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WINNER OF THE 2009 LITERARY AWARD, SPONSORED BY THE INTERNATIONAL NAPOLEONIC SOCIETY/LA SOCIETE NAPOLEONIENNE INTERNATIONALE OF MONTREAL, QUEBEC'S LITERARY COMMITTEE

The fascinating story of the breakdown of the Spanish empire in America and the rise of the United States as a world power

Napoleon’s last campaign didn’t end at Waterloo. After that fateful day on June 1815, hundreds if not thousands of veterans of Napoleon’s army emigrated to America. Many went farther south and joined the rebels fighting for independence in the Spanish colonies, from Mexico to Buenos Aires. The Bonapartists roiled the Western World as they sought fortune, fame, and glory in the expanding United States and in the tumultuous Spanish Americas suffering from repression and civil disorder, and even in the states of Europe. They were joined by adventurers from other nations who shared their admiration for the fallen emperor.

This is the first full-length examination of the Bonapartists who emigrated from France after Napoleon’s defeat and exile, who formed a loose confederation with adventurers and romantics, and who contemplated a new empire in the Western Hemisphere. The scheme had the support and encouragement of the fallen emperor himself and his brother Joseph, former King of Spain, who lived in exile in the United States.

Emilio Ocampo has examined archives on three continents and sources in several languages to ferret out the evidence—a monumental task considering that conspirators tried to leave no evidence of their plans, and that a failed plot, like failure in general, leaves few claimants. Ocampo reinterprets Latin American independence as an international event that drew in all the major powers. By illuminating the complex connections between the shattered France of the Bourbon restoration; an England threatened by radical politician inspired by the French Revolution; Napoleon in exile at St. Helena; the United States, where home-grown adventurers and French émigrés alike saw opportunity; and the collapsing Spanish colonial empire, where revolutionaries were allying themselves with the veterans of Napoleon’s Grande Armée, Ocampo brings together two bodies of scholarship: Napoleonic history and Latin American independence. He does so by tracing the steps of four of the most fascinating characters of the era: two Britons disaffected with their own government—Lord Thomas Cochrane and Sir Robert Wilson—and two former generals of Napolean’s army named Charles Lallemand and Michel Brayer.

The Emperor’s Last Campaign is a fascinating story, well told, and peopled with all sorts of improbable characters and schemes that perhaps just missed coming to full fruition but that in the process contributed to one of the most important events of the nineteenth century: the breakdown of the Spanish empire in America and the rise of the United States as a world power.

The roots—and reach—of “Great Replacement” theory in France and beyond​
 

The Eurabia Myth delves into the origins and evolution of far-right anxieties about the future of a Europe that welcomes postcolonial migration, racial and ethnic diversity, and tolerance of Islam. Nationalists deploy the specter of “Eurabia”—an Arabized and Islamized Europe—as a doomsday scenario of demographic replacement that only they can avert. Mehammed Amadeus Mack traces this dark vision to a sociopolitical conspiracy theory that began in France, spread throughout Europe, and has become especially virulent in the United States: Great Replacement Theory.

Examining how the Eurabia narrative gained traction, Mack analyzes dystopian fiction that envisions how this Replacement will take place, the contemporary politicization of medieval history, and ecofascist rhetoric depicting immigrants as an “invasive” species. He also interviews prominent French activists of color about how they subvert being portrayed as Replacers and destroyers of European civilization, and he explores the American echoes of the Great Replacement Theory.

Innovatively deploying gender and sexuality theory to the concept of Eurabia, Mack demonstrates that the demographic and racial anxieties underlying Great Replacement Theory are intertwined with a more fundamental crisis of masculinity, evident in the far right’s accusations that feminists and the LGBT community are responsible for the decline in white birth rates. As it uncovers the deeper roots of this pervasive theory, The Eurabia Myth shows its insidious relevance to a rising tide of nativist fear, hatred, and violence.

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The rootless Jew, wandering disconnected from history, homeland, and nature, was often  the target of early twentieth-century nationalist rhetoric aimed against modern culture. But following World War II, a number of prominent French philosophers recast this maligned figure in positive terms, and in so doing transformed postwar conceptions of politics and identity.

Sarah Hammerschlag explores this figure of the Jew from its prewar usage to its resuscitation by Jean-Paul Sartre, Emmanuel Levinas, Maurice Blanchot, and Jacques Derrida. Sartre and Levinas idealized the Jew’s rootlessness in order to rethink the foundations of political identity. Blanchot and Derrida, in turn, used the figure of the Jew to call into question the very nature of group identification. By chronicling this evolution in thinking, Hammerschlag ultimately reveals how the figural Jew can function as a critical mechanism that exposes the political dangers of mythic allegiance, whether couched in universalizing or particularizing terms.

Both an intellectual history and a philosophical argument, The Figural Jew will set the agenda for all further consideration of Jewish identity, modern Jewish thought, and continental philosophy.

The story of the Star Film Ranch and its pioneering crew, who created the first “authentic” Westerns filmed in Texas.

In 1910, the Méliès Star Film Company of Manhattan set up a moving-picture studio outside San Antonio, the first in Texas. Determined to make the most authentic Westerns possible, the company filmed there for a little over a year. In that brief time, it created more than seventy single-reel films, leaving a lasting mark on moviemaking.

Film historians Kathryn Fuller-Seeley and Frank Thompson return to a moment when on-location filmmaking was emerging as an artform. We meet producer Gaston Méliès, older brother of early-cinema legend Georges Méliès, and his cast and crew of young innovators, old hands, and genuine cowboys—like seventeen-year-old Edith Storey, the tomboy star who helped to ignite modern celebrity culture, and Francis Ford, who learned the art of film directing on the job and mentored his younger brother, Hollywood legend John Ford. The First Movie Studio in Texas traces the company’s trials and accomplishments, its influence on the depiction of race and gender in Western filmmaking, its surviving works, and its crowning achievement: The Immortal Alamo (1911), the earliest cinematic depiction of that famous battle.

Finally recovered from the shadows, the forgotten Méliès brother proves to be one of the key founders of the Western myth on screen.

In this haunting chronicle of betrayal and abandonment, ostracism and exile, racism and humiliation, Vincent Crapanzano examines the story of the Harkis, the quarter of a million Algerian auxiliary troops who fought for the French in Algeria’s war of independence. After tens of thousands of Harkis were massacred by other Algerians at the end of the war, the survivors fled to France where they were placed in camps, some for as long as sixteen years. Condemned as traitors by other Algerians and scorned by the French, the Harkis became a population apart, and their children still suffer from their parents’ wounds. Many have become activists, lobbying for recognition of their parents’ sacrifices, compensation, and an apology.

More than just a retelling of the Harkis’ grim past and troubling present, The Harkis is a resonant reflection on how children bear responsibility for the choices their parents make, how personal identity is shaped by the impersonal forces of history, and how violence insinuates itself into every facet of human life.

How representations of the preparation, sale, and consumption of leftovers in nineteenth-century urban France link socioeconomic and aesthetic history
 

The concept of the “harlequin” refers to the practice of reassembling dinner scraps cleared from the plates of the wealthy to sell, replated, to the poor in nineteenth-century Paris. In The Harlequin Eaters, Janet Beizer investigates how the alimentary harlequin evolved in the nineteenth and early twentieth centuries from the earlier, similarly patchworked Commedia dell’arte Harlequin character and can be used to rethink the entangled place of class, race, and food in the longer history of modernism. 

By superimposing figurations of the edible harlequin taken from a broad array of popular and canonical novels, newspaper articles, postcard photographs, and lithographs, Beizer shows that what is at stake in nineteenth-century discourses surrounding this mixed meal are representations not only of food but also of the marginalized people—the “harlequin eaters”—who consume it at this time when a global society is emerging. She reveals the imbrication of kitchen narratives and intellectual–aesthetic practices of thought and art, presenting a way to integrate socioeconomic history with the history of literature and the visual arts. The Harlequin Eaters also offers fascinating background to today’s problems of food inequity as it unpacks stories of the for-profit recycling of excess food across class and race divisions.

This book argues, however, that the fear of sexual abandon--though real--veiled an even more insidious fear: that women might be capable of intellectual equality with men and thus pose a threat to the most basic structures of French patriarchal society. In demonstrating the pervasiveness of this anxiety through analysis of nineteenth-century medical texts, literary criticism, and fiction, The Hysteric's Revenge brings into relief a critical relationship between the female mind and body that is essential to understanding the discursive position of the turn-of-the-century woman writer.

The novels presented here confront this mind/body problem through a wide variety of styles and genres that challenge conventional fin-de-siecle notions of femininity. From the compelling autobiography of Liane de Pougy--one of Paris's most renowned courtesans--to Colette's frank discussions of female pleasure in one of her early novels, to the violent creativity of Rachilde's androgynous heroine, Mesch demonstrates how both canonical and non-canonical writers promoted women's intellectual authority through the development of a sexual counter-discourse. In engaging the relationship between women's minds and bodies, these novels challenge the conclusions of a century of doctors who sought to prove a physiological basis for female intellectual inferiority. At the same time, they point the way towards later French feminists who sought to subvert patriarchal structures through literary explorations of sexuality.

"Colbert has long been celebrated as Louis XIV's minister of finance, trade, and industry. More recently, he has been viewed as his minister of culture and propaganda. In this lively and persuasive book, Jake Soll has given us a third Colbert, the information manager."
---Peter Burke, University of Cambridge

"Jacob Soll gives us a road map drawn from the French state under Colbert. With a stunning attention to detail Colbert used knowledge in the service of enhancing
royal power. Jacob Soll's scholarship is impeccable and his story long
overdue and compelling."
---Margaret Jacob, University of California, Los Angeles

"Nowadays we all know that information is the key to power, and that the masters of information rule the world. Jacob Soll teaches us that Jean-Baptiste Colbert had grasped this principle three and a half centuries ago, and used it to construct a new kind of state. This imaginative, erudite, and powerfully written book re-creates the history of libraries and archives in early modern Europe, and ties them in a novel and convincing way to the new statecraft of Europe's absolute monarchs."
---Anthony Grafton, Princeton University

"Brilliantly researched, superbly told, and timely, Soll's story is crucial for the history of the modern state."
---Keith Baker, Stanford University

When Louis XIV asked his minister Jean-Baptiste Colbert---the man who was to oversee the building of Versailles and the Royal Academy of Sciences, as well as the navy, the Paris police force, and French industry---to build a large-scale administrative government, Colbert created an unprecedented information system for political power. In The Information Master, Jacob Soll shows how the legacy of Colbert's encyclopedic tradition lies at the very center of the rise of the modern state and was a precursor to industrial intelligence and Internet search engines.

Soll's innovative look at Colbert's rise to power argues that his practice of collecting knowledge originated from techniques of church scholarship and from Renaissance Italy, where merchants recognized the power to be gained from merging scholarship, finance, and library science. With his connection of interdisciplinary approaches---regarding accounting, state administration, archives, libraries, merchant techniques, ecclesiastical culture, policing, and humanist pedagogy---Soll has written an innovative book that will redefine not only the history of the reign of Louis XIV and information science but also the study of political and economic history.

Jacob Soll is Associate Professor of History at Rutgers University and the author of Publishing The Prince: History, Reading, and the Birth of Political Criticism (University of Michigan Press, 2005), and winner of the 2005 Jacques Barzun Prize from the American Philosophical Society and a 2009 Guggenheim Fellowship. Soll edited a special issue of Journal of the History of Ideas titled "The Uses of Historical Evidence in Early Modern Europe"; has cofounded the online journal Republics of Letters; and is editor, along with Anthony Grafton and Ann Blair, of the series Cultures of Knowledge in the Early Modern World.

The first English-language translation of the 1968 activist play about inequality and access to education

In The Inheritor, surrealist imagery and experimental forms convey the radically different experience of two students, the Inheritor and the Non-Inheritor, as they prepare for a high-stakes exam. Revealing a world of privilege where “there is no such thing as luck,” the play features a beheaded knight, a talking record player, and a boisterous chorus of professors depicted as a flock of squawking birds.

Based on sociologists Pierre Bourdieu and Jean-Claude Passeron’s The Inheritors: French Students and Their Relations to Culture, the play was collectively created by Théâtre de l’Aquarium, a company then composed entirely of students. It proved a powerful success when it premiered in May 1968 amid student and worker protests in Paris, and it continues to speak forcefully to education inequity on campuses across anglophone countries today.

A beguiling, perspective-shifting story of obsession and loss set in the grimy, late-colonial decadence of Macau at the end of the twentieth century
 

In The Inner Harbour, Antoine Volodine focuses his literary investigations away from dystopian futures to a specific place at a particular historical moment: Macau on the eve of the Portuguese colony’s transfer to China. In a seedy flat in one of the city’s slums, a hired assassin named Kotter interrogates Breughel, a writer on the run from a mysterious organization code-named Paradise. Breughel has been hiding out in Macau with his lover, Gloria Vancouver, and a significant sum of the organization’s money. But Gloria is dead and the money spent—or so Breughel claims—and now he lives alone in humid squalor.

With increasing severity, Kotter extracts Breughel’s confessions, but are they truth or subterfuge? Or are the confessions an elaborate work of fiction by a writer aware that they are no longer able to differentiate between memory and fantasy? Volodine brilliantly blurs the levels of narration—between what Breughel tells his interrogator, what he remembers or invents, and the stories he has written, including his accounts of Gloria’s hallucinatory visions of an apocalyptic war between military forces and the “chrysalids.”

Interweaving threads of fiction and truth, lies and hallucinations, The Inner Harbour evokes many of the themes found in Volodine’s other “post-exotic” works: the slippage between dreams and reality, the nightmares of history, the exhaustion of literature and politics, and questions about what it means to be faithful to people or ideas long since vanished. But Volodine also uses the setting of Macau’s late-colonial decadence to explore new sensations of foreignness, alienation, and resignation, all of which coalesce into a nesting doll of narrative that houses an unconventional and tragic love story.

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The Juggler (La Jongleuse) is a "decadent" novel that was first published in 1900. Its author, Marguerite Vallette-Eymery (1860-1953), who used the pseudonym Rachilde, was a prolific novelist (over sixty works of fiction), playwright, literary critic and reviewer, and a forceful presence in French literary society of her time.

The protagonist of the novel, Eliante Donalger, is in some sense an exaggerated double for her creator--bizarre in appearance, clothing, and interests. Instinctively grasping a medical and psychological truth that the turn-of-the-century scientific world was only beginning to understand, Eliante maintains that there is nothing "natural" about human sexual expression. She claims to be in love with an inanimate (though anthropomorphic and sexually ambiguous) object, a Greek amphora, and the novel traces the rivalry between this faithful partner and an ardent human suitor, a young medical student. It is only through juggling, both literally and metaphorically, that Eliante is able to use her seductive power to maintain desire. The surprise ending challenges the limits of such power in a controversial and surprising twist.

Although Rachilde's work has been neglected in the past, the women's movement and feminist criticism have stimulated renewed interest in her fiction. The Juggler is a major rediscovery.