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A whimsical look at the pleasures and challenges of living in the far north-now in paperback!

A whimsical look at the pleasures and challenges of living in the far north-now in paperback!

Drawing on newly declassified materials and archives, Toby C. Rider chronicles how the U.S. government used the Olympics to promote democracy and its own policy aims during the tense early phase of the Cold War. Rider shows how the government, though constrained by traditions against interference in the Games, eluded detection by cooperating with private groups, including secretly funded émigré organizations bent on liberating their home countries from Soviet control. At the same time, the United States utilized Olympic host cities as launching pads for hyping the American economic and political system. Behind the scenes, meanwhile, the government attempted clandestine manipulation of the International Olympic Committee. Rider also details the campaigns that sent propaganda materials around the globe as the United States mobilized culture in general, and sports in particular, to fight the communist threat.

Deeply researched and boldly argued, Cold War Games recovers an essential chapter in Olympic and postwar history.

A gripping history of FBI surveillance, political repression, and the fight for Puerto Rican independence
 
In the 1940s, with the construction of a naval base and a bombing range, Puerto Rico became a major geo-political military outpost for the United States. For a power claiming global leadership in a decolonizing world, however, the archipelago’s colonial condition underscored the dissonance between American democratic rhetoric and its imperial reality. The solution was a deal that, in 1952, gave Puerto Rico a degree of self-government without changing its legal status as an “unincorporated” US territory. The US then publicly claimed Puerto Rico was now more autonomous while using repressive tactics such as FBI surveillance, arrests, destabilization, and other methods developed in Washington to silence activists and political parties pushing for full independence.

In Cold War Puerto Rico, Steve Howell examines how J. Edgar Hoover and the FBI targeted Puerto Rican communists as part of an offensive against pro-independence parties and activists generally. Howell’s US-born father, who fell afoul of Hoover for producing radical cartoons while working in San Juan in the 1940s, remained on the FBI’s watch list long after exiling himself in Britain. His close friends, the Puerto Rican author César Andreu Iglesias and Jane Speed de Andreu, were meanwhile arrested and imprisoned three times during the 1950s. Drawing on a wealth of new sources, including interviews and FBI files, Howell tells their stories along with those of other activists who battled indictment in 1954 under the Smith Act, challenged the jurisdiction of the House Un-American Activities Committee in San Juan in 1959, and revived the Puerto Rican independence movement in the 1960s, despite the FBI deploying the covert tactics of COINTELPRO against them.

Puerto Rico is virtually invisible in histories of what is generally called McCarthyism, yet anti-communist repression was in many ways more intense there than in the mainland US. Now, with Puerto Rico’s future currently hanging in the balance, Howell’s compelling history demonstrates why we need to understand the long enforcement of its colonial status.
 

A decolonial study of the toys that were produced and collected in Latin America during the Cold War. 

Cold War Toys examines playthings manufactured, promoted, and commercialized in Argentina, Chile, and Uruguay during the second half of the twentieth century. Establishing connections and conversations with toys produced in earlier periods, including nineteenth-century dollhouses and building blocks created in the 1920s by Joaquín Torres-García, it goes on to analyze, among other items, construction sets made in 1970s Chile during Salvador Allende’s Popular Unity government, scale-model household appliances distributed by the Eva Perón Foundation, and more recent figurines such as the Latin American versions of G.I. Joe and Latin Barbie dolls.

The book approaches toys as “dispositifs”—cultural formations that condense the discourses, institutions, architectural forms, scientific statements, and philosophical propositions of Latin America’s Cold War. Drawing on a rich compendium of objects, many inspired by European or US brands, it shows how South American toys incorporated local characters, designs, messages, and materials through a process of creative adaptation, thereby acquiring new identities. These and other original artifacts are examined variously as commodities from a once-flourishing industry, works of art, originators of cultural myths, and training tools for Cold War childhoods. They are also seen as undervalued expressions of children’s material culture, imbued with the collective memory of a turbulent and contested era.

Cold War and Sinophone Culture at the Borders examines Sinophone literary and cultural production in relation to the politics of the global Cold War and decolonization in Hong Kong, Singapore, and Malaysia. As we reckon with the historical and contemporary geopolitical standoffs in the Cold War–divided territories, Shuang Shen draws attention to the diasporic communities outside Chinese sovereign territories and shows that these supposedly peripheral locations were in fact significant cultural and political hot spots. 

Shen demonstrates how Cold War borders exerted geo-power over strategic hot spots, organized global flows of populations and cultures, hardened the boundaries of aesthetic debates, and managed interracial relationships and plurilingual exchange. The multifold bordering effect in turn complicates the common perception of the border as a mechanism of territorial division. Cold War and Sinophone Culture at the Borders proposes that a critical examination of borders—not just territorial divisions, but also social, political, and aesthetic boundaries––can tap into different structures of power without needing to incorporate them into a single binary framework of the metropole versus colony.

Nicholas J. Schlosser draws on broadcast transcripts, internal memoranda, listener letters, and surveys by the U.S. Information Agency to profile RIAS. Its mission: to undermine the German Democratic Republic with propaganda that, ironically, gained in potency by obeying the rules of objective journalism. Throughout, Schlosser examines the friction inherent in such a contradictory project and propaganda's role in shaping political culture. He also portrays how RIAS's primarily German staff influenced its outlook and how the organization both competed against its rivals in the GDR and pushed communist officials to alter their methods in order to keep listeners.

From the occupation of Berlin through the airlift to the construction of the Berlin Wall, Cold War on the Airwaves offers an absorbing view of how public diplomacy played out at a flashpoint of East-West tension.

Collaborative Archaeology brings together a diverse group of scholars and tribal cultural resource professionals to showcase how Indigenous knowledge is transforming archaeological practice. Edited by Chris Loendorf, this volume features twelve case studies that highlight the power of partnership between Native American communities and archaeologists. These collaborations not only enrich our understanding of the past but also affirm Indigenous cultural continuity. From the establishment of Tribal Historic Preservation Offices to tribally led research initiatives, the book illustrates how Native voices are reshaping the field.
 
This timely collection bridges disciplinary divides between archaeology, history, and traditional knowledge, challenging outdated narratives that separate “prehistory” from living Indigenous communities. Contributors demonstrate how ethical, community-based research can lead to more accurate and respectful interpretations of the past. Collaborative Archaeology is essential reading for scholars, students, and practitioners committed to scientific understanding and cultural preservation.

Contributors
Nicole Armstrong-Best
Skylar Begay
Jennifer Bess
Hannah F. Chavez
Robert B. Ciaccio
Shannon Cowell
William H. Doelle
Karl A. Hoerig
Anabel Galindo
Barnaby V. Lewis
Chris Loendorf
Brian Medchill
Linda Morgan
Laurene G. Montero
Stephen E.  Nash
Eloise Pedro
Glen E. Rice
Teresa Rodrigues
Hoski Schaafsma
Thomas E. Sheridan
Katrina Soke
Lindsey Vogel-Teeter
Anastasia Walhovd
Reylynne Williams
M. Kyle Woodson
Aaron M. Wright

For more than 150 years, individuals have traveled the countryside with pen, paper, tape recorders, and even video cameras to document versions of songs, music, and stories shared by communities. As technologies and methodologies have advanced, the task of gathering music has been taken up by a much broader group than scholars. The resulting collections created by these various people can be impacted by the individual collectors’ political and social concerns, cultural inclinations, and even simple happenstance, demonstrating a crucial yet underexplored relationship between the music and those preserving it.

Collecting Music in the Aran Islands, a critical historiographical study of the practice of documenting traditional music, is the first to focus on the archipelago off the west coast of Ireland. Deirdre Ní Chonghaile argues for a culturally equitable framework that considers negotiation, collaboration, canonization, and marginalization to fully understand the immensely important process of musical curation. In presenting four substantial, historically valuable collections from the nineteenth and twentieth centuries, she illustrates how understanding the motivations and training (or lack thereof) of individual music collectors significantly informs how we should approach their work and contextualize their place in the folk music canon.

Collecting the Now offers a new, in-depth look at the economic forces and institutional actors that have shaped the outlines of postwar art history, with a particular focus on American art, 1960–1990. Working through four case studies, Michael Maizels illuminates how a set of dealers and patrons conditioned the iconic developments of this period: the profusions of pop art, the quixotic impossibility of land art, the dissemination of new media, and the speculation-fueled neo-expressionist painting of the 1980s. 
This book addresses a question of pivotal importance to a swath of art history that has already received substantial scholarly investigation. We now have a clear, nuanced understanding of why certain evolutions took place: why pop artists exploded the delimited parameters of aesthetic modernism, why land artists further strove against the object form itself, and why artists returned to (neo-)traditional painting in the 1980s. But remarkably elided by extant scholarship has been the question of how. How did conditions coalesce around pop so that its artists entered into museum collections, and scholarly analyses, at pace unprecedented in the prior history of art? How, when seeking to transcend the delimited gallery object, were land artists able to create monumental (and by extension, monumentally expensive), interventions in the extreme wilds of the Western deserts? And how did the esoteric objects of media art come eventually to scholarly attention in the sustained absence of academic interest or a private market? The answers to these questions lie in an exploration of the financial conditions and funding mechanisms through which these works were created, advertised, distributed, and preserved.