think about food in the way Homo sapiens does. We are superomnivores whose palates reflect the natural history of our species.

Drawing on the work of food historians and chefs, anthropologists and neuroscientists, Allen starts out with the diets of our earliest ancestors, explores cooking’s role in our evolving brain, and moves on to the preoccupations of contemporary foodies. The Omnivorous Mind delivers insights into food aversions and cravings, our compulsive need to label foods as good or bad, dietary deviation from “healthy” food pyramids, and cross-cultural attitudes toward eating (with the French, bien sûr, exemplifying the pursuit of gastronomic pleasure).

To explain, for example, the worldwide popularity of crispy foods, Allen considers first the food habits of our insect-eating relatives. He also suggests that the sound of crunch may stave off dietary boredom by adding variety to sensory experience. Or perhaps fried foods, which we think of as bad for us, interject a frisson of illicit pleasure. When it comes to eating, Allen shows, there’s no one way to account for taste.

The earth’s five billion people are linked in a complex web that serves to shape population movements and patterns of births and deaths. In this book, nine experts illuminate the nature of this interplay linking rich and poor countries.

The demographic experience of each nation occurs in a larger context of social, political, economic, cultural, religious, military, and biological forces. On the premise that local population trends cannot be understood apart from such structural and historical factors, the book explores both the highly visible and the more subtle forms of demographic interplay, from the large recent flows of migrants and refugees to smaller yet still important flows such as those of tourists and governments-in-exile, from international shifts in the terms of trade to international programs of population control. It examines the historical roots and contemporary trends of these developments and probes their likely future courses.

The distinguished contributors present here some of the best writing to date on the topic: William H. McNeill on population flows in premodern times, Orlando Patterson on interactions in the West Atlantic region, the late Hedley Bull on the relation between migration and present world structure, Aristide R. Zolberg on guestworker programs, Juergen B. Donges on trade policies and economic migration, William Alonso on changing definitions of the identity of populations, Hans-Joachim Hoffmann-Nowotny on social and cultural dilemmas facing northern Europe, Francis X. Sutton on government policy issues, Myron Weiner on emigration and Third World development. Also discussed are the effects of medical advances on population growth, the implications of differing fertility rates, and the impact of the post-1945 transition from colonial empires to nation-states.

Too often such issues have been treated in disconnected fashion and viewed only as problems of the moment. As this outstanding book shows, they are richly intertwined, both with one another and with the history of world development.

Freda Kirchwey—writer, editor, publisher, opinionmaker, feminist, wife, and mother—was a salient figure in twentieth-century America, a beacon for liberals and activists of her era. A journalist with The Nation from 1918 to 1955—owner, editor, and publisher after 1937—she was an advocate of advanced ideas about sexual freedom and birth control and a tireless foe of fascism. The quintessential new woman, she combined a private and highly visible public life.

In this first full-scale biography of Kirchwey, Sara Alpern weaves the strands of gender-related issues with larger social explorations. An early feminist, from a privileged and progressive background, Kirchwey was determined to enjoy both career and marriage, but the early deaths of two of her three sons and strained relations with her husband led to self-doubt about her identity. Yet despite any hidden misgivings, her humanitarianism and outstanding journalistic and critical gifts projected her onto the larger stage of public life. Alpern richly describes Kirchwey’s extraordinary work editing The Nation, one of the longest surviving American liberal journals, and shaping public opinion on domestic and international affairs. Kirchwey focused on large political and international issues—the Spanish Civil War, democracy versus fascism and Nazism, pacifism and collective security, the plight of refugees and Zionism, McCarthyism and censorship, and, finally, the peaceful employment of atomic power.

Freda Kirchwey’s life story introduces a remarkable woman to a new generation struggling with personal and career goals as it recalls the efflorescence of liberalism for an older generation of readers.

This path-breaking anthology illuminates the lives of ten influential twentieth-century American women and looks at the challenges experienced by the women who have written about them. Exploring the frequently complicated dialogue between writer and subject, the contributors discuss tools appropriate to writing women's biography while their riveting accounts reveal how feminist scholarship led them to approach the study of women's lives in unconventional ways.

"This wonderful collection demonstrates the significance of women's biography as a central part of feminist scholarship. The feminist biographer inserts a second life into a biography, her own, giving us yet another layer of depth and insight."--Ann J. Lane, author of To "Herland" and Beyond: The Life and Work of Charlotte Perkins Gilman