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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.

The essays that comprise Elusive Archives raise a common question: how do we study material culture when the objects of study are transient, evanescent, dispersed or subjective? Such things resist the taxonomic protocols that institutions, such as museums and archives, rely on to channel their acquisitions into meaningful collections. What holds these disparate things together here are the questions authors ask of them. Each essay creates by means of its method a provisional collection of things, an elusive archive. Scattered matter then becomes fixed within each author’s analytical framework rather than within the walls of an archive’s reading room or in cases along a museum corridor.

This book follows the ways in which objects may be identified, gathered, arranged, conceptualized and even displayed rather than by “discovering” artifacts in an archive and then asking how they came to be there. The authors approach material culture outside the traditional bounds of learning about the past. Their essays are varied not only in subject matter but also in narrative format and conceptual reach, making the volume accessible and easy to navigate for a quick reference or, if read straight through, build toward a new way to think about material culture.

    "I am willing to relate all I can remember, but I wish it clearly understood that it must be in my own way,  and at my own time.  I will not be hurried or dictated to.  It is my history and not yours I propose to tell.”—Mariano Guadelupe Vallejo, on “Recuerdos históricos y personales”  (1875)
    My History, Not Yours is a landmark study of the autobiographical writings of Mexican Americans in the century following the US-Mexican War of 1846-1848.  Some 75,000 inhabitants of what is now Texas, New Mexico, Arizona, Nevada, and California were suddenly foreigners on their own lands.  Faced with the deliberate obliteration of their history, culture, language, and personal experiences, these women and men set down the stories of their lives and their communities, as a means of both remembering and resisting.
    Genaro M. Padilla and other scholars have begun to uncover the huge store of literary materials forgotten in manuscript archives:  memoirs long out of print, others unpublished and unread, diaries, family histories, poetry, correspondence, and texts of corridos (ballads).  Padilla writes, “Lives are scattered on broken pages, faded, partially lost at the margins, suspended in language unread until there is a reader who opens the file and begins.  It is my intention to initiate a recovery of that autobiographical formation that emerged after a war of conquest.”
    In providing an overview of this rich literature, Padilla also points out the power relations embedded in the narratives, showing that the reconstruction of the Mexican past was not merely nostalgic idealization, but often an angry and deeply politicized recovery of a world ruptured by American domination.

One of the first new interpretations of West Virginia’s origins in over a century—and one that corrects previous histories’ tendency to minimize support for slavery in the state’s founding.

Every history of West Virginia’s creation in 1863 explains the event in similar ways: at the start of the Civil War, political, social, cultural, and economic differences with eastern Virginia motivated the northwestern counties to resist secession from the Union and seek their independence from the rest of the state. In The Fifth Border State, Scott A. MacKenzie offers the first new interpretation of the topic in over a century—one that corrects earlier histories’ tendency to minimize support for slavery in the state’s founding.

Employing previously unused sources and reexamining existing ones, MacKenzie argues that West Virginia experienced the Civil War in the same ways as the border states of Missouri, Kentucky, Maryland, and Delaware. Like these northernmost slave states, northwestern Virginia supported the institution of slavery out of proportion to the actual presence of enslavement there. The people who became West Virginians built a new state first to protect slavery, but radical Unionists and escaping slaves forced emancipation on the statehood movement. MacKenzie shows how conservatives and radicals clashed over Black freedom, correcting many myths about West Virginia’s origins and making The Fifth Border State an important addition to the literature in Appalachian and Civil War history.

An intellectual biography that critically engages Adolf Jellinek’s scholarship and communal activities

Adolf Jellinek (1821–1893), the Czech-born, German-educated, liberal chief rabbi of Vienna, was the most famous Jewish preacher in Central Europe in the second half of the nineteenth century. As an innovative rhetorician, Jellinek helped mold and define the modern synagogue sermon into an instrument for expressing Jewish religious and ethical values for a new era. As a historian, he made groundbreaking contributions to the study of the Zohar and medieval Jewish mysticism. Jellinek was emblematic of rabbi-as-scholar-preacher during the earliest, formative years of communal synagogues as urban religious space. In a world that was rapidly losing the felt and remembered past of premodern Jewish society, the rabbi, with Jellinek as prime exemplar, took hold of the Sabbath sermon as an instrument to define and mold Judaism and Jewish values for a new world.