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This ambitious interdisciplinary study is the first to examine the interlinked economic uses and cultural practices and beliefs surrounding cattle in Western Amazonia, where cattle raising is at the center of debates about economic development and environ

Winner, Brazil Section Book Award, Latin American Studies Association, 2016

The opening of the Amazon to colonization in the 1970s brought cattle, land conflict, and widespread deforestation. In the remote state of Acre, Brazil, rubber tappers fought against migrant ranchers to preserve the forest they relied on, and in the process, these “forest guardians” showed the world that it was possible to unite forest livelihoods and environmental preservation. Nowadays, many rubber tappers and their children are turning away from the forest-based lifestyle they once sought to protect and are becoming cattle-raisers or even caubois (cowboys). Rainforest Cowboys is the first book to examine the social and cultural forces driving the expansion of Amazonian cattle raising in all of their complexity.

Drawing on eighteen months of fieldwork, Jeffrey Hoelle shows how cattle raising is about much more than beef production or deforestation in Acre, even among “carnivorous” environmentalists, vilified ranchers, and urbanites with no land or cattle. He contextualizes the rise of ranching in relation to political economic structures and broader meanings to understand the spread of “cattle culture.” This cattle-centered vision of rural life builds on local experiences and influences from across the Americas and even resembles East African cultural practices. Written in a broadly accessible and interdisciplinary style, Rainforest Cowboys is essential reading for a global audience interested in understanding the economic and cultural features of cattle raising, deforestation, and the continuing tensions between conservation and development in the Amazon.

2025 Margaret Mead Award, Society for Applied Anthropology (SfAA) and the American Anthropological Association (AAA)

An ethnography of the Ecuadorian Amazon that demonstrates the need for a relational, place-based, contingent understanding of harm and toxicity.

Reckoning with Harm is a striking ethnographic analysis of the harm resulting from oil extraction. Covering fifty years of settler colonization and industrial transformation of the Ecuadorian Amazon, Amelia Fiske interrogates the relations of harm. She moves between forest-courtrooms and oily waste pits, farms and toxic tours, to explore both the ways in which harm from oil is entangled with daily life and the tensions surrounding efforts to verify and redress it in practice. Attempts to address harm from the oil industry in Ecuador have been consistently confounded by narrow, technocratic understandings of evidence, toxicity, and responsibility. Building on collaborators’ work to contest state and oil company insistence that harm is controlled and principally chemical in nature, Fiske shows that it is necessary to refigure harm as relational in order to reckon with unremediated contamination of the past while pushing for broad forms of accountability in the present. She theorizes that harm is both a relationship and an animating feature of relationships in this place, a contingent understanding that is needed to contemplate what comes next when living in a toxic world.

A study of the deep history of the Wagnerian environmental imagination.
 
Richard Wagner’s operas are bursting with environmental imagery, from tittering birds to flowing rivers to towering trees. In Richard Wagner’s Political Ecology, Kirsten S. Paige asks where Wagner’s environmental imagination came from, how it was received by audience members and reconceived by stage directors, and how it refracts his politics. By tracing the ecological dimensions of the composer’s essays and dramas, Paige reveals how Wagner’s environmental imagination was inextricable from broader political concerns of his time.

The book begins by examining the way Wagner’s political ecology shape-shifted across its rhetorical, musical, scenographic, and technological permutations. Although Wagner’s essays and dramas invite a range of interpretations, for Paige, they point to an all-encompassing image of opera-as-climate. The book then turns to the ways Wagnerian drama—and opera more generally—at once participates in the industrial-technological lineage of climate change and helps spectators grapple with the challenges of living in a warming world. In providing the first close examination of Wagner’s artistic thought, practice, and reception in relation to nineteenth-century climate theory and the early history of environmentalism, Richard Wagner’s Political Ecology considers what it might mean to reimagine opera around ethical mandates of sustainability.

Water potential is a significant natural wealth of most parts of the Balkans, and it has given rise to a surge in hydropower investments unparalleled across Europe. As part of the process, a dam was planned to be built on the Una River, which runs through the Bosnian town of Bihać. This prospect alarmed the city’s residents, culminating in a protest in 2015. The book begins with this protest, and it explores how the threat of dam construction transformed the seemingly apolitical love of the river into a powerful political force around which thousands of people mobilized: riverine citizenship.

The book is based on interviews with participants, archival research, and over twenty years of ethnographic research. Azra Hromadžić focuses on the tension between ecological sustainability efforts in favor of renewable energy, on the one hand, and citizens’ historically shaped, deeply-felt, love for the river, on the other. She shows how the language and promises of green transition can mask the forces of capitalist accumulation that drive this change — whether in the form of building hydroelectric dams or promoting eco-tourism — and thus set in motion another cycle of environmental degradation, social dispossession, and economic exploitation.