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Finalist: Memory Studies Association 2025 First Book Award Shortlist | April 7, 2025 

In Continuous Pasts, author Sakiru Adebayo claims that the post-conflict fiction of memory in Africa depicts the intricate ways in which the past is etched on bodies and topographies, resonant in silences and memorials, and continuous even in experiences as well as structures of migration. Adebayo argues that the post-conflict fiction of memory in Africa invites critical deliberations on the continuity of the past within the realm of positionality and the domain of subjectivity—that is to say, the past is not merely present; instead, it survives, lives on, and is mediated through the subject positions of victims, perpetrators, as well as secondary and transgenerational witnesses. The book also argues that post-conflict fiction of memory in Africa shows the unfinished business of the past produces fragile regimes of peace and asynchronous temporalities that challenge progressive historicism. It contends that, in most cases in Africa, the post-conflict present is beset with a tight political economy wherein the scramble for survival trumps the ability to imagine a just future among survivors—and that it is precisely this despairing disposition toward the future that some writers of post-conflict fiction attempt to confront in their works. On the whole, Continuous Pasts shows how post-conflict fictions of memory in Africa recalibrate discourses of futurity, solidarity, responsibility, justice, survival, and reconciliation. It also contends that post-conflict fictions of memory in Africa provide the tools for imagining and theorizing a collective African memory. Each text analyzed in the book provides, in very interesting ways, an imaginative possibility and template for how post-independence African countries can ‘remember together’ using what the author describes as an African transnational memory framework.

Larry McMurtry declares, "Texas itself doesn't have anything to do with why I write. It never did." Horton Foote, on the other hand, says, "I've just never had a desire to write about any place else." In between those figurative bookends are hundreds of other writers—some internationally recognized, others just becoming known—who draw inspiration and often subject matter from the unique places and people that are Texas. To give everyone who is interested in Texas writing a representative sampling of the breadth and vitality of the state's current literary production, this volume features conversations with fifty of Texas's most notable established writers and emerging talents.

The writers included here work in a wide variety of genres—novels, short stories, poetry, plays, screenplays, essays, nonfiction, and magazine journalism. In their conversations with interviewers from the Writers' League of Texas and other authors' organizations, the writers speak of their apprenticeships, literary influences, working habits, connections with their readers, and the domestic and public events that have shaped their writing. Accompanying the interviews are excerpts from the writers' work, as well as their photographs, biographies, and bibliographies. Joe Holley's introductory essay—an overview of Texas writing from Cabeza de Vaca's 1542 Relación to the work of today's generation of writers, who are equally at home in Hollywood as in Texas—provides the necessary context to appreciate such a diverse collection of literary voices.

A sampling from the book:

"This land has been my subject matter. One thing that distinguishes me from the true naturalist is that I've never been able to look at land without thinking of the people who've been on it. It's fundamental to me." —John Graves

"Writing is a way to keep ourselves more in touch with everything we experience. It seems the best gifts and thoughts are given to us when we pause, take a deep breath, look around, see what's there, and return to where we were, revived." —Naomi Shihab Nye

"I've said this many times in print: the novel is the middle-age genre. Very few people have written really good novels when they are young, and few people have written really good novels when they are old. You just tail off, and lose a certain level of concentration. Your imaginative energy begins to lag. I feel like I'm repeating myself, and most writers do repeat themselves." —Larry McMurtry

"I was a pretty poor cowhand. I grew up on the Macaraw Ranch, east of Crane, Texas. My father tried very hard to make a cowboy out of me, but in my case it never seemed to work too well. I had more of a literary bent. I loved to read, and very early on I began to write small stories, short stories, out of the things I liked to read." —Elmer Kelton

An examination of male screen sex appeal and the ways that race, ethnicity, and national origin combine with performance tools and film and television style to aid or inhibit actors’ circulation on an increasingly global stage.

Sex appeal is complicated, especially for screen actors. Looking good is not enough. Charisma and charm have to register when the camera rolls. And sexiness has to travel. Today’s heartthrobs are expected to raise temperatures all around the world.

Cosmosexuals theorizes male sex appeal as a form of capital in an age of international stardom. Screen scholar Mark Gallagher assembles a diverse cast—Idris Elba, Pedro Pascal, Simu Liu, Ryan Gosling, and more—analyzing how each actor uses his appearance, voice, and movement to perform in ways that viewers across cultural divides register as sexually appealing. Cosmosexuals also explores the intersection of global sex appeal and exoticism in historical and contemporary contexts—from the malleable racial identities of Omar Sharif and Conrad Veidt to Mads Mikkelsen’s “accented whiteness”—and assesses the barriers that confine nonwhite actors, in spite of their talent or celebrity. Far more than handsome faces and chiseled abs, male sex symbols emerge as laborers subject to disciplinary regimes steeped in patriarchy, racism, and structural inequity. As such, they have much to tell us about the economies of taste at work in the construction of screen masculinity and the terms of human desire.

How to remake the world with neurodivergence at its heart

What if we embraced neurodivergent ways of being not as deviations to be corrected but as vital ways of inhabiting the world? What new realities might emerge? Bringing a much-needed humanistic perspective to the study of autism and other forms of neurodivergence, Counter-cartographies offers a bold reimagining of neurological difference, moving beyond rigid diagnostic frameworks to uncover more expansive, generative modes of existence.

Engaging the work of Fernand Deligny to trace how modern taxonomies of neurodivergence have hardened over time, Leon J. Hilton questions how these categories might instead serve as tools for remapping the world with neurodivergence at its center. At the heart of Counter-cartographies is an exploration of performance and performativity that reveals how the norm of neurotypical reality is continually reinforced through acts of doing, redoing, and undoing.

Charting the historical shift away from “mind” and toward “brain” and moving fluidly across disciplines—from digital art and documentary cinema to cybernetics and radical mental health movements—Hilton illuminates the deep interconnections between performance, perception, and the historical construction of the “neurotypical.” Through close readings of works by William Pope.L, Mel Baggs, Wu Tsang, and others, Hilton also examines how neurodivergence has been represented, embodied, and materialized in contemporary art and media. Restless, engrossing, and persistently attuned to moments of rupture when the neurotypical order falters, Counter-cartographies charts a path toward a more capacious, imaginative world.

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An essential look at how and why backlash movements are inherent to US policymaking.

The most successful policies not only solve problems. They also build supportive coalitions. Yet, sometimes, policies trigger backlash and mobilize opposition. Although backlash is not a new phenomenon, today’s political landscape is distinguished by the frequency and pervasiveness of backlash in nearly every area of US policymaking, from abortion rights to the Affordable Care Act.

Eric M. Patashnik develops a policy-centered theory of backlash that illuminates how policies stimulate backlashes by imposing losses, overreaching, or challenging existing arrangements to which people are strongly attached. Drawing on case studies of issues from immigration and trade to healthcare and gun control, Countermobilization shows that backlash politics is fueled by polarization, cultural shifts, and negative feedback from the activist government itself. It also offers crucial insights to help identify and navigate backlash risks.

Craft is a diverse, democratic art form practiced by Americans of every gender, age, ethnicity, and class. Crafting America traces this expansive range of skilled making in a variety of forms, from ceramics and wood to performance costume and community-based practice. In exploring the intertwining of craft and American experience, this volume reveals how artists leverage their craft to realize the values of life, liberty, and the pursuit of happiness.

Accompanying an exhibition of the same title organized by Crystal Bridges Museum of American Art, Crafting America features contributions from scholars that illuminate craft’s relationship to ritual and memory, personal independence, abstraction, and Native American histories. The richly illustrated catalog section—with more than a hundred color images accompanied by lively commentary—presents a vivid picture of American craft over the past eight decades, offering fresh insights on the relationships between objects.

Building upon recent advances in craft scholarship and encouraging more inclusive narratives, Crafting America presents a bold statement on the vital role of craft within the broader context of American art and identity.

China is a multicultural country home to fifty-five ethnic minority groups, yet due to linguistic and cultural barriers many of these groups remain understudied or unknown in the West. The Qiang, one of modern China’s officially recognized ethnic minorities, is also China’s longest-standing ethnoracial identity marker that has existed since the earliest recorded history of China. Creative Belonging investigates the formation and evolution of the Qiang as a people, a concept, and a cultural history in China. It further examines how the contemporary Qiang ethnic group interacts strategically with mainstream Chinese society, challenging the historically entrenched hierarchies between the sociocultural “centers” of China and its ethnic “peripheries.” 

This book is based on years of ethnographic and textual-archival research in the Himalayan regions of southwest China, where the contemporary Qiang group resides. Drawing on a diverse range of official and local political discourses and previously unstudied literary, historiographical, and cinematic works, Yanshuo Zhang illuminates how the Qiang have carved out spaces of “creative belonging” within the parameters of multiculturalism in contemporary China. Rooted in ethnographic and textual-archival research, the book presents original materials produced by Qiang indigenous writers, scholars, artists, grassroots village cultural activists, and entrepreneurs at both the local and the global levels. Creative Belonging invites readers to rethink ethnicity and national belonging in China by centering minority groups’ efforts to expand the meanings and implications of “Chinese culture.” 

Analyses of crime and justice in an unprecedented time

While COVID-19 lockdowns affected nearly everyone worldwide, feelings of anxiety and fear were exacerbated for those already entangled in the criminal justice system. Scholars recognized the unique opportunity to study crime and the justice system’s response during this period, though they soon realized that determining the pandemic’s effects would be a complicated, nuanced process.

Crime, Corrections, and the COVID-19 Pandemic features analyses and findings from more than thirty contributors in eleven essays. The collection examines the multifaceted social, economic, cultural, legislative, and policy responses to COVID-19 and their impacts on crime and justice. It also explores how professionals across the criminal justice system—police officers, campus police officers, attorneys, judges, correctional staff, and community supervision agents—adapted to unprecedented challenges.

The book provides real-world evidence of how unconventional solutions and groundbreaking practices were implemented in response to a global crisis. Contributors analyze how incarcerated individuals, their families, and their supervisors dealt with the fear of transmission, medical care, and death. Their findings, which are necessarily dependent on timing, place, measurement, and operationalization, include both change and stasis, both negative and positive outcomes. For instance, while minor and property-related offenses initially declined, violent crimes like homicide and intimate partner violence increased. Drug usage patterns changed, leading to a rise in opioid overdoses, and despite the rise in digital interactions, there was no significant difference in self-reported cybervictimization. Furthermore, rates of gang-related crimes did not decrease. Policy and public health responses reshaped criminal activities, influencing the methods and motivations behind theft, child and elder abuse, and other offenses. This volume includes in-depth examinations of certain often-overlooked crimes, such as labor trafficking, and provides direct insights into the job challenges faced by criminal justice professionals, from probation personnel to labor rights advocates.

Emerging innovations in health risk management within correctional facilities led to increased awareness and focus on specific types of crime. Responses to the pandemic revealed significant challenges, such as burnout among justice system personnel, difficulties in adapting and innovating, and challenges in providing services to vulnerable populations.

Through diverse perspectives and empirical approaches ranging from advanced statistical analysis to qualitative interviews, Crime, Corrections, and the COVID-19 Pandemic offers a comprehensive exploration of the complexities that affect research results.  It showcases the resilience and innovation within the criminal justice field and details the challenges professionals in this area tackled during a universally trying time, presenting valuable lessons for future crises. 

2025 National Women's Studies Association Alison Piepmeier Book Prize Winner

• 2026 Society for Disability Studies First Book Award Honorable Mention
• 2022 Tobin Siebers Prize Winner

Cripping Girlhood offers a new theorization of disabled girlhood, tracing how and why representations of disabled girls emerge with frequency in twenty-first century U.S. media culture. It uncovers how the exceptional figure of the disabled girl most often appears as a resource to work through post-Americans with Disabilities Act (ADA) anxieties about the family, healthcare, labor, citizenship, and the precarity of the bodymind. In paying critical attention to disabled girlhood, the book uses feminist disability studies to rupture the unwitting assumption in girls’ studies that girlhood is necessarily non-disabled. 

By closely examining the ways that disabled girls represent themselves, Anastasia Todd goes beyond a critique of the figure of the privileged, disabled girl subject in the national imagination to explore how disabled girls circulate their own capacious re-envisioning of what it means to be a disabled girl. In analyzing a range of cultural sites, including YouTube, TikTok, documentaries, and GoFundMe campaigns, Todd shows how disabled girls actively upend what we think we know about them and their experience, recasting the meanings ascribed to their bodyminds in their own terms.  By analyzing disabled girls’ self-representational practices and cultural productions, Todd shows how disabled girls deftly theorize their experiences of ableism, sexism, racism, and ageism, and cultivate communities online, creating archives of disability knowledge and politicizing other disabled people in the process. 

This book foregrounds some of the ways in which women playwrights from across a range of contexts and working in a variety of forms and styles are illuminating the contemporary world while also contributing to its reshaping as they reflect, rethink, and reimagine it through their work for the stage. The book is framed by a substantial introduction that sets forth the critical vision and structure of the book as a whole, and an afterword that points toward emerging currents in and expansions of the contemporary field of playwriting by women on the cusp of the third decade of the twenty-first century. Within this frame, the twenty-eight chapters that form the main body of the book, each focusing on a single play of critical significance, together constitute a multi-faceted, inevitably partial, yet nonetheless integral picture of the work of women playwrights since 2000 as they engage with some of the most pressing issues of our time. Some of these issues include the continuing oppression of and violence against women, people of color, LGBTQ+ people, and ethnic minorities; the ongoing processes of decolonization; the consequences of neoliberal capitalism; the devastation and enduring trauma of war; global migration and the refugee crisis; the turn to right-wing populism; and the impact of climate change, including environmental disaster and species extinction.

The book is structured into seven sections: Replaying the Canon; Representing Histories; Staging Lives; Re-imagining Family; Navigating Communities; Articulating Intersections; and New World Order(s). These sections group clusters of plays according to the broad critical actions they perform or, in the case of the final section, the new world orders that they capture through their stagings of the seeming impasse of the politically and environmentally catastrophic global present moment. There are many other points of resonance among and across the plays, but this seven-part structure foregrounds the broader actions that drive the plays, both in the Aristotelian dramaturgical sense and in the larger sense of the critical interventions that the plays creatively enact. In this way, the seven-part structure establishes correspondences across the great diversity of dramatic material represented in the book while at the same time identifying key methods of critical approach and areas of focus that align the book’s contributors across this diversity. The structure of the book thus parallels what the playwrights themselves are doing, but also how the contributors are approaching their work. Plays featured in the book are from Canada, Australia, South Africa, the US, the UK, France, Argentina, New Zealand, Syria, Brazil, Italy, and Austria; the playwrights include Margaret Atwood, Leah Purcell, Yaël Farber, Paula Vogel, Adrienne Kennedy, Suzan-Lori Parks, debbie tucker green, Lisa Loomer, Hélène Cixous. Anna Deavere Smith, Lola Arias, Lisa Kron and Jeanine Tesori, Marie Clements, Quiara Alegría Hudes, Alia Bano, Holly Hughes, Whiti Hereaka, Julia Cho, Liwaa Yazji, Grace Passô, Dominique Morisseau, Emma Dante, Frances Ya-Chu Cowhig, Lynn Nottage, Elfriede Jelinek, Caryl Churchill, Colleen Murphy, and Lucy Kirkwood.

Encompassing several generations of playwrights and scholars, ranging from the most senior to mid-career to emerging voices, the book will be essential reading for established researchers, a valuable learning resource for students at all levels, and a useful and accessible guide for theatre practitioners and interested theatre-goers.

This book provides the first in-depth, wide-scope treatment of da’wa. A term difficult to translate, da’wa covers a semantic field ranging from the call or invitation to Islam, to religious preaching and proselytizing, to the mission and message of Islam. Historically da’wa has been directed outward to nonbelievers, but in modern times it has turned increasingly inward to “straying” Muslims. While the media and many scholars have focused on extremism and militant groups that have raised the banner of jihad, this volume argues that da’wa, not jihad, forms the backbone of modern Islamic politics and religiosity, and that the study of da’wa is essential for understanding contemporary Islamic politics as well as jihadist activity. Contributors represent a variety of approaches and come from a range of academic, religious, and national backgrounds. In these essays, they analyze the major discourses of da’wa, their embodiment in the major Islamic movements of the twentieth century, and their transformation into new forms of activism through the media, the state, and jihadi groups—including al-Qaeda and ISIS—in the twenty-first century.

Showing how museum practices shed new light on literary form

How and why do books deploy objects in order to narrate the past? To answer this question, Emma Bond sifts through collections of objects stored in boxes, drawers, baskets, and displayed on shelves in contemporary texts by authors such as Valeria Luiselli, Maaza Mengiste, Orhan Pamuk, and Olga Tokarczuk and interprets them using a framework of museum practices. These practices, which include collection, curation, conservation, and display, have helped to turn real-life museums into three-dimensional narrative spaces. Curating Worlds: Museum Practices in Contemporary Literature shows how we can use this same set of practices to shed light on literary form itself: how stories are created, shaped, and communicated. Harnessing museum practices as an innovative lens for critical interpretation, Bond provides a fresh theoretical framework to engage with the meanings of object collections in literature and to make sense of the lives, and afterlives, of things today.

Located less than a mile from Juárez, the Stanlee and Gerald Rubin Center for Visual Arts at the University of Texas at El Paso is a non-collecting institution that serves the Paso del Norte region. In Curating at the Edge, Kate Bonansinga brings to life her experiences as the Rubin’s founding director, giving voice to a curatorial approach that reaches far beyond the limited scope of “border art” or Chicano art. Instead, Bonansinga captures the creative climate of 2004–2011, when contemporary art addressed broad notions of destruction and transformation, irony and subversion, gender and identity, and the impact of location on politics.

The Rubin’s location in the Chihuahuan desert on the U.S./Mexican border is meaningful and intriguing to many artists, and, consequently, Curating at the Edge describes the multiple artistic perspectives conveyed in the place-based exhibitions Bonansinga oversaw. Exciting mid-career artists featured in this collection of case studies include Margarita Cabrera, Liz Cohen, Marcos Ramírez ERRE, and many others. Recalling her experiences in vivid, first-person scenes, Bonansinga reveals the processes a contemporary art curator undertakes and the challenges she faces by describing a few of the more than sixty exhibitions that she organized during her tenure at the Rubin. She also explores the artists’ working methods and the relationship between their work and their personal and professional histories (some are Mexican citizens, some are U.S. citizens of Mexican descent, and some have ancestral ties to Europe). Timely and illuminating, Curating at the Edge sheds light on the work of the interlocutors who connect artists and their audiences.