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In Old and New New Englanders, Bluford Adams provides a reenvisioning of New England’s history and regional identity by exploring the ways the arrival of waves of immigrants from Europe and Canada transformed what it meant to be a New Englander during the Gilded Age. Adams’s intervention challenges a number of long-standing conceptions of New England, offering a detailed and complex portrayal of the relations between New England’s Yankees and immigrants that goes beyond nativism and assimilation. In focusing on immigration in this period, Adams provides a fresh view on New England’s regional identity, moving forward from Pilgrims, Puritans, and their descendants and emphasizing the role immigrants played in shaping the region’s various meanings. Furthermore, many researchers have overlooked the newcomers’ relationship to the regional identities they found here. Adams argues immigrants took their ties to New England seriously. Although they often disagreed about the nature of those ties, many immigrant leaders believed identification with New England would benefit their peoples in their struggles both in the United States and back in their ancestral lands.

Drawing on and contributing to work in immigration history, as well as American, gender, ethnic, and New England studies, this book is broadly concerned with the history of identity construction in the United States while its primary focus is the relationship between regional categories of identity and those based on race and ethnicity. With its interdisciplinary methodology, original research, and diverse chapter topics, the book targets both specialist and nonspecialist readers.

Exploring the power of smell to build connections and transform our world

Smell is a vital, if underappreciated, medium through which we inhabit and imagine the world. In Olfactory Worldmaking, Hsuan L. Hsu traces how olfactory experience communicates across visceral, material, and affective registers to offer new ways of relating, which challenge the extractive logics of racial and colonial capitalism. Blending environmental humanities, sensory studies, and critical ethnic studies, the book highlights how scent animates suppressed histories and marginalized memories.

Hsu theorizes olfaction as a speculative, reparative practice. Examining projects from historical novels, memoirs, and speculative fiction to conceptual art and experimental perfumes, he reveals how these works mobilize scent to imagine alternative ways of sensing, relating, and creating more equitably livable worlds.

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Roderick P. Hart Outstanding Book Award for the National Communication Association's Political Communication Division 

A fascinating survey of the history of political and economic ideas in the US that have led to an increasingly entrenched ultra-rich class of oligarchs.

To an American, oligarchy is something that happens somewhere else. In Oligarchy in America, Luke Winslow reveals oligarchy’s deep intellectual roots and alarming growth in America. The book provides conceptual tools the lack of which have prevented Americans from recognizing oligarchy at home.

Winslow argues that generic labels like “billionaires” for a class of ultra-rich masks the pervasive structures that entrench their power. He introduces instead the concept of democratic oligarchy—an institutional arrangement in which the ultra-rich form a class consciously creating and leveraging state power to accumulate wealth.

Like a master class in political ideas, Winslow traces the intellectual lineage of oligarchy in the US. His lively and compulsively readable survey examines key rhetorical sources such as Herbert Spencer, Andrew Carnegie, Friedrich Hayek, Lewis Powell, Milton Friedman, Charles Koch, Donald Trump, Tucker Carlson, and others.

Oligarchy in America maps the connective web of oligarchic ideas uniting these disparate figures. By offering a lucid framework through which to view oligarchic ideas ambient in American culture, Winslow makes a vital contribution to readers and scholars of communication and rhetorical studies, public address, economics, and political science.

Anger is an emotion that affects everyone regardless of culture, class, race, or gender—but at the same time, being angry always results from the circumstances in which people find themselves. In On Anger, Sue J. Kim opens a stimulating dialogue between cognitive studies and cultural studies to argue that anger is always socially and historically constructed and complexly ideological, and that the predominant individualistic conceptions of anger are insufficient to explain its collective, structural, and historical nature.

On Anger examines the dynamics of racial anger in global late capitalism, bringing into conversation work on political anger in ethnic, postcolonial, and cultural studies with recent studies on emotion in cognitive studies. Kim uses a variety of literary and media texts to show how narratives serve as a means of reflecting on experiences of anger and also how we think about anger—its triggers, its deeper causes, its wrongness or rightness. The narratives she studies include the film Crash, Maxine Hong Kingston’s The Woman Warrior, Tsitsi Dangarembga’s Nervous Conditions and The Book of Not, Ngugi wa Thiong’o’s Devil on the Cross and Wizard of the Crow, and the HBO series The Wire. Kim concludes by distinguishing frustration and outrage from anger through a consideration of Stéphane Hessel’s call to arms, Indignez-vous! One of the few works that focuses on both anger and race, On Anger demonstrates that race—including whiteness—is central to our conceptions and experiences of anger.

An examination of how time is used as a policing tactic in border and migrant policy.

Time is seldom on the migrant’s side. Migrants crossing the US southern border are “immediate threats,” according to the government agencies and politicians hell-bent on their capture and deportation, and those caught in the US are forced to endure grueling months in detention centers and in queues for judicial hearings.

On Border Time examines temporal dimensions of violence and associated ideological conditioning in an increasingly privatized and militarized immigration system. Visiting the National Border Patrol Museum in El Paso, Texas, Cristina Jo Pérez shows how state-supported histories of national “progress” and migrant “backwardness” manufacture political subjects. Meanwhile, the media and political narratives of imminent threat criminalize Brown men and boys, justifying Border Patrol shootings as preemptive national defense. Dramatically widening her lens, Pérez further considers how the anti-immigrant agenda bleeds into the future, through aggressive state intervention into migrants’ reproductive lives. From a heat-of-the-moment police encounter to a Houston gynecologist’s waiting room, On Border Time is a profound meditation on policies and discourses that put migrants out of sync and, by extension, out of the nation.

How do we use our mental images of the present to reconstruct our past? Maurice Halbwachs (1877-1945) addressed this question for the first time in his work on collective memory, which established him as a major figure in the history of sociology. This volume, the first comprehensive English-language translation of Halbwach's writings on the social construction of memory, fills a major gap in the literature on the sociology of knowledge.

Halbwachs' primary thesis is that human memory can only function within a collective context. Collective memory, Halbwachs asserts, is always selective; various groups of people have different collective memories, which in turn give rise to different modes of behavior. Halbwachs shows, for example, how pilgrims to the Holy Land over the centuries evoked very different images of the events of Jesus' life; how wealthy old families in France have a memory of the past that diverges sharply from that of the nouveaux riches; and how working class construction of reality differ from those of their middle-class counterparts.

With a detailed introduction by Lewis A. Coser, this translation will be an indispensable source for new research in historical sociology and cultural memory.

Lewis A. Coser is Distinguished Professor of Sociology Emeritus at the State University of New York and Adjunct Professor of Sociology at Boston College.

This is an auto-narrated audiobook version of this book. 

How do we use our mental images of the present to reconstruct our past? Maurice Halbwachs (1877-1945) addressed this question for the first time in his work on collective memory, which established him as a major figure in the history of sociology. This volume, the first comprehensive English-language translation of Halbwach's writings on the social construction of memory, fills a major gap in the literature on the sociology of knowledge.

Halbwachs' primary thesis is that human memory can only function within a collective context. Collective memory, Halbwachs asserts, is always selective; various groups of people have different collective memories, which in turn give rise to different modes of behavior. Halbwachs shows, for example, how pilgrims to the Holy Land over the centuries evoked very different images of the events of Jesus' life; how wealthy old families in France have a memory of the past that diverges sharply from that of the nouveaux riches; and how working class construction of reality differ from those of their middle-class counterparts.

With a detailed introduction by Lewis A. Coser, this translation will be an indispensable source for new research in historical sociology and cultural memory.

Lewis A. Coser is Distinguished Professor of Sociology Emeritus at the State University of New York and Adjunct Professor of Sociology at Boston College.

A critical exploration of the user’s perspective on drug consciousness-now in paperback!

Engaging, articulate, and brilliantly argued, On Drugs is destined to become a revolutionary classic that redefines what it means to be “high.” Calling for the acceptance of a “diversity of consciousness,” Lenson delivers a searing critique of the War on Drugs as an effort based, like all attempts to eradicate “getting high,” on an incomplete understanding of human nature.

A cross-disciplinary examination of the relation between straight lines and sensory capacities in modern art, architecture, and music.

The human hand cannot draw a straight line, claimed nineteenth-century polymath John Ruskin. Straight lines are typically seen as incompatible with human bodies, and this is one of the reasons why their proliferation in modern art and architecture has been associated with the rational, universalist perspectives of a new industrial culture. With On Following, art historian Ina Blom traces a different genealogy of straight lines through modern and contemporary art, offering a perspective on straight-line works that addresses the close connections between the sensory capacities and experiences of human bodies and new media infrastructures. She considers what happens to aesthetic expression when bodies are surrounded by technologies that are themselves sensing systems. 

Taking an expansive look at visual art, architecture, film, and music from the late nineteenth century to the present day, Blom considers practitioners including Walter De Maria, Marcel Duchamp, August Endell, Liam Gillick, Raoul Hausmann, Florian Hecker, Jenny Holzer, Ryoji Ikeda, Piero Manzoni, László Moholy-Nagy, Krzysztof Penderecki, Superstudio, Mies van der Rohe, and La Monte Young.

Gangs are multifaceted and varied, so any attempt to understand them cannot be restricted to a singular approach. On Gangs provides a diverse and comprehensive survey of the available theories for understanding this social issue as well as the broad range of responses to it. The authors look at the many influences on gangs’ operation, growth, prevention, and enforcement.

The authors provide different criminological, psychological, and sociological approaches to gang studies, including interviews with past and current gang members. On Gangs presents the core issues for understanding gangs, including emerging topics like prison gangs, gender and gangs, and international gangs. There is also a focus on policing, legislation, and punishment. Weaving together research and policy findings to address the causes, contexts, and consequences of gangs, the authors address topics including joining, resisting, and leaving gangs, and how gangs operate in communities and institutions.  

An authoritative and sweeping tour of gang scholarship, On Gangs showcases the critical evidence-based solutions in prevention, enforcement, legislation, and intervention. The authors seek to answer the question: How do we effectively deal with gangs and gang membership?

Milkman's introduction frames a career-spanning scholarly project: her interrogation of historical and contemporary intersections of class and gender inequalities in the workplace, and the efforts to challenge those inequalities. Early chapters focus on her pioneering work on women's labor during the Great Depression and the World War II years. In the book's second half, Milkman turns to the past fifty years, a period that saw a dramatic decline in gender inequality even as growing class imbalances created greater-than-ever class disparity among women. She concludes with a previously unpublished essay comparing the impact of the Great Depression and the Great Recession on women workers.

A first-of-its-kind collection, On Gender, Labor, and Inequality is an indispensable text by one of the world's top scholars of gender, equality, and work.

Winner of the 2024 Association of American Publishers PROSE Award for Music and Performing Arts

Since its inception in the mid-twentieth century, American music theory has been framed and taught almost exclusively by white men. As a result, whiteness and maleness are woven into the fabric of the field, and BIPOC music theorists face enormous hurdles due to their racial identities. In On Music Theory, Philip Ewell brings together autobiography, music theory and history, and theory and history of race in the United States to offer a black perspective on the state of music theory and to confront the field’s white supremacist roots. Over the course of the book, Ewell undertakes a textbook analysis to unpack the mythologies of whiteness and western-ness with respect to music theory, and gives, for the first time, his perspective on the controversy surrounding the publication of volume 12 of the Journal of Schenkerian Studies. He speaks directly about the antiblackness of music theory and the antisemitism of classical music writ large and concludes by offering suggestions about how we move forward. Taking an explicitly antiracist approach to music theory, with this book Ewell begins to create a space in which those who have been marginalized in music theory can thrive.

An ethnographic exploration of technoscientific immortality

Immortality has long been considered the domain of religion. But immortality projects have gained increasing legitimacy and power in the world of science and technology. With recent rapid advances in biology, nanotechnology, and artificial intelligence, secular immortalists hope for and work toward a future without death.

On Not Dying is an anthropological, historical, and philosophical exploration of immortality as a secular and scientific category. Based on an ethnography of immortalist communities—those who believe humans can extend their personal existence indefinitely through technological means—and an examination of other institutions involved at the end of life, Abou Farman argues that secular immortalism is an important site to explore the tensions inherent in secularism: how to accept death but extend life; knowing the future is open but your future is finite; that life has meaning but the universe is meaningless. As secularism denies a soul, an afterlife, and a cosmic purpose, conflicts arise around the relationship of mind and body, individual finitude and the infinity of time and the cosmos, and the purpose of life. Immortalism today, Farman argues, is shaped by these historical and culturally situated tensions. Immortalist projects go beyond extending life, confronting dualism and cosmic alienation by imagining (and producing) informatic selves separate from the biological body but connected to a cosmic unfolding.

On Not Dying interrogates the social implications of technoscientific immortalism and raises important political questions. Whose life will be extended? Will these technologies be available to all, or will they reproduce racial and geopolitical hierarchies? As human life on earth is threatened in the Anthropocene, why should life be extended, and what will that prolonged existence look like?

William Apess was the first Native American to fully, and publicly, speak out regarding the racism and unfair treatment that he and others endured. The author's writing is eloquently delivered, instilling the reader with a realistic framework of a political, historical, and personal mindset.