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The first full-length study of same-sex love in any period of Russian or Soviet history, Homosexual Desire in Revolutionary Russia investigates the private worlds of sexual dissidents during the pivotal decades before and after the 1917 Bolshevik Revolution. Using records and archives available to researchers only since the fall of Communism, Dan Healey revisits the rich homosexual subcultures of St. Petersburg and Moscow, illustrating the ambiguous attitude of the late Tsarist regime and revolutionary rulers toward gay men and lesbians. Homosexual Desire in Revolutionary Russia reveals a world of ordinary Russians who lived extraordinary lives and records the voices of a long-silenced minority.

Breathtaking in its historical and geographical scope, this book provides a sweeping examination of the construction of male and female homosexualities, stressing both the variability of the forms same-sex desire can take and the key recurring patterns it has formed throughout history.

"[An] indispensable resource on same-sex sexual relationships and their social contexts. . . . Essential reading." —Choice

"[P]romises to deliver a lot, and even more extraordinarily succeeds in its lofty aims. . . . [O]riginal and refreshing. . . . [A] sensational book, part of what I see emerging as a new commonsense revolution within academe." —Kevin White, International Gay and Lesbian Review

A groundbreaking analysis of the troubled relationship between homosexuality and psychoanalysis, including two previously untranslated essays by Michel Foucault

Why has homosexuality always fascinated and vexed psychoanalysis? This groundbreaking collection of original essays reconsiders the troubled relationship between same-sex desire and psychoanalysis, assessing homosexuality's status in psychoanalytic theory and practice, as well as the value of psychoanalytic ideas for queer theory. The contributors, each distinguished clinicians and specialists, reexamine works by Freud, Klein, Reich, Lacan, Laplanche, and their feminist and queer revisionists. Sharing a commitment to conscious and unconscious forms of homosexual desire, they offer new perspectives on pleasure, perversion, fetishism, disgust, psychosis, homophobia, AIDS, otherness, and love. Including two previously untranslated essays by Michel Foucault, Homosexuality and Psychoanalysis will interest cultural theorists, psychoanalysts, and anyone concerned with the fate of sexuality in our time.

Contributors:
Lauren Berlant
Leo Bersani
Daniel L. Buccino
Arnold I. Davidson
Tim Dean
Jonathan Dollimore
Brad Epps
Michel Foucault
Lynda Hart
Jason B. Jones
Christopher Lane
H. N. Lukes
Catherine Millot
Elizabeth A. Povinelli
Ellie Ragland
Paul Robinson
Judith Roof
Joanna Ryan
Ramón E. Soto-Crespo
Suzanne Yang

Challenging widely held assumptions about postwar gay male culture and politics, Homosexuality in Cold War America examines how gay men in the 1950s resisted pressures to remain in the closet. Robert J. Corber argues that a form of gay male identity emerged in the 1950s that simultaneously drew on and transcended left-wing opposition to the Cold War cultural and political consensus. Combining readings of novels, plays, and films of the period with historical research into the national security state, the growth of the suburbs, and postwar consumer culture, Corber examines how gay men resisted the "organization man" model of masculinity that rose to dominance in the wake of World War II.
By exploring the representation of gay men in film noir, Corber suggests that even as this Hollywood genre reinforced homophobic stereotypes, it legitimized the gay male "gaze." He emphasizes how film noir’s introduction of homosexual characters countered the national "project" to render gay men invisible, and marked a deep subversion of the Cold War mentality. Corber then considers the work of gay male writers Tennessee Williams, Gore Vidal, and James Baldwin, demonstrating how these authors declined to represent homosexuality as a discrete subculture and instead promoted a model of political solidarity rooted in the shared experience of oppression. Homosexuality in Cold War America reveals that the ideological critique of the dominant culture made by gay male authors of the 1950s laid the foundation for the gay liberation movement of the following decade.

Horses have been part of the American West since the first Spanish explorers brought their European-bred steeds onto the new continent. Soon thereafter, some of these animals, lost or abandoned by their owners or captured by indigenous peoples, became the foundation of the great herds of mustangs (from the Spanish mesteño, stray) that still roam the West. These feral horses are inextricably intertwined with the culture, economy, and mythology of the West. The current situation of the mustangs as vigorous competitors for the scanty resources of the West’s drought-parched rangelands has put them at the center of passionate controversies about their purpose, place, and future on the open range. Photographer/oral historian Paula Morin has interviewed sixty-two people who know these horses best: ranchers, horse breeders and trainers, Native Americans, veterinarians, wild horse advocates, mustangers, range scientists, cowboy poets, western historians, wildlife experts, animal behaviorists, and agents of the federal Bureau of Land Management. The result is the most comprehensive, impartial examination yet of the history and impact of wild mustangs in the Great Basin. Morin elicits from her interviewees a range of expertise, insight, and candid opinion about the nature of horses, ranching, and the western environment. Honest Horses brings us the voices of authentic westerners, people who live intimately with horses and the land, who share their experiences and love of the mustangs, and who understand how precariously all life exists in Great Basin.

Many straight Americans would never embrace homosexuals as neighbors, co-workers, or friends. Still less would they accept as equals those transgendered individuals who work the streets to provide themselves with drug money.

This book seeks to change that perception. It celebrates the lives of Shontae, China, Keisha, Detra, and Monique, five Afro-American gay hustlers who struggle to survive and to maintain a life of dignity and value in the face of their drug use and criminal activity. As individuals they vary in terms of background, the manner in which they entered the transgendered world, and the nature of their initiation into the drug subculture. None of them has escaped the ravages of urban decline, crime, drugs, and poverty that accompany life in an inner city, but by the same token, none of them has capitulated to the stresses with which they live.

It is impossible to read these accounts and not come away emotionally drained. As Monique explains, their lives take place in a world of chances. "You take a chance on living or dying, on being hurt or not being hurt, a chance on finding a friend or finding an enemy." It is from this world that their voices speak so eloquently about their families, hustling, sexuality, sexual abuse, friendship, and intimacy.

By letting these women speak, Leon E. Pettiway evokes questions and encourages discussion and a re-evaluation of those who are labeled as deviant. Pettiway reaches beyond academic convention to offer a view with depth and emotion that mere statistics could never provide. While the poverty and often destructive lifestyle of these women may be gut-wrenching, their experiences reveal joy, pain, and the profound strength of the human spirit with which we can all identify. These lives have much to teach us about ourselves and those we label as "other."

Half a million Hong Kong residents fled their homeland during the thirteen years before Hong Kong's reversion to China in 1997. Nearly half of those returned within the next several years. Filled with detailed, first-hand stories of nine Hong Kong families over nearly two decades, Hong Kong Movers and Stayers is a multifaceted yet intimate look at the forces behind Hong Kong families' successful, and failed, efforts at migration and settlement. 

Defining migration as a process, not a single act of leaving, Hong Kong Movers and Stayers provides an antidote to ethnocentric and simplistic theories by uncovering migration stories as they relate to social structures and social capital. The authors meld survey analysis, personal biography, and sociology and compare multiple families in order to give voice to the interplay of gender, age, and diverse family roles as motivating factors in migration.

In 1997 the United Kingdom returned control of Hong Kong to China, ending the city’s status as one of the last remnants of the British Empire and initiating a new phase for it as both a modern city and a hub for global migrations. Hong Kong is a tour of the city’s postcolonial urban landscape, innovatively told through fieldwork and photography.

Caroline Knowles and Douglas Harper’s point of entry into Hong Kong is the unusual position of the British expatriates who chose to remain in the city after the transition. Now a relatively insignificant presence, British migrants in Hong Kong have become intimately connected with another small minority group there: immigrants from Southeast Asia. The lives, journeys, and stories of these two groups bring to life a place where the past continues to resonate for all its residents, even as the city hurtles forward into a future marked by transience and transition. By skillfully blending ethnographic and visual approaches, Hong Kong offers a fascinating guide to a city that is at once unique in its recent history and exemplary of our globalized present.

What is honor? Is it the same as reputation? Or is it rather a sentiment? Is it a character trait, like integrity? Or is it simply a concept too vague or incoherent to be fully analyzed?

In the first sustained comparative analysis of this elusive notion, Frank Stewart writes that none of these ideas is correct. Drawing on information about Western ideas of honor from sources as diverse as medieval Arthurian romances, Spanish dramas of the sixteenth and seventeenth centuries, and the writings of German jurists of the nineteenth and twentieth centuries, and comparing the European ideas with the ideas of a non-Western society—the Bedouin—Stewart argues that honor must be understood as a right, basically a right to respect. He shows that by understanding honor this way, we can resolve some of the paradoxes that have long troubled scholars, and can make sense of certain institutions (for instance the medieval European pledge of honor) that have not hitherto been properly understood.

Offering a powerful new way to understand this complex notion, Honor has important implications not only for the social sciences but also for the whole history of European sensibility.

As Bill Clinton said in his second inaugural address, “The divide of race has been America’s constant curse.” In Honor Bound, David Leverenz explores the past to the present of that divide. He argues that in the United States, the rise and decline of white people’s racial shaming reflect the rise and decline of white honor. “White skin” and “black skin” are fictions of honor and shame. Americans have lived those fictions for over four hundred years.

To make his argument, Leverenz casts an unusually wide net, from ancient and modern cultures of honor to social, political, and military history to American literature and popular culture.

He highlights the convergence of whiteness and honor in the United States from the antebellum period to the present. The Civil War, the civil rights movement, and the election of Barack Obama represent racial progress; the Tea Party movement represents the latest recoil.

From exploring African American narratives to examining a 2009 episode of Hardball—in which two white commentators restore their honor by mocking U.S. Attorney General Eric Holder after he called Americans “cowards” for not talking more about race—Leverenz illustrates how white honor has prompted racial shaming and humiliation. The United States became a nation-state in which light-skinned people declared themselves white. The fear masked by white honor surfaces in such classics of American literature as The Scarlet Letter and Adventures of Huckleberry Finn and in the U.S. wars against the Barbary pirates from 1783 to 1815 and the Iraqi insurgents from 2003 to the present. John McCain’s Faith of My Fathers is used to frame the 2008 presidential campaign as white honor’s last national stand.

Honor Bound concludes by probing the endless attempts in 2009 and 2010 to preserve white honor through racial shaming, from the “birthers” and Tea Party protests to Joe Wilson’s “You lie!” in Congress and the arrest of Henry Louis Gates Jr. at the front door of his own home. Leverenz is optimistic that, in the twenty-first century, racial shaming is itself becoming shameful.

Brian Bouldrey traveled to the island of Corsica, with its wine-dark Mediterranean waters, powdered-sugar beach sand, sumptuous cuisine, and fine wine. And then he walked away from all of them.
     Bouldrey strapped on a backpack and walked across Napoleon's native land with the same spirit many choose to dance or drink: to celebrate, to mourn, to think, to avoid thinking, to recall, to ignore, to escape, and to arrive.
     This wonderfully textured account of a two-week ramble along a famous Corsican hiking trail with his German friend Petra (she was good at the downhills while he was better at the uphills) offers readers a journal that is a launching point for reflection: thoughts on cultural differences, friendship, physical challenge, personal challenge, and getting very, very lost. Part travelogue, part memoir, and part lampoon, this book offers readers an impressionistic view of a little talked about yet stunningly beautiful landscape.

This riveting debut from poet Faylita Hicks is a reclamation of power for black women and nonbinary people whose bodies have become the very weapons used against them. HoodWitch tells the story of a young person who discovers that they are “something that can & will survive / a whole century of hunt.” Through a series of poems based on childhood photographs, Hicks invokes the spirits of mothers and daughters, sex workers and widows, to conjure an alternative to their own early deaths and the deaths of those whom they have already lost.

In this collection about resilience, Hicks speaks about giving her child up for adoption, mourning the death of her fiancé, and embracing the nonbinary femme body—persevering in the face of medical malpractice, domestic abuse, and police violence. The poems find people transformed, “remade out of smoke & iron” into cyborgs and wolves, machines and witches—beings capable of seeking justice in a world that refuses them the option.

​Exploring the intersections of Christianity, modern mysticism, and Afrofuturism in a sometimes urban, sometimes natural setting, Hicks finds a place where “everyone everywhere is hands in the air,” where “you know they gonna push & pull it together. / Just like they learned to.” It is a place of natural magick—where someone like Hicks can have more than one name: where they can be both dead and alive, both a mortal and a god.

"The only work that treats Ku Kluxism for the entire period of it's existence . . . the authoritative work on the period. Hooded Americanism is exhaustive in its rich detail and its use of primary materials to paint the picture of a century of terror. It is comprehensive, since it treats the entire period, and enjoys the perspective that the long view provides. It is timely, since it emphasizes the undeniable persistence of terrorism in American life."—John Hope Franklin

From The Wild Angels in 1966 until its conclusion in 1972, the cycle of outlaw motorcycle films contained forty-odd formulaic examples. All but one were made by independent companies that specialized in producing exploitation movies for drive-ins, neighborhood theaters, and rundown inner city theaters. Despised by critics, but welcomed by exhibitors denied first-run films, these cheaply and quickly produced movies were made to appeal to audiences of mobile youths. The films are repetitive, formulaic, and eminently forgettable, but there is a story to tell about all of the above, and it is one worth hearing. Hoodlum Movies is not only about the films, its focus is on why and how these films were made, who they were made for, and how the cycle developed through the second half of the 1960s and came to a shuddering halt in 1972.   

Martin Luther King Jr. Malcolm X. Muhammad Ali. When you think of African American history, you think of its heroes—individuals endowed with courage and strength who are celebrated for their bold exploits and nobility of purpose. But what of black villains? Villains, just as much as heroes, have helped define the black experience.

Ranging from black slaveholders and frontier outlaws to serial killers and gangsta rappers, Hoodlums examines the pivotal role of black villains in American society and popular culture. Here, William L. Van Deburg offers the most extensive treatment to date of the black badman and the challenges that this figure has posed for race relations in America. He first explores the evolution of this problematic racial stereotype in the literature of the early Republic—documents in which the enslavement of African Americans was justified through exegetical claims. Van Deburg then probes antebellum slave laws, minstrel shows, and the works of proslavery polemicists to consider how whites conceptualized blacks as members of an inferior and dangerous race. Turning to key works by blacks themselves, from the writings of Frederick Douglass and W. E. B. Du Bois to classic blaxploitation films like Black Caesar and The Mack, Van Deburg demonstrates how African Americans have combated such negative stereotypes and reconceptualized the idea of the badman through stories of social bandits—controversial individuals vilified by whites for their proclivity toward evil, but revered in the black community as necessarily insurgent and revolutionary.

Ultimately, Van Deburg brings his story up-to-date with discussions of prison and hip-hop culture, urban rioting, gang warfare, and black-on-black crime. What results is a work of remarkable virtuosity—a nuanced history that calls for both whites and blacks to rethink received wisdom on the nature and prevalence of black villainy.

Swearing, drunkenness, promiscuity, playing loud music, brawling—in the Soviet Union these were not merely bad behavior, they were all forms of the crime of "hooliganism." Defined as "rudely violating public order and expressing clear disrespect for society," hooliganism was one of the most common and confusing crimes in the world's first socialist state. Under its shifting, ambiguous, and elastic terms, millions of Soviet citizens were arrested and incarcerated for periods ranging from three days to five years and for everything from swearing at a wife to stabbing a complete stranger.

Hooligans in Khrushchev's Russia offers the first comprehensive study of how Soviet police, prosecutors, judges, and ordinary citizens during the Khrushchev era (1953–64) understood, fought against, or embraced this catch-all category of criminality. Using a wide range of newly opened archival sources, it portrays the Khrushchev period—usually considered as a time of liberalizing reform and reduced repression—as an era of renewed harassment against a wide range of state-defined undesirables and as a time when policing and persecution were expanded to encompass the mundane aspects of everyday life. In an atmosphere of Cold War competition, foreign cultural penetration, and transatlantic anxiety over "rebels without a cause," hooliganism emerged as a vital tool that post-Stalinist elites used to civilize their uncultured working class, confirm their embattled cultural ideals, and create the right-thinking and right-acting socialist society of their dreams.

Hop on Pop showcases the work of a new generation of scholars—from fields such as media studies, literature, cinema, and cultural studies—whose writing has been informed by their ongoing involvement with popular culture and who draw insight from their lived experiences as critics, fans, and consumers. Proceeding from their deep political commitment to a new kind of populist grassroots politics, these writers challenge old modes of studying the everyday. As they rework traditional scholarly language, they search for new ways to write about our complex and compelling engagements with the politics and pleasures of popular culture and sketch a new and lively vocabulary for the field of cultural studies.
The essays cover a wide and colorful array of subjects including pro wrestling, the computer games Myst and Doom, soap operas, baseball card collecting, the Tour de France, karaoke, lesbian desire in the Wizard of Oz, Internet fandom for the series Babylon 5, and the stress-management industry. Broader themes examined include the origins of popular culture, the aesthetics and politics of performance, and the social and cultural processes by which objects and practices are deemed tasteful or tasteless. The commitment that binds the contributors is to an emergent perspective in cultural studies, one that engages with popular culture as the culture that "sticks to the skin," that becomes so much a part of us that it becomes increasingly difficult to examine it from a distance. By refusing to deny or rationalize their own often contradictory identifications with popular culture, the contributors ensure that the volume as a whole reflects the immediacy and vibrancy of its objects of study.
Hop on Pop will appeal to those engaged in the study of popular culture, American studies, cultural studies, cinema and visual studies, as well as to the general educated reader.

Contributors. John Bloom, Gerry Bloustein, Aniko Bodroghkozy, Diane Brooks, Peter Chvany, Elana Crane, Alexander Doty, Rob Drew, Stephen Duncombe, Nick Evans, Eric Freedman, Joy Fuqua, Tony Grajeda, Katherine Green, John Hartley, Heather Hendershot, Henry Jenkins, Eithne Johnson, Louis Kaplan, Maria Koundoura, Sharon Mazer, Anna McCarthy, Tara McPherson, Angela Ndalianis, Edward O’Neill, Catherine Palmer, Roberta Pearson, Elayne Rapping, Eric Schaefer, Jane Shattuc, Greg Smith, Ellen Strain, Matthew Tinkhom, William Uricchio, Amy Villarego, Robyn Warhol, Charles Weigl, Alan Wexelblat, Pamela Robertson Wojcik, Nabeel Zuberi

In Hope Draped in Black Joseph R. Winters responds to the enduring belief that America follows a constant trajectory of racial progress. Such notions—like those that suggested the passage into a postracial era following Barack Obama's election—gloss over the history of racial violence and oppression to create an imaginary and self-congratulatory world where painful memories are conveniently forgotten. In place of these narratives, Winters advocates for an idea of hope that is predicated on a continuous engagement with loss and melancholy. Signaling a heightened sensitivity to the suffering of others, melancholy disconcerts us and allows us to cut against dominant narratives and identities. Winters identifies a black literary and aesthetic tradition in the work of intellectuals, writers, and artists such as W. E. B. Du Bois, Ralph Ellison, Toni Morrison, and Charles Burnett that often underscores melancholy, remembrance, loss, and tragedy in ways that gesture toward such a conception of hope. Winters also draws on Walter Benjamin and Theodor Adorno to highlight how remembering and mourning the uncomfortable dimensions of American social life can provide alternate sources for hope and imagination that might lead to building a better world.

How do ambitious young men grapple with an unemployment rate in urban Ethiopia hovering around fifty percent? Urban, educated, and unemployed young men have been the primary force behind the recent unrest and revolutions in North Africa and the Middle East. Daniel Mains' detailed and moving ethnographic study, Hope is Cut, examines young men's struggles to retain hope for the future in the midst of economic uncertainty and cultural globalization.

Through a close ethnographic examination of young men's day-to-day lives Hope is Cut explores the construction of optimism through activities like formal schooling, the consumption of international films, and the use of khat, a mild stimulant.

Mains also provides a consideration of social theories concerning space, time, and capitalism. Young men here experience unemployment as a problem of time—they often congregate on street corners, joking that the only change in their lives is the sun rising and setting. Mains addresses these factors and the importance of reciprocity and international migration as a means of overcoming the barriers to attaining aspirations.

Hope Leslie (1827), set in the seventeenth-century New England, is a novel that forced readers to confront the consequences of the Puritans’ subjugation and displacement of the indigenous Indian population at a time when contemporaries were demanding still more land from the Cherokees, the Chickasaws, and the Choctaws.

"This handsome reprint ... makes available after many decades the New Englander's tale of seventeeth-century Puritans, and their relations with the indigenous Indian population." -- Nineteeth-Century Literature

" A splendidly conceived edition of Sedwick's historical romance. Highly recommended." --Choice

"Develop(s) the connections between patriarchal authority within the Puritan state and its policy of dispossessing and exterminating Indians. The different heritage it envisions explicitly link white women and Indians and elaborates a communal concept of liberty at odds with the individualistic concept which predominated in American culture." -- Legacy

Over the past fifteen years, a New Black Politics has swept black candidates into office and registered black voters in numbers unimaginable since the days of Reconstruction. Based on interviews with a representative sample of nearly 1,000 voting-age black Americans, Hope and Independence explores blacks' attitudes toward electoral and party politics and toward Jesse Jackson's first presidential bid. Viewed in the light of black political history, the survey reveals enduring themes of hope (for eventual inclusion in traditional politics, despite repeated disappointments) and independence (a strategy of operating outside conventional political institutions in order to achieve incorporation). The authors describe a black electorate that is less alienated than many have suggested. Blacks are more politically engaged than whites with comparable levels of education. And despite growing economic inequality in the black community, the authors find no serious class-based political cleavage. Underlying the widespread support for Jackson among blacks, a distinction emerges between "common fate" solidarity, which is pro-black, committed to internal criticism of the Democratic party, and conscious of commonality with other disadvantaged groups, and "exclusivist" solidarity, which is pro-black but also hostile to whites and less empathetic to other minorities. This second, more divisive type of solidarity expresses itself in the desire for a separate black party or a vote black strategy—but its proponents constitute a small minority of the black electorate and show surprisingly hopeful attitudes toward the Democratic party. Hope and Independence will be welcomed by readers concerned with opinion research, the sociology of race, and the psychology of group consciousness. By probing the attitudes of individual blacks in the context of a watershed campaign, this book also makes a vital contribution to our grasp of current electoral politics.

"With the inborn wisdom that has guided them for so long through so many obstacles, Hopi men and women perpetuate their proven rituals, strongly encouraging those who attempt to neglect or disrespect their obligations to uphold them. One of these obligations is to respect the flora and fauna of our planet. The Hopi closeness to the Earth is represented in all the arts of all three mesas, whether in clay or natural fibers. What clay is to a potter's hands, natural fibers are to a basket weaver." —from the Introduction

Rising dramatically from the desert floor, Arizona's windswept mesas have been home to the Hopis for hundreds of years. A people known for protecting their privacy, these Native Americans also have a long and less known tradition of weaving baskets and plaques. Generations of Hopi weavers have passed down knowledge of techniques and materials from the plant world around them, from mother to daughter, granddaughter, or niece.

This book is filled with photographs and detailed descriptions of their beautiful baskets—the one art, above all others, that creates the strongest social bonds in Hopi life. In these pages, weavers open their lives to the outside world as a means of sharing an art form especially demanding of time and talent. The reader learns how plant materials are gathered in canyons and creek bottoms, close to home and far away. The long, painstaking process of preparation and dying is followed step by step. Then, using techniques of coiled, plaited, or wicker basketry, the weaving begins.

Underlying the stories of baskets and their weavers is a rare glimpse of what is called "the Hopi Way," a life philosophy that has strengthened and sustained the Hopi people through centuries of change. Many other glimpses of the Hopi world are also shared by author and photographer Helga Teiwes, who was warmly invited into the homes of her collaborators. Their permission and the permission of the Cultural Preservation Office of the Hopi Tribe gave her access to people and information seldom available to outsiders.

Teiwes was also granted access to some of the ceremonial observances where baskets are preeminent. Woven in brilliant reds, greens, and yellows as well as black and white, Hopi weavings, then, not only are an arresting art form but also are highly symbolic of what is most important in Hopi life. In the women's basket dance, for example, woven plaques commemorate and honor the Earth and the perpetuation of life. Other plaques play a role in the complicated web of Hopi social obligation and reciprocity.

Living in a landscape of almost surreal form and color, Hopi weavers are carrying on one of the oldest arts traditions in the world. Their stories in Hopi Basket Weaving will appeal to collectors, artists and craftspeople, and anyone with an interest in Native American studies, especially Native American arts. For the traveler or general reader, the book is an invitation to enter a little-known world and to learn more about an art form steeped in meaning and stunning in its beauty.

More than one hundred authentic recipes center around Hopi staples of beans, corn, wheat, chilies, meat, gourds, and native greens and fruits.

The dramatic split of the Hopi community of Orayvi in 1906 had lasting consequences not only for the people of Third Mesa but also for the very buildings around which they centered their lives. This book examines architectural and other effects of that split, using architectural change as a framework with which to understand social and cultural processes at prehistoric Southwestern pueblos. Catherine Cameron examines architectural change at Orayvi from 1871 to 1948, a period of great demographic and social upheaval.

Her study is unique in its use of historic photographs to document and understand abandonment processes and apply that knowledge to prehistoric sites. Photos taken by tourists, missionaries, and early anthropologists during the late nineteenth century portray original structures, while later photos show how Orayvi buildings changed over a period of almost eighty years. Census data relating to house size and household configuration shed additional light on social change in the pueblo.

Examining change at Orayvi afforded an opportunity to study the architectural effects of an event that must have happened many times in the past--the partial abandonment of a pueblo--by tracing the effects of sudden population decline on puebloan architecture. Cameron's work provides clues to how and why villages were abandoned and re-established repeatedly in the prehistoric Southwest as it offers a unique window on the relationship between Pueblo houses and the living people who occupied them.

As contemporary Native Americans assert the legacy of their ancestors, there is increasing debate among archaeologists over the methods and theories used to reconstruct prehistoric identity and the movement of social groups. This is especially problematic with respect to the emergence of southwestern tribes, which involved shifting populations and identities over the course of more than a thousand years.

Wesley Bernardini now draws on an unconventional source, Hopi traditional knowledge, to show how hypotheses that are developed from oral tradition can stimulate new and productive ways to think about the archaeological record. Focusing on insights that oral tradition has to offer about general processes of prehistoric migration and identity formation, he describes how each Hopi clan acquired its particular identity from the experiences it accumulated on its unique migration pathway. This pattern of “serial migration” by small social groups often saw the formation of villages by clans that briefly came together and then moved off again independently, producing considerable social diversity both within and among villages.

Using Anderson Mesa and Homol’ovi as case studies, Bernardini presents architectural and demographic data suggesting that the fourteenth century occupation of these regions was characterized by population flux and diversity consistent with the serial migration model. He offers an analysis of rock art motifs—focusing on those used as clan symbols—to evaluate the diversity of group identities, then presents a compositional analysis of Jeddito Yellow Ware pottery to evaluate the diversity of these groups’ eventual migration destinations.

Evidence supporting serial migration greatly complicates existing notions of links between ancient and modern social groups, with important implications for the implementation of the Native American Graves Protection and Repatriation Act. Bernardini’s work clearly demonstrates that studies of cultural affiliation must take into account the fluid nature of population movements and identity in the prehistoric landscape. It takes a decisive step toward better understanding the major demographic change that occurred on the Colorado Plateau from 1275 to 1400 and presents a strategy for improving the reconstruction of cultural identity in the past.

During the Roman transition from Republic to Empire in the first century B.C.E., the poet Horace found his own public success in the era of Emperor Augustus at odds with his desire for greater independence. In Horace between Freedom and Slavery, Stephanie McCarter offers new insights into Horace's complex presentation of freedom in the first book of his Epistles and connects it to his most enduring and celebrated moral exhortation, the golden mean.

She argues that, although Horace commences the Epistles with an uncompromising insistence on freedom, he ultimately adopts a middle course. She shows how Horace explores in the poems the application of moderate freedom first to philosophy, then to friendship, poetry, and place. Rather than rejecting philosophical masters, Horace draws freely on them without swearing permanent allegiance to any—a model for compromise that allows him to enjoy poetic

renown and friendships with the city's elite while maintaining a private sphere of freedom. This moderation and adaptability, McCarter contends, become the chief ethical lessons that Horace learns for himself and teaches to others. She reads Horace's reconfiguration of freedom as a political response to the transformations of the new imperial age.

Winner of the 2023 Canadian Association of Latin American and Caribbean Studies’ Best Book Prize

In Horizon, Sea, Sound: Caribbean and African Women’s Cultural Critiques of Nation, Andrea Davis imagines new reciprocal relationships beyond the competitive forms of belonging suggested by the nation-state. The book employs the tropes of horizon, sea, and sound as a critique of nation-state discourses and formations, including multicultural citizenship, racial capitalism, settler colonialism, and the hierarchical nuclear family.
 
Drawing on Tina Campt’s discussion of Black feminist futurity, Davis offers the concept future now, which is both central to Black freedom and a joint social justice project that rejects existing structures of white supremacy. Calling for new affiliations of community among Black, Indigenous, and other racialized women, and offering new reflections on the relationship between the Caribbean and Canada, she articulates a diaspora poetics that privileges our shared humanity. In advancing these claims, Davis turns to the expressive cultures (novels, poetry, theater, and music) of Caribbean and African women artists in Canada, including work by Dionne Brand, M. NourbeSe Philip, Esi Edugyan, Ramabai Espinet, Nalo Hopkinson, Amai Kuda, and Djanet Sears. Davis considers the ways in which the diasporic characters these artists create redraw the boundaries of their horizons, invoke the fluid histories of the Caribbean Sea to overcome the brutalization of plantation histories, use sound to enter and reenter archives, and shapeshift to survive in the face of conquest. The book will interest readers of literary and cultural studies, critical race theories, and Black diasporic studies.

In the last decade, the South African state has been transformed dramatically, but the stubborn, menacing geography of apartheid still stands in the way of that country’s visions of change. Environmentally degraded old homelands still scar the rural geography of South Africa.

Formerly segregated, now gated, neighborhoods still inhibit free movement. Hostels, Sexuality, and the Apartheid Legacy is a study of another such space, the converted “male” migrant worker hostel.

Professor Glen Elder identifies hostels as sites of public and domestic violence, literal destruction and rebuilding, and as an important node in the spread of HIV/AIDS.

Hostels have also become home to increasing numbers of “invisible” female residents. Finding that one way to understand hostel space is through women’s experiences, Professor Elder turned to thirty black migrant women living in an East Rand hostel to map the everyday geographies of South Africa’s time of change.

By following the lives of these women, Elder identifies spatialized forms of marginalization, impoverishment, infection, and disempowerment. But, as he points out, the women’s survival strategies may provide signposts to the way out of apartheid’s malevolent geography.

Hostels, Sexuality, and the Apartheid Legacy argues that the gendered geography of the migrant labor system developed in South Africa was premised upon sexual assumptions about men, women, and their bodies, and that feminist and queer analyses of space can inform public policy decisions.

We forget that racist violence permeated the lower Midwest from the pre-Civil War period until the 1930s. From Kansas to Ohio, whites orchestrated extraordinary events like lynchings and riots while engaged in a spectrum of brutal acts made all the more horrific by being routine. Also forgotten is the fact African Americans forcefully responded to these assertions of white supremacy through armed resistance, the creation of press outlets and civil rights organizations, and courageous individual activism. Drawing on cutting-edge methodology and a wealth of documentary evidence, Brent M. S. Campney analyzes the institutionalized white efforts to assert and maintain dominance over African Americans. Though rooted in the past, white violence evolved into a fundamentally modern phenomenon, driven by technologies such as newspapers, photographs, automobiles, and telephones. Other surprising insights challenge our assumptions about sundown towns, who was targeted by whites, law enforcement's role in facilitating and perpetrating violence, and the details of African American resistance.

Well after the disintegration of the Communist Party and the Soviet state--and through several years of economic collapse--industrial workers in almost every sector of the former Soviet Union have remained quiescent and the same ineffective and unpopular trade unions still hold a virtual monopoly on worker's representation. Why? While many argue that labor is a central variable in the development of economic and political systems, little is known about workers in the states of the former Soviet Union since the fall of Communism. In a comparative study of two groups of industrial workers--the coal miners and steelworkers--at the end of the Soviet era, Stephen Crowley sheds light on where these workers have been and where they are going.

Coal miners in the final years of the Soviet Union effectively organized and led strikes which supported the end of Communism, even though their heavy subsidies would be threatened by capitalism. Steel workers, in contrast, did not effectively organize and strike. This pattern has continued under the new governments, with the coal miners effectively organized and seeking protection from the worst consequences of marketization, while the steel workers remain weakly organized despite deteriorating economic conditions.

Based on extensive on-site research including interviews with miners and steelworkers, labor leaders and plant managers, Crowley develops a detailed picture of the conditions under which workers organize. His findings have application beyond the conditions of post-Communist Russia and Ukraine to other societies undergoing fundamental change.

This book will be of interest to sociologists and political scientists interested in the role of labor in transitional societies, the patterns of organization of labor, as well as area specialists.

Stephen Crowley is Associate Professor of Political Science, Oberlin College.

Gwendolyn Calvert Baker has had an extraordinary career and has witnessed a dramatic change in the ways that U.S. schools provide education to and about our multiethnic, multicultural society. But Baker hasn’t just lived through the progression of multicultural considerations—she has been singularly instrumental in the creation and acceptance of multicultural education. In Hot Fudge Sundae in a White Paper Cup, she shares her memories and experience of a lifetime spent serving and leading the causes for multicultural education.

A multidisciplinary exploration of the ways that African American “hot” music emerged into the American cultural mainstream in the nineteenth century and ultimately dominated both American music and literature from 1920 to 1929

Exploring the deep and enduring relationship between music and literature, Hot Music, Ragmentation, and the Bluing of American Literature examines the diverse ways in which African American “hot” music influenced American culture—particularly literature—in early twentieth century America. Steven C. Tracy provides a history of the fusion of African and European elements that formed African American “hot” music, and considers how terms like ragtime, jazz, and blues developed their own particular meanings for American music and society. He draws from the fields of literature, literary criticism, cultural anthropology, American studies, and folklore to demonstrate how blues as a musical and poetic form has been a critical influence on American literature.
 
Hot Music, Ragmentation, and the Bluing of American Literature begins by highlighting instances in which American writers, including Herman Melville, Stephen Crane, and Gertrude Stein, use African American culture and music in their work, and then characterizes the social context of the Jazz Age, discussing how African American music reflected the wild abandon of the time. Tracy focuses on how a variety of schools of early twentieth century writers, from modernists to members of the Harlem Renaissance to dramatists and more, used their connections with “hot” music to give their own work meaning.
 
Tracy’s extensive and detailed understanding of how African American “hot” music operates has produced a fresh and original perspective on its influence on mainstream American literature and culture. An experienced blues musician himself, Tracy draws on his performance background to offer an added dimension to his analysis. Where another blues scholar might only analyze blues language, Tracy shows how the language is actually performed.
 
Hot Music, Ragmentation, and the Bluing of American Literature is the first book to offer such a refreshingly broad interdisciplinary vision of the influence of African American “hot” music on American literature. It is an essential addition to the library of serious scholars of American and African American literature and culture and blues aficionados alike.