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“Nothing defines California and our nation’s heritage as significantly or emotionally,” says the California Mission Foundation, “as do the twenty-one missions that were founded along the coast from San Diego to Sonoma.” Indeed, the missions collectively represent the state’s most iconic tourist destinations and are touchstones for interpreting its history. Elementary school students today still make model missions evoking the romanticized versions of the 1930s. Does it occur to them or to the tourists that the missions have a dark history? 

California Mission Landscapes is an unprecedented and fascinating history of California mission landscapes from colonial outposts to their reinvention as heritage sites through the late nineteenth and twentieth centuries. Illuminating the deeply political nature of this transformation, Elizabeth Kryder-Reid argues that the designed landscapes have long recast the missions from sites of colonial oppression to aestheticized and nostalgia-drenched monasteries. She investigates how such landscapes have been appropriated in social and political power struggles, particularly in the perpetuation of social inequalities across boundaries of gender, race, class, ethnicity, and religion. California Mission Landscapes demonstrates how the gardens planted in mission courtyards over the past 150 years are not merely anachronistic but have become potent ideological spaces. The transformation of these sites of conquest into physical and metaphoric gardens has reinforced the marginalization of indigenous agency and diminished the contemporary consequences of colonialism. And yet, importantly, this book also points to the potential to create very different visitor experiences than these landscapes currently do.

Despite the wealth of scholarship on California history, until now no book has explored the mission landscapes as an avenue into understanding the politics of the past, tracing the continuum between the Spanish colonial period, emerging American nationalism, and the contemporary heritage industry.

The central Gujarat region of western India is home to the entrepreneurial landowning Patel caste who have leveraged their rural dominance to become a powerful global diaspora of merchants, industrialists, and professionals. Investigating the Patels’ intriguing ascent, Vinay Gidwani analyzes its broad implications for the nature of labor and capital worldwide.

With the Patels as his central case, Gidwani interrogates established concepts of value, development, and the relationship between capital and history. Capitalism, he argues, is not a frame of economic organization based on the smooth, consistent operation of a series of laws, but rather an assemblage of contingent and interrupted logics stitched together into the appearance of a deus ex machina. Following this line of thinking, Gidwani points to ways in which political economy might be freed of its lingering Eurocentrism, raises questions about the adequacy of postcolonial studies’ critique of Marx and capitalism, and opens the possibility of situating capitalism as a geographically uneven social formation in which different normative or value-creating practices are imperfectly sutured together in ways that can equally impair and enable profit and accumulation.

Both theoretically astute and empirically informed, Capital, Interrupted unsettles encrusted understandings of staple concepts within the human sciences such as hegemony, governmentality, caste, and agency and, ultimately, does nothing less than rethink the very constitution of capitalism.

Vinay Gidwani is associate professor of geography and global studies at the University of Minnesota.

Contributors. Pedro Ramet, Arthur F. McGovern, Roman Solchanyk, Ivan Hvat, Robert F. Goeckel, C. Chrypinski, Milan J. Reban, Leslie Laszlo, Janice Broun, Eric O. Hanson, Stephen Denney, Thomas E. Quigley, Humberto Belli, Hansjakob Stehle, George H. Williams

Contributors. Stanley Aronowitz, Jan Currie, Zelda F. Gamson, Emily Hacker, Stefano Harney, Randy Martin, Bart Meyers, David Montgomery, Frederick Moten, Christopher Newfield, Gary Rhoades, Sheila Slaughter, Jeremy Smith, Vincent Tirelli, William Vaughn, Lesley Vidovich, Ira Yankwitt

Creating an invaluable archive, Laura E. Pérez examines the work of more than forty Chicana artists across a variety of media including painting, printmaking, sculpture, performance, photography, film and video, comics, sound recording, interactive CD-ROM, altars and other installation forms, and fiction, poetry, and plays. While key works from the 1960s and 1970s are discussed, most of the pieces considered were produced between 1985 and 2001. Providing a rich interpretive framework, Pérez describes how Chicana artists invoke a culturally hybrid spirituality to challenge racism, bigotry, patriarchy, and homophobia. They make use of, and often radically rework, pre-Columbian Mesoamerican and other non-Western notions of art and art-making, and they struggle to create liberating versions of familiar iconography such as the Virgin of Guadalupe and the Sacred Heart. Filled with representations of spirituality and allusions to non-Western visual and cultural traditions, the work of these Chicana artists is a vital contribution to a more inclusive canon of American arts.

2023 Honorable Mention Best History Book, International Latino Book Awards

Broad and encompassing examination of Chicanx popular culture since World War II and the utopian visions it articulated

Amid the rise of neoliberalism, globalization, and movements for civil rights and global justice in the post–World War II era, Chicanxs in film, music, television, and art weaponized culture to combat often oppressive economic and political conditions. They envisioned utopias that, even if never fully realized, reimagined the world and linked seemingly disparate people and places. In the latter half of the twentieth century, Chicanx popular culture forged a politics of the possible and gave rise to utopian dreams that sprang from everyday experiences.

In Chicanx Utopias, Luis Alvarez offers a broad study of these utopian visions from the 1950s to the 2000s. Probing the film Salt of the Earth, brown-eyed soul music, sitcoms, poster art, and borderlands reggae music, he examines how Chicanx pop culture, capable of both liberation and exploitation, fostered interracial and transnational identities, engaged social movements, and produced varied utopian visions with divergent possibilities and limits. Grounded in the theoretical frameworks of Walter Benjamin, Stuart Hall, and the Zapatista movement, this book reveals how Chicanxs articulated pop cultural utopias to make sense of, challenge, and improve the worlds they inhabited.

Sucheng Chan introduces this valuable new anthology with a commanding discussion of the field of Chinese American studies, in which she examines its history and points the way ahead. Here she and Madeline Y. Hsu have brought together leading-edge scholarship from a new generation of thinkers, as useful for scholars as it is for undergraduate readers.

The contributors address a broad range of issues, from the activism of left-wing and Communist Chinese immigrants to the U.S. in the 1920s and early 1930s and humanitarian relief during the Sino-Japanese War to the construction of new Chinese regional identities in New York.

Set against the background of Bolivia’s prominent urban festival parades and the country’s recent appearance on the front lines of antiglobalization movements, Circuits of Culture is the first social analysis of Bolivian film and television, their circulation through the social and national landscape, and the emergence of the country’s indigenous video movement.

At the heart of Jeff Himpele’s examination is an ethnography of the popular television program, The Open Tribunal of the People. The indigenous and underrepresented majorities in La Paz have used the talk show to publicize their social problems and seek medical and legal assistance from the show’s hosts and the political party they launched. Himpele studies the program in order to identify the possibilities of the mass media as a site for political discourse and as a means of social action.

Charting as well the history of Bolivia’s media culture, Himpele perceptively investigates cinematic media as sites for understanding the modernization of Bolivia, its social movements, and the formation of indigenous identities, and in doing so provides a new framework for exploring the circulation of culture as a way of creating publics, political movements, and producing media.

Jeff D. Himpele is associate director for the McGraw Center for Teaching and Learning at Princeton University. He is an anthropologist and documentary filmmaker; his films include the award-winning Incidents of Travel in Chichen Itza and Taypi Kala: Six Visions of Tiwanaku.

"Joe Rauh was the type of lawyer who comes along maybe once in a generation---talented, politically astute, effective, and stubbornly devoted to principles, the type of person who not only could but did make a difference. He deserves a biography that explores not only his persona, but the America in which he lived and worked, and how he made a difference to so many people. Michael Parrish has given us just such a book, an exceedingly fine, well-written story that will make clear to another generation not only who Joe Rauh was, but why we as a nation will always need someone like him."
---Melvin I. Urofsky, Professor of Law and Public Policy, Virginia Commonwealth University

"Michael Parrish has captured the life of this great civil libertarian in splendid fashion. His biography of this energetic New Deal liberal weaves effortlessly between public and private, friend and foe, victory and defeat. With Parrish as a sure guide, Citizen Rauh transports the reader through an American history that begins with Sacco and Vanzetti and ends as he battles CIA skullduggery in the 1980s. This biography should be on your shelf and in your heart."
---Nelson Lichtenstein, MacArthur Foundation Professor of History and Director of the Center for the Study of Work, Labor, and Democracy, University of California, Santa Barbara

"Michael Parrish has fashioned a biography filled with Rauh's spirit, achievements, his losses, and above all, the importance of his presence. This is a wonderful account of a giant of late 20th century political and legal affairs."
---Stanley Kutler, E. Gordon Fox Professor Emeritus of American Institutions, History, and Law, University of Wisconsin, Madison

Exit, like entry, has helped define citizenship over the last two centuries, yet little attention has been given to the politics of emigration. How have countries impeded or facilitated people leaving?  How have they perceived and regulated those who leave?  What relations do they seek to maintain with their citizens abroad and why? Citizenship and Those Who Leave reverses the immigration perspective to examine how nations define themselves not just through entry but through exit as well.  

Does talking about civic issues encourage civic participation? In his innovative book, Civic Talk, Casey Klofstad shows that our discussions about politics and current events with our friends, colleagues, and relatives—"civic talk"—has the ability to turn thought into action—from voting to volunteering in civic organizations.

Klofstad’s path breaking research is the first to find evidence of a causal relationship between the casual chatting and civic participation. He employs survey information and focus groups consisting of randomly assigned college freshman roommates to show this behavior in action. Klofstad also illustrates how civic talk varies under different circumstances and how the effects can last years into the future. Based on these findings, Klofstad contends that social context plays a central role in maintaining the strength of democracy. This conclusion cuts against the grain of previous research, which primarily focuses on individual-level determinants of civic participation, and negates social-level explanations.

The first of the collection’s three sections explicitly examines the links between aesthetics and social and political experience. Here a new essay by Rancière posits art as a key site where disagreement can be staged in order to produce new communities of sense. In the second section, contributors investigate how sense was constructed in the past by the European avant-garde and how it is mobilized in today’s global visual and political culture. Exploring the viability of various models of artistic and political critique in the context of globalization, the authors of the essays in the volume’s final section suggest a shift from identity politics and preconstituted collectivities toward processes of identification and disidentification. Topics discussed in the volume vary from digital architecture to a makeshift museum in a Paris suburb, and from romantic art theory in the wake of Hegel to the history of the group-subject in political art and performance since 1968. An interview with Étienne Balibar rounds out the collection.

Contributors. Emily Apter, Étienne Balibar, Carlos Basualdo, T. J. Demos, Rachel Haidu, Beth Hinderliter, David Joselit, William Kaizen, Ranjanna Khanna, Reinaldo Laddaga, Vered Maimon, Jaleh Mansoor, Reinhold Martin, Seth McCormick, Yates McKee, Alexander Potts, Jacques Rancière, Toni Ross

Now available in paperback with a new preface by the author, this award-winning book breaks new ground by challenging traditional concepts of community in political theory. William Corlett brings the diverse (and sometimes contradictory) work of Foucault and Derrida to bear on the thought of Pocock, Burke, Lincoln, and McIntyre, among others, to move beyond the conventional dichotomy of "individual vs. community," arguing instead that community is best advanced within a politics of difference.

Americans have long acknowledged a deep connection between evangelical religion and democracy in the early days of the republic. This is a widely accepted narrative that is maintained as a matter of fact and tradition—and in spite of evangelicalism’s more authoritarian and reactionary aspects.

In Conceived in Doubt, Amanda Porterfield challenges this standard interpretation of evangelicalism’s relation to democracy and describes the intertwined relationship between religion and partisan politics that emerged in the formative era of the early republic. In the 1790s, religious doubt became common in the young republic as the culture shifted from mere skepticism toward darker expressions of suspicion and fear. But by the end of that decade, Porterfield shows, economic instability, disruption of traditional forms of community, rampant ambition, and greed for land worked to undermine heady optimism about American political and religious independence. Evangelicals managed and manipulated doubt, reaching out to disenfranchised citizens as well as to those seeking political influence, blaming religious skeptics for immorality and social distress, and demanding affirmation of biblical authority as the foundation of the new American national identity.

As the fledgling nation took shape, evangelicals organized aggressively, exploiting the fissures of partisan politics by offering a coherent hierarchy in which God was king and governance righteous. By laying out this narrative, Porterfield demolishes the idea that evangelical growth in the early republic was the cheerful product of enthusiasm for democracy, and she creates for us a very different narrative of influence and ideals in the young republic.