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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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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.” 

Demonstrating how emotion became central to the legal and literary meanings of piracy in nineteenth-century America

Pirates have long occupied a central yet unstable place in American law and national identity. In the decades leading up to and including the U.S. Civil War, the charge of piracy was leveled against an unusually wide range of figures: foreign heads of state, imperial filibusters, transoceanic enslavers, enslaved mutineers, radical abolitionists, and others who challenged established forms of authority. Early American literature reflects this instability, portraying pirates who vary dramatically in politics, race, gender, and allegiance. As Mark B. Kelley shows, these characters are united less by ideology than by their challenge to landed social norms and fixed national belonging. The pirate, in both law and literature, emerges as an individual defined by multiplicity rather than political coherence. 

Crimes Against Feeling examines how Americans made sense of this ambiguous figure by turning to emotion. Drawing on legal materials including treaties, trial transcripts, congressional debates, and U.S. Supreme Court decisions, as well as popular sentimental fiction (often written by women), Kelley argues that piracy was codified as an offense against moral feeling rather than being a singular political position. Legal thinkers and writers such as John Quincy Adams, Abraham Lincoln, Jefferson Davis, Catharine Maria Sedgwick, Harriet Beecher Stowe, and Maria S. Cummins relied on shared affective frameworks—sympathy, sentiment, and domestic vulnerability—to render piracy legible and punishable. American pirate law, Kelley demonstrates, was shaped by the same emotional logics that structured the era’s popular fiction. 

By tracing piracy across debates over domestic sovereignty, global enslavement and abolition, imperial expansion, postbellum reparations, and international copyright, Crimes Against Feeling reveals the pirate as a key figure for understanding gender, home, family, and nation in early America. Reading law and literature together, the book shows how emotional judgment—not political consensus—became a foundational tool for managing oceanic violence and transnational disorder in the nineteenth-century United States. 

From Kant to Kierkegaard, from Hegel to Heidegger, continental philosophers have indelibly shaped the trajectory of Western thought since the eighteenth century. Although much has been written about these monumental thinkers, students and scholars lack a definitive guide to the entire scope of the continental tradition. The most comprehensive reference work to date, this eight-volume History of Continental Philosophy will both encapsulate the subject and reorient our understanding of it. Beginning with an overview of Kant’s philosophy and its initial reception, the History traces the evolution of continental philosophy through major figures as well as movements such as existentialism, phenomenology, hermeneutics, and poststructuralism. The final volume outlines the current state of the field, bringing the work of both historical and modern thinkers to bear on such contemporary topics as feminism, globalization, and the environment. Throughout, the volumes examine important philosophical figures and developments in their historical, political, and cultural contexts.

The first reference of its kind, A History of Continental Philosophy has been written and edited by internationally recognized experts with a commitment to explaining complex thinkers, texts, and movements in rigorous yet jargon-free essays suitable for both undergraduates and seasoned specialists. These volumes also elucidate ongoing debates about the nature of continental and analytic philosophy, surveying the distinctive, sometimes overlapping characteristics and approaches of each tradition. Featuring helpful overviews of major topics and plotting road maps to their underlying contexts, A History of Continental Philosophy is destined to be the resource of first and last resort for students and scholars alike.

When the Nazis assumed power in Germany in 1933, they wasted no time in implementing their radical policies, first by securing passage of the Law for the Prevention of Offspring with Hereditary Diseases. Among those designated by this law as “congenitally disabled” were deaf people. Horst Biesold’s newly translated book examines this neglected aspect of Nazi “racial hygiene” through interviews with more than 1,000 deaf survivors of this brutal law that authorized forced sterilizations, abortions, and eventually murder.

Crying Hands meticulously delineates the antecedents of Nazi eugenics, beginning with Social Darwinism (postulated in the mid-nineteenth century) and tracing the various sterilization laws later initiated throughout the world, including many passed and practiced in the United States. This exceptional scholarship is movingly paralleled by the human faces fixed to the numbing statistics, as in story after story those affected recount their irretrievable loss, pain, and misplaced shame imposed upon them by the Nazi regime. Through their stories, told to Biesold in German Sign Language, they have given voice to the countless others who died from the specious science practiced by the Third Reich. And now their own trials have finally been acknowledged.

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.

Tracing the birth of American museums and the curators who shaped a nation’s cultural identity.

As they formed their pioneer museums, these men were guided not so much by European examples, but rather by the imperatives of the American democratic culture, including the Enlightenment, the simultaneous decline of the respectability and rise of the middle classes, the Age of Egalitarianism, and the advent of professionalism in the sciences. Thus the pre-1870 American museum was neither the frivolous sideshow some critics have imagined, nor the enclave for elitists that others have charged. Instead, the proprietors displayed serious motives and egalitarian aspirations.

The conflicting demands for popular education on the one hand and professionalism on the other were a continuing source of tension in American museums after about 1835, but by 1870 the two claims had synthesized into a rough parity. This synthesis, the "American Compromise," has remained the basic model of museums in America down to the present. Thus, by 1870, the form of the modern American museum as an institution which simultaneously provides popular education and promotes scholarly research was completely developed.

Established in 1918, as a new state the First Czechoslovak Republic was keen to project a distinct image. Participation in World Fairs offered the perfect opportunity-. In this comprehensive account of Czechoslovak participation in international exhibitions of the interwar period Marta Filipová looks beyond the sleek façade of the modernist pavilions to examine the intersections of architecture, art and design with commercial interests, state agendas, individual action and the public, offering a complex insight into the production and reception of national displays.

The rich collection of images – mainly photographs – provides a close look at the Czechoslovak pavilions. The design, content and context of the displays convey an idealized narrative that was created for the fairs and the myths on which the Czechoslovak nation and state were built. Heavy machinery, modern art, tourist destinations, and food and drink were presented as Czechoslovak, while many aspects of social life – particularly women or ethnic minorities – were strikingly underrepresented or absent. The book argues that the objects and ideas that the pavilion organizers put on display legitimized and validated the existence of the new state through the inclusion and exclusion of exhibits, people, and ideas.

While Marta Filipová primarily focuses on Czechoslovakia, she also offers insights into how other emerging nations projected and sustained their image during this historical period and how interwar world’s fairs accommodated them.