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“The problem of the twentieth century is the problem of the color line.” These were the prescient words of W. E. B. Du Bois’s influential 1903 book The Souls of Black Folk. The preeminent Black intellectual of his generation, Du Bois wrote about the trauma of seeing the Reconstruction era’s promise of racial equality cruelly dashed by the rise of white supremacist terror and Jim Crow laws. Yet he also argued for the value of African American cultural traditions and provided inspiration for countless civil rights leaders who followed him. Now artist Paul Peart-Smith offers the first graphic adaptation of Du Bois’s seminal work.
 
Peart-Smith’s graphic adaptation provides historical and cultural contexts that bring to life the world behind Du Bois’s words. Readers will get a deeper understanding of the cultural debates The Souls of Black Folk engaged in, with more background on figures like Booker T. Washington, the advocate of black economic uplift, and the Pan-Africanist minister Alexander Crummell. This beautifully illustrated book vividly conveys the continuing legacy of The Souls of Black Folk, effectively updating it for the era of the 1619 Project and Black Lives Matter.
 

The White Tattoo is a smart, always surprising collection of American stories. William J. Cobb knows and loves his character and places. His first collection of short stories, The White Tattoo, revels in the undeniable allure of the physical world even as it is juxtaposed with the twists and kinks of psychological and emotional pain. At one extreme is the tense, torturous psychology of “Motel Ice,” whose narrative voice emerges from the mind of a mentally disturbed Jehovah’s Witness gazing out on a world of temptation and redemption. Similarly hyperdramatic in its conclusion and its arc of betrayal and violent aftermath, “For All You Dorks, Blah Blah Blah” conjures up a sleepwalking, murderous father who is less culpable in the harm he causes but all the while most destructive.

Stylistically, the stories crackle, snap, and zing. Several of them, including “The Wishes,” “The Atmosphere of Vienna,” and “Dark Matter,” use an idiosyncratic, Tilt-O-Whirl narrative marked by a swirling, shifting focus and point of view, trying to create a multifaceted, complex vision of the world by dipping in and out of the consciousness of various characters.

Despite a genuine admiration for Native Hawaiian culture, white Californians of the 1930s ignored authentic relationships with Native Hawaiians. Surfing became a central part of what emerged instead: a beach culture of dressing, dancing, and acting like an Indigenous people whites idealized.

Patrick Moser uses surfing to open a door on the cultural appropriation practiced by Depression-era Californians against a backdrop of settler colonialism and white nationalism. Recreating the imagined leisure and romance of life in Waikīkī attracted people buffeted by economic crisis and dislocation. California-manufactured objects like surfboards became a physical manifestation of a dream that, for all its charms, emerged from a white impulse to both remove and replace Indigenous peoples. Moser traces the rise of beach culture through the lives of trendsetters Tom Blake, John “Doc” Ball, Preston “Pete” Peterson, Mary Ann Hawkins, and Lorrin “Whitey” Harrison while also delving into California’s control over images of Native Hawaiians via movies, tourism, and the surfboard industry.

Compelling and innovative, Waikīkī Dreams opens up the origins of a defining California subculture.

Exploring three major hubs of muralist activity in California, where indigenist imagery is prevalent, Walls of Empowerment celebrates an aesthetic that seeks to firmly establish Chicana/o sociopolitical identity in U.S. territory. Providing readers with a history and genealogy of key muralists' productions, Guisela Latorre also showcases new material and original research on works and artists never before examined in print.

An art form often associated with male creative endeavors, muralism in fact reflects significant contributions by Chicana artists. Encompassing these and other aspects of contemporary dialogues, including the often tense relationship between graffiti and muralism, Walls of Empowerment is a comprehensive study that, unlike many previous endeavors, does not privilege non-public Latina/o art. In addition, Latorre introduces readers to the role of new media, including performance, sculpture, and digital technology, in shaping the muralist's "canvas."

Drawing on nearly a decade of fieldwork, this timely endeavor highlights the ways in which California's Mexican American communities have used images of indigenous peoples to raise awareness of the region's original citizens. Latorre also casts murals as a radical force for decolonization and liberation, and she provides a stirring description of the decades, particularly the late 1960s through 1980s, that saw California's rise as the epicenter of mural production. Blending the perspectives of art history and sociology with firsthand accounts drawn from artists' interviews, Walls of Empowerment represents a crucial turning point in the study of these iconographic artifacts.

On the eugenic origins of US reproductive laws—and the surprising policy changes needed to remedy it.

The US government spends hundreds of millions of dollars every year to promote and facilitate contraception. Whereas other wealthy countries support broader fertility interventions under the banner of “family planning,” the United States remains committed only to helping Americans—and especially poorer Americans—plan not to have a family.

In an unflinching treatise on one of the century’s defining social issues, Leonard M. Lopoo shows how the US’s asymmetric reproductive approach is a vestige of the country’s earlier sins: America’s first reproductive policies were authored by some of the twentieth century’s most prominent eugenicists, a group whose primary goal was birth prevention among lower economic classes and racial minorities. These origins have consequently created a contradictory position for the country today, in which contraception for the lowest-income Americans is subsidized, while many upper-class Americans employ technologies to have children with preferable traits.

Lopoo recasts this personal and politicized topic in elegant, stark terms. If the United States is to legislate reproduction, the only defensible approach is equity: helping people who want children to have children. Wanting Children posits a new and elevating criterion for how we think about fertility in the twenty-first century.

In this new and expanded edition of an already classic work, H. Bruce Franklin brings the epic story of the superweapon and the American imagination into the ominous twenty-first century, demonstrating its continuing importance both to comprehending our current predicament and to finding ways to escape from it. 

Sweeping through two centuries of American culture and military history, Franklin traces the evolution of superweapons from Robert Fulton's eighteenth-century submarine through the strategic bomber, atomic bomb, and Star Wars to a twenty-first century dominated by “weapons of mass destruction,” real and imagined. Interweaving culture, science, technology, and history, he shows how and why the American pursuit of the ultimate defensive weapon—guaranteed to end all war and bring universal triumph to American ideals—has led our nation and the world into an epoch of terror and endless war.

Warring Genealogies examines the elaboration of kinships between Chicano/a and Asian American cultural production, such as the 1954 proxy adoption of a Korean boy by Leavenworth prisoners. Joo Ok Kim considers white supremacist expressions of kinship—in prison magazines, memorials, U.S. military songbooks—as well as critiques of such expressions in Chicana/o and Korean diasporic works to conceptualize racialized formations of kinship emerging from the Korean War.

Warring Genealogies unpacks writings by Rolando Hinojosa (Korean Love Songs, The Useless Servants) and Luis Valdez (I Don’t Have to Show You No Stinking Badges, Zoot Suit) to show the counter-representations of the Korean War and the problematic depiction of the United States as a benevolent savior. Kim also analyzes Susan Choi’s The Foreign Student as a novel that proposes alternative temporalities to dominant Korean War narratives. In addition, she examines Chicano military police procedurals, white supremacist women’s organizations, and the politics of funding Korean War archives.

Kim’s comparative study Asian American and Latinx Studies makes insightful connections about race, politics, and citizenship to critique the Cold War conception of the “national family.”

The region between the Baltic and the Black Sea was marked by a set of crises and conflicts in the 1920s and 1930s, demonstrating the diplomatic, military, economic or cultural engagement of France, Germany, Russia, Britain, Italy and Japan in this highly volatile region, and critically damaging the fragile post-Versailles political arrangement. The editors, in naming this region as "Middle Europe" seek to revive the symbolic geography of the time and accentuate its position, situated between Big Powers and two World Wars.

The ten case studies in this book combine traditional diplomatic history with a broader emphasis on the geopolitical aspects of Big-Power rivalry to understand the interwar period. The essays claim that the European Big Powers played a key role in regional affairs by keeping the local conflicts and national movements under control and by exploiting the region's natural resources and military dependencies, while at the same time strengthening their prestige through cultural penetration and the cultivation of client networks.

The authors, however, want to avoid the simplistic view that the Big Powers fully dominated the lesser players on the European stage. The relationship was indeed hierarchical, but the essays also reveal how the "small states" manipulated Big-Power disagreements, highlighting the limits of the latters' leverage throughout the 1920s and the 1930s.