In this, the first ethnographic exploration of gender, race, and class practices among British-born or British-raised Arabs in London, Ramy M. K. Aly looks critically at the idea of “Arab-ness” and the ways in which London produces, marks, and understands ethnic subjects. Looking at everyday experiences, Becoming Arab in London explores the lives of young people and the ways in which they perform or achieve Arab ethnicity. Aly uncovers narratives of growing up in London, the codes of sociability at Shisha, and the sexual politics and ethnic self-portraits that construct British-Arab men and women.
            Drawing on the work of Judith Butler, Aly emphasizes the need to move away from the concept of identity and toward the idea of race, gender, and class as performance. Based on seven years of fieldwork, during which time the author immersed himself in London’s Arab community, Becoming Arab in London is an innovative and necessary contribution to the study of diaspora and difference in contemporary Britain.

Undoing the Revolution looks at the way rural underclasses ally with out-of-power elites to overthrow their governments—only to be shut out of power when the new regime assumes control. Vasabjit Banerjee first examines why peasants need to ally with dissenting elites in order to rebel. He then shows how conflict resolution and subsequent bargains to form new state institutions re-empower allied elites and re-marginalize peasants.  

Banerjee evaluates three different agrarian societies during distinct time periods spanning the twentieth century: revolutionary Mexico from 1910 to 1930; late-colonial India from 1920 until 1947; and White-dominated Zimbabwe (Rhodesia) from the mid-1960s to 1980. This comparative approach also allows examination of both the underclass need for elite participation and the variety of causes that elites use to incentivize peasant classes to participate, extending from religious-ethnic identity and common political targets to the peasants’ and elites’ own economic grievances. 

Undoing the Revolution demonstrates that both international and domestic investors in cash crops, natural resources, and finance can ally with peasant rebels; and, after threatened or actual state collapse, they can bargain with each other to select new state institutions.

A look at the history and myth of the objective journalist and how this ideal has been used to silence marginalized voices.

 In The View from Somewhere, Lewis Raven Wallace dives deep into the history of “objectivity” in journalism and how its been used to gatekeep and silence marginalized writers as far back as Ida B. Wells. At its core, this is a book about fierce journalists who have pursued truth and transparency and sometimes been punished for it—not just by tyrannical governments but by journalistic institutions themselves. He highlights the stories of journalists who question “objectivity” with sensitivity and passion: Desmond Cole of the Toronto Star; New York Times reporter Linda Greenhouse; Pulitzer Prize-winner Rachel Kaadzi Ghansah; Peabody-winning podcaster John Biewen; Guardian correspondent Gary Younge; former Buzzfeed reporter Meredith Talusan; and many others. Wallace also shares his own experiences as a midwestern transgender journalist and activist who was fired from his job as a national reporter for public radio for speaking out against “objectivity” in coverage of Trump and white supremacy. 
 
With insightful steps through history, Wallace stresses that journalists have never been mere passive observers. Using historical and contemporary examples—from lynching in the nineteenth century to transgender issues in the twenty-first—Wallace offers a definitive critique of “objectivity” as a catchall for accurate journalism. He calls for the dismissal of this damaging mythology in order to confront the realities of institutional power, racism, and other forms of oppression and exploitation in the news industry.
 
The View from Somewhere is a compelling rallying cry against journalist neutrality and for the validity of news told from distinctly subjective voices.