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Making headlines when it was launched in 2015, Omise’eke Tinsley’s undergraduate course “Beyoncé Feminism, Rihanna Womanism” has inspired students from all walks of life. In Beyoncé in Formation, Tinsley now takes her rich observations beyond the classroom, using the blockbuster album and video Lemonade as a soundtrack for vital new-millennium narratives.

Woven with candid observations about her life as a feminist scholar of African studies and a cisgender femme married to a trans spouse, Tinsley’s “Femme-onade” mixtape explores myriad facets of black women’s sexuality and gender. Turning to Beyoncé’s “Don’t Hurt Yourself,” Tinsley assesses black feminist critiques of marriage and then considers the models of motherhood offered in “Daddy Lessons,” interspersing these passages with memories from Tinsley’s multiracial family history. Her chapters on nontraditional bonds culminate in a discussion of contemporary LGBT politics through the lens of the internet-breaking video “Formation,” underscoring why Beyoncé’s black femme-inism isn’t only for ciswomen. From pleasure politics and the struggle for black women’s reproductive justice to the subtext of blues and country music traditions, the landscape in this tour is populated by activists and artists (including Loretta Lynn) and infused with vibrant interpretations of Queen Bey’s provocative, peerless imagery and lyrics.

In the tradition of Roxanne Gay’s Bad Feminist and Jill Lepore’s best-selling cultural histories, Beyoncé in Formation is the work of a daring intellectual who is poised to spark a new conversation about freedom and identity in America.

This collection of poetry by the celebrated southern Iranian poet and filmmaker Roja Chamankar (b. 1981) introduces English-speaking readers to one of the most accomplished and well-loved poets of her generation. Chamankar’s work blends surrealism and the southern coastal landscape of the poet’s upbringing with everyday experiences in rapidly urbanizing Tehran. While locating herself in the modernist tradition of Iranian poets like Forugh Farrokhzad and Ahmad Shamlu through form and imagery, Chamankar infuses this tradition with concerns unique to a generation that grew up in post-revolutionary Iran and endured the effects of the Iran-Iraq war. Seascapes, love and eroticism, the disconnection of modern life, and myths and fairytales figure prominently in these vivid, lyrical poems.

In the rich miniature worlds of Chamankar’s poetry, readers become privy to a range of experiences, from desire and pain to rage and humor. Sometimes abstract, other times surreal—Chamankar’s unique poetic voice, like the sea she returns to again and again, combines and sweeps these experiences to shore with assurance, strength, and beauty.

Documenting the rise and disillusionment of El Salvador’s postwar activists in the face of populist authoritarian politics.

The conclusion of El Salvador’s long civil war, in 1992, was supposed to bring about equality and political freedom. Leftist insurgents laid down arms, and the government formally embraced liberal ideals. Yet today, El Salvador is ruled by an authoritarian president who was reelected via unconstitutional means. What went wrong?

Anthropologist and journalist Ellen Moodie embedded with indignados—young middle-class protestors, demanding that the government live up to its liberal commitments—to better understand the course of political change since the civil war. Yet the “post-postwar” generation is only the latest demographic disappointed with liberalism in practice. Moodie examines a nineteenth-century “racial liberalism” that saw descendants of colonists “civilizing” Indigenous people while dispossessing them of lands and mobilizing them for labor. Today, the failure to make good on the promises of postwar liberalism has inspired robust support for strongman Nayib Bukele. Moodie argues that El Salvador’s case, though inflected by local concerns, is not unique. Rather, it is another stark demonstration of how liberalism’s imaginary social contract gives rise to populist authoritarianism.

This bold and timely anthology interrogates the British monarchy through the lens of race, gender, and postcolonial critique. The contributors of ten original essays use Meghan Markle’s public life and identity as a nexus for understanding the enduring legacies of empire, white supremacy, and institutional exclusion.

Each chapter blends academic analysis with the authors’ own lived experiences and identities, creating a deeply engaging and multifaceted narrative. Essays cover media representation, mental health, motherhood, and the politics of belonging. 

Written in an accessible and engaging style, this volume speaks to readers interested in the intersections of monarchy, race, feminism, and celebrity culture. Through its interdisciplinary approach and critical insight, these essays reveal how one woman’s experience within the royal family brings into focus broader social and historical processes of racial identity making and colonial power. This is essential reading for anyone seeking to understand the cultural and political significance of Meghan Markle’s story—and what it tells us about the world we live in.

Contributors
Lucca Ramone Carlson
Duchess Harris
Marissa Kessenich
Jasmine Mitchell
Sarah Olutola
Portia Owusu
Therí Pickens
Amelia Ryan
Julie Schwietert Collazo
Lily Talmont
Ariane Tulloch
Elwood Watson
Stephanie L. Williams
Sharon D. Wright Austin

The account of one radically new school year for a Teacher of the Year and for his nonbinary, art-obsessed, brilliant child 

Seven-year-old Ollie was researching local advanced school programs—because every second grader does that, right? Ollie, who used to hate weekends because they meant no school, was crying on the way to school almost every day. Sure, there were the slings and arrows of bullies and bad teachers, but, maybe worse, Ollie, a funny, anxious, smart kid with a thing for choir and an eye for graphic art, was gravely underchallenged and also struggling with identity and how to live totally as themselves. Ollie begged to switch to a new school with “kids like me,” where they wouldn’t feel so alone, or so bored, and so they made the change. 

Raising Ollie is dad Tom Rademacher’s story (really, many stories) of that eventful and sometimes painful school year, parenting Ollie and relearning every day what it means to be a father and teacher. As Ollie—who is nonbinary and uses they/them pronouns, and prefers art to athletics, vegetables to cake, and animals to most humans—flourishes in their new school, Rademacher is making an eye-opening adjustment to a new school of his own, one that’s whiter and more suburban than anywhere he has previously taught, with a history of racial tension that he tries to address and navigate. 

While Ollie is learning to code, 3D model, animate, speak Japanese, and finally feel comfortable at school, Rademacher increasingly sees how his own educational struggles, anxieties, and childhood upbringing are reflected in his teaching, writing, and parenting, as well as in Ollie’s experience. And with this story of one anything-but-academic year of inquiry and wonder, doubt and revelation, he shows us how raising a kid changes everything—and how much raising a kid like Ollie can teach us about who we are and what we’re doing in the world.

A landmark sociological examination of terrorism prosecution in United States courts
 

Rather than functioning as a final arbiter of justice, U.S. domestic courts are increasingly seen as counterterrorism tools that can incapacitate terrorists, maintain national security operations domestically, and produce certain narratives of conflict. Terrorism on Trial examines the contemporary role that these courts play in the global war on terror and their use as a weapon of war: hunting, criminalizing, and punishing entire communities in the name of national security. 

 

Nicole Nguyen advocates for a rethinking of popular understandings of political violence and its root causes, encouraging readers to consider anti-imperial abolitionist alternatives to the criminalization, prosecution, and incarceration of individuals marked as real or perceived terrorists. She exposes how dominant academic discourses, geographical imaginations, and social processes have shaped terrorism prosecutions, as well as how our fundamental misunderstanding of terrorism has led to punitive responses that do little to address the true sources of violence, such as military interventions, colonial occupations, and tyrannical regimes. Nguyen also explores how these criminal proceedings bear on the lives of defendants and families, seeking to understand how legal processes unevenly criminalize and disempower communities of color.

 

A retheorization of terrorism as political violence, Terrorism on Trial invites readers to carefully consider the role of power and politics in the making of armed resistance, addressing the root causes of political violence, with a goal of building toward a less violent and more liberatory world.

Answering an unexpected call to faith in her thirties, Melody Gee contends with what saying “yes” to conversion requires of an adopted daughter of Chinese immigrants. Faced with a new framework for her place in the world, grief and doubt shadow her tentative steps toward becoming a believer. She looks for answers and consolation in her family’s story of immigration trauma and cultural assimilation, in the ways their burdens and limitations made her answer-seeking both impossible and inevitable.
In essays that explore the parallels between conversion and language acquisition, isolated liturgies, cultural inheritances, stalled initiations, disrupted storytelling, and adoption, Gee examines conversion’s grief and hope, losses and gains, hauntings and promises. We Carry Smoke and Paper is a memoir about what we owe to those who sacrifice everything for us, and it is about the many conversions in a lifetime that turn our heads via whispers and shouts, calling us to ourselves.