Black behind the Ears is an innovative historical and ethnographic examination of Dominican identity formation in the Dominican Republic and the United States. For much of the Dominican Republic’s history, the national body has been defined as “not black,” even as black ancestry has been grudgingly acknowledged. Rejecting simplistic explanations, Ginetta E. B. Candelario suggests that it is not a desire for whiteness that guides Dominican identity discourses and displays. Instead, it is an ideal norm of what it means to be both indigenous to the Republic (indios) and “Hispanic.” Both indigeneity and Hispanicity have operated as vehicles for asserting Dominican sovereignty in the context of the historically triangulated dynamics of Spanish colonialism, Haitian unification efforts, and U.S. imperialism. Candelario shows how the legacy of that history is manifest in contemporary Dominican identity discourses and displays, whether in the national historiography, the national museum’s exhibits, or ideas about women’s beauty. Dominican beauty culture is crucial to efforts to identify as “indios” because, as an easily altered bodily feature, hair texture trumps skin color, facial features, and ancestry in defining Dominicans as indios.

Candelario draws on her participant observation in a Dominican beauty shop in Washington Heights, a New York City neighborhood with the oldest and largest Dominican community outside the Republic, and on interviews with Dominicans in New York City, Washington, D.C., and Santo Domingo. She also analyzes museum archives and displays in the Museo del Hombre Dominicano and the Smithsonian Institution as well as nineteenth- and early-twentieth-century European and American travel narratives.

The dawning era of nanotechnology promises to transform life as we know it. Visionary scientists are engineering materials and devices at the molecular scale that will forever alter the way we think about our technologies, our societies, our bodies, and even reality itself. Colin Milburn argues that the rise of nanotechnology involves a way of seeing that he calls “nanovision.” Trekking across the technoscapes and the dreamscapes of nanotechnology, he elaborates a theory of nanovision, demonstrating that nanotechnology has depended throughout its history on a symbiotic relationship with science fiction. Nanotechnology’s scientific theories, laboratory instruments, and research programs are inextricable from speculative visions, hyperbolic rhetoric, and fictional narratives.

Milburn illuminates the practices of nanotechnology by examining an enormous range of cultural artifacts, including scientific research articles, engineering textbooks, laboratory images, popular science writings, novels, comic books, and blockbuster films. In so doing, he reveals connections between the technologies of visualization that have helped inaugurate nano research, such as the scanning tunneling microscope, and the prescient writings of Robert A. Heinlein, James Blish, and Theodore Sturgeon. He delves into fictive and scientific representations of “gray goo,” the nightmare scenario in which autonomous nanobots rise up in rebellion and wreak havoc on the world. He shows that nanoscience and “splatterpunk” novels share a violent aesthetic of disintegration: the biological body is breached and torn asunder only to be refabricated as an assemblage of self-organizing machines. Whether in high-tech laboratories or science fiction stories, nanovision deconstructs the human subject and galvanizes the invention of a posthuman future.