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In Latinamericanism after 9/11, John Beverley explores Latinamericanist cultural theory in relation to new modes of political mobilization in Latin America. He contends that after 9/11, the hegemony of the United States and the neoliberal assumptions of the so-called Washington Consensus began to fade in Latin America. At the same time, the emergence in Latin America of new leftist governments—the marea rosada or “pink tide”—gathered momentum. Whatever its outcome, the marea rosada has shifted the grounds of Latinamericanist thinking in a significant way. Beverley proposes new paradigms better suited to Latin America’s reconfigured political landscape. In the process, he takes up matters such as Latin American postcolonial and cultural studies, the relation of deconstruction and Latinamericanism, the persistence of the national question and cultural nationalism in Latin America, the neoconservative turn in recent Latin American literary and cultural criticism, and the relation between subalternity and the state. Beverley’s perspective flows out of his involvement with the project of Latin American subaltern studies, but it also defines a position that is in some ways postsubalternist. He takes particular issue with recent calls for a “posthegemonic” politics.

Live Nude Girl: My Life as an Object is a lively meditation on the profession of art modeling as it has been practiced in history and as it is practiced today. Kathleen Rooney draws on her own experiences working as an artist's model, as well as the famous, notorious, and mysterious artists and models through the ages. Through a combination of personal perspective, historical anecdote, and witty prose, Live Nude Girl reveals that both the appeal of posing nude for artists and the appeal of drawing the naked figure lie in our deeply human responses to beauty, sex, love, and death.