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Deepti Misri shows how Partition began a history of politicized animosity associated with the differing ideas of ""India"" held by communities and in regions on one hand, and by the political-military Indian state on the other. She moves beyond that formative national event, however, in order to examine other forms of gendered violence in the postcolonial life of the nation, including custodial rape, public stripping, deturbanning, and enforced disappearances. Assembling literary, historiographic, performative, and visual representations of gendered violence against women and men, Misri establishes that cultural expressions do not just follow violence but determine its very contours, and interrogates the gendered scripts underwriting the violence originating in the contested visions of what ""India"" means.

Ambitious and ranging across disciplines, Beyond Partition offers both an overview of and nuanced new perspectives on the ways caste, identity, and class complicate representations of violence, and how such representations shape our understandings of both violence and India.

Examining the power of testimonios in illuminating political injustice in Latin America from the Cold War to the present.

During the Cold War, testimonio emerged as a powerful genre of political nonfiction in Latin America. Artists created first-person narratives of censorship and state violence, highlighting broader circumstances of oppression carried out by local right-wing oligarchies in collusion with the US empire. Decolonial Witnessing explores the continuing vitality of testimonio in the twenty-first century, as it has evolved into narratives contesting neoliberal dispossession and disposability.

Considering the cultural work of Ana Castillo, Regina José Galindo, Jayro Bustamante, Alberto Ledesma, Javier Zamora, Lila Downs, and others, Guadalupe Escobar shows how artists, authors, musicians, and filmmakers are using testimonial narratives to identify and resist the architecture of post–Cold War militarized democracy. Contemporary testimonios center migrant children, torture abolitionists, Indigenous land defenders—figures whose perspectives and, indeed, presence disrupt dominant paradigms of citizenship. Cast against the law, their stories—their memories—constitute a critical optic on the construction of belonging. In these acts of bearing witness, Escobar locates the possibility of a new, counterhegemonic political imagination.

Writing and violence have been inextricably linked in Spanish America from the Conquest onward. Spanish authorities used written edicts, laws, permits, regulations, logbooks, and account books to control indigenous peoples whose cultures were predominantly oral, giving rise to a mingled awe and mistrust of the power of the written word that persists in Spanish American culture to the present day.

In this masterful study, Aníbal González traces and describes how Spanish American writers have reflected ethically in their works about writing's relation to violence and about their own relation to writing. Using an approach that owes much to the recent "turn to ethics" in deconstruction and to the works of Jacques Derrida and Emmanuel Levinas, he examines selected short stories and novels by major Spanish American authors from the late nineteenth through the twentieth centuries: Manuel Gutiérrez Nájera, Manuel Zeno Gandía, Teresa de la Parra, Jorge Luis Borges, Alejo Carpentier, Gabriel García Márquez, and Julio Cortázar. He shows how these authors frequently display an attitude he calls "graphophobia," an intense awareness of the potential dangers of the written word.

In closely analyzing the political and spiritual uses of black theatre during the Progressive Era, Mitchell demonstrates that audiences were shown affective ties in black families, a subject often erased in mainstream images of African Americans. Examining lynching plays as archival texts that embody and reflect broad networks of sociocultural activism and exchange in the lives of black Americans, Mitchell finds that audiences were rehearsing and improvising new ways of enduring in the face of widespread racial terrorism. Images of the black soldier, lawyer, mother, and wife helped readers assure each other that they were upstanding individuals who deserved the right to participate in national culture and politics. These powerful community coping efforts helped African Americans band together and withstand the nation's rejection of them as viable citizens.

The Left of Black interview with author Koritha Mitchell begins at 14:00.

An interview with Koritha Mitchell at The Ohio Channel.

These lively and accessible essays expand the conversation in the blogosphere about the novels and films by connecting the controversies about gender roles to social trends in the real world.

The introduction to this study deftly situates Biron's work in relation to previous theoretical arguments on the social and political dimensions of Latin American writing. The five subsequent chapters offer superb analyses of the individual texts. Like their male protagonists who experiment with the psychological and legal extremes of gender division, these narratives risk nonconformity to the laws of genre in their quest for liberation from violent social and literary conventions. In combining elements of detective stories, crime narratives, psychological case studies, and magical or grotesque realism, they offer metafictional commentary on a network of discourses that confuses images of masculinity, national identity, and political autonomy in postcolonial Latin America.

Detailed and rife with social and cultural implications, Poetry and Violence is a compelling commentary on violence as both human experience and communicative action.

The Right to Difference examines novels that depict human rights violations in order to explore causes of intergroup violence within diverse societies, using Germany as a test case. In these texts, the book shows that an exaggeration of difference between minority and majority groups leads to violence. Germany has become increasingly diverse over the past decades due to skilled labor migration and refugee movements. In light of this diversity, this book’s approach transcends a divide between migrant and post-migrant German literature on the one hand and a national literature on the other hand. Addressing competing definitions of national identity as well as the contest between cultural homogeneity and diversity, the author redefines the term “intercultural literature.” It becomes not a synonym for authors who do not belong to a national literature, such as migrant writers, but a way of reading literature with an intercultural lens.

This book builds a theory of intercultural literature that focuses on the multifaceted nature of identity, in which ethnicity represents only one of many characteristics defining individuals. To develop intercultural competence, one needs to adopt a complex image of individuals that allows for commonalities and differences by complicating the notion of sharp contrasts between groups. Revealing the affective allegiances formed around other characteristics (gender, profession, personal motivations, relationships, and more) allows for similarities that grouping into large, homogeneous, and seemingly exclusive entities conceals. Eight novels analyzed in this book remember and reveal human rights violations, such as genocide, internment and torture, violent expulsion, the reasons for fleeing a country, dangerous flight routes and the difficulty of settling in a new country. Some of these novels allow for affective identification with diverse characters and cast the protagonists as individuals with plural perspectives and identities rather than monolithic members of one large national or ethnic group, whereas others emphasize the commonalities of all people.

Ultimately, the author makes the case for German Studies to contribute to an antiracist approach to diversity by redefining what it means to be German and establishing difference as a fundamental human right.

Exploring the landscapes, cultures, and psychological spaces where violence takes root in contemporary American fiction.

The Spaces of Violence is an insightful work of literary criticism in which James R. Giles investigates the complex relationship between violence and space in contemporary American fiction. Through close readings of novels by influential writers including Russell Banks, Cormac McCarthy, Lewis Nordan, Dorothy Allison, Don DeLillo, Denis Johnson, Sherman Alexie, Robert Stone, and Bret Easton Ellis, Giles demonstrates how violence is shaped by the physical, social, and psychological environments in which it occurs.

Drawing on spatial and cultural theory, Giles argues that these novels inhabit a distinctive "fourthspace," a realm existing at the margins of mainstream society where violence permeates everyday life and destabilizes traditional boundaries of identity, community, and morality. Whether set in rural landscapes, urban centers, suburban communities, football stadiums, or transient spaces such as highways and bus stations, the works examined reveal how environments become intertwined with systems of power, alienation, trauma, and destruction.

The book concludes by extending its analysis to representations of violence within family structures, highlighting the far-reaching effects of social and cultural fragmentation. Offering a sophisticated framework for understanding violence in literature, The Spaces of Violence is an important contribution to contemporary literary and cultural studies.

In Violence and Grace, Nichole Miller establishes a conceptual link between early modern English drama and twentieth-century political theology, both of which emerge from the experience of political crisis. Miller’s analyses accordingly undertake to retrieve for political theology the relations between gender, sexuality, and the political aesthetics of violence on the early modern stage, addressing the plays of Marlowe, Middleton, and especially Shakespeare. In doing so, she expands our understanding of drama’s continuing theoretical impact.

Reclaiming the notion of literature as an institution essential for reflecting on the violence of culture, history, and politics, Violence and Naming exposes the tension between the irreducible, constitutive violence of language and the reducible, empirical violation of others. Focusing on an array of literary artifacts, from works by journalists such as Elena Poniatowska and Sergio González Rodríguez to the Zapatista communiqués to Roberto Bolaño's The Savage Detectives and 2666, this examination demonstrates that Mexican culture takes place as a struggle over naming—with severe implications for the rights and lives of women and indigenous persons.

Through rereadings of the Conquest of Mexico, the northern Mexican feminicide, the Zapatista uprising in Chiapas, the disappearance of the forty-three students at Iguala in 2014, and the 1999 abortion-rights scandal centering on “Paulina,” which revealed the tenuousness of women’s constitutionally protected reproductive rights in Mexico, Violence and Naming asks how societies can respond to violence without violating the other. This essential question is relevant not only to contemporary Mexico but to all struggles for democracy that promise equality but instead perpetuate incessant cycles of repression.