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A small dolphin on the ankle, a black line on the lower back, a flower on the hip, or a child’s name on the shoulder blade—among the women who make up the twenty percent of all adults in the USA who have tattoos, these are by far the most popular choices. Tattoos like these are cute, small, and can be easily hidden, and they fit right in with society’s preconceived notions about what is ‘gender appropriate’ for women. But what about women who are heavily tattooed? Or women who visibly wear imagery, like skulls, that can be perceived as masculine or ugly when inked on their skin?





Drawing on autoethnography, and extensive interviews with heavily tattooed women, Covered in Ink provides insight into the increasingly visible subculture of women with tattoos. Author Beverly Thompson visits tattoos parlors, talking to female tattoo artists and the women they ink, and she attends tattoo conventions and Miss Tattoo pageants where heavily tattooed women congregate to share their mutual love for the art form. Along the way, she brings to life women’s love of ink, their very personal choices of tattoo art, and the meaning tattooing has come to carry in their lives, as well as their struggles with gender norms, employment discrimination, and family rejection. Thompson finds that, despite the stigma and social opposition heavily tattooed women face, many feel empowered by their tattoos and strongly believe they are creating a space for self-expression that also presents a positive body image. A riveting and unique study, Covered in Ink provides important insight into the often unseen world of women and tattooing.

A small dolphin on the ankle, a black line on the lower back, a flower on the hip, or a child’s name on the shoulder blade—among the women who make up the twenty percent of all adults in the USA who have tattoos, these are by far the most popular choices. Tattoos like these are cute, small, and can be easily hidden, and they fit right in with society’s preconceived notions about what is ‘gender appropriate’ for women. But what about women who are heavily tattooed? Or women who visibly wear imagery, like skulls, that can be perceived as masculine or ugly when inked on their skin?





Drawing on autoethnography, and extensive interviews with heavily tattooed women, Covered in Ink provides insight into the increasingly visible subculture of women with tattoos. Author Beverly Thompson visits tattoos parlors, talking to female tattoo artists and the women they ink, and she attends tattoo conventions and Miss Tattoo pageants where heavily tattooed women congregate to share their mutual love for the art form. Along the way, she brings to life women’s love of ink, their very personal choices of tattoo art, and the meaning tattooing has come to carry in their lives, as well as their struggles with gender norms, employment discrimination, and family rejection. Thompson finds that, despite the stigma and social opposition heavily tattooed women face, many feel empowered by their tattoos and strongly believe they are creating a space for self-expression that also presents a positive body image. A riveting and unique study, Covered in Ink provides important insight into the often unseen world of women and tattooing.

A small dolphin on the ankle, a black line on the lower back, a flower on the hip, or a child’s name on the shoulder blade—among the women who make up the twenty percent of all adults in the USA who have tattoos, these are by far the most popular choices. Tattoos like these are cute, small, and can be easily hidden, and they fit right in with society’s preconceived notions about what is ‘gender appropriate’ for women. But what about women who are heavily tattooed? Or women who visibly wear imagery, like skulls, that can be perceived as masculine or ugly when inked on their skin?





Drawing on autoethnography, and extensive interviews with heavily tattooed women, Covered in Ink provides insight into the increasingly visible subculture of women with tattoos. Author Beverly Thompson visits tattoos parlors, talking to female tattoo artists and the women they ink, and she attends tattoo conventions and Miss Tattoo pageants where heavily tattooed women congregate to share their mutual love for the art form. Along the way, she brings to life women’s love of ink, their very personal choices of tattoo art, and the meaning tattooing has come to carry in their lives, as well as their struggles with gender norms, employment discrimination, and family rejection. Thompson finds that, despite the stigma and social opposition heavily tattooed women face, many feel empowered by their tattoos and strongly believe they are creating a space for self-expression that also presents a positive body image. A riveting and unique study, Covered in Ink provides important insight into the often unseen world of women and tattooing.

Cowboys are an American legend, but despite ubiquity in history and popular culture, misperceptions abound. Technically, a cowboy worked with cattle, as a ranch hand, while his boss, the cattleman, owned the ranch. Jacqueline M. Moore casts aside romantic and one-dimensional images of cowboys by analyzing the class, gender, and labor histories of ranching in Texas during the second half of the nineteenth century.
As working-class men, cowboys showed their masculinity through their skills at work as well as public displays in town. But what cowboys thought was manly behavior did not always match those ideas of the business-minded cattlemen, who largely absorbed middle-class masculine ideals of restraint. Real men, by these standards, had self-mastery over their impulses and didn’t fight, drink, gamble or consort with "unsavory" women. Moore explores how, in contrast to the mythic image, from the late 1870s on, as the Texas frontier became more settled and the open range disappeared, the real cowboys faced increasing demands from the people around them to rein in the very traits that Americans considered the most masculine.
Published in Cooperation with the William P. Clements Center for Southwest Studies, Southern Methodist University.

Cowboys are an American legend, but despite ubiquity in history and popular culture, misperceptions abound. Technically, a cowboy worked with cattle, as a ranch hand, while his boss, the cattleman, owned the ranch. Jacqueline M. Moore casts aside romantic and one-dimensional images of cowboys by analyzing the class, gender, and labor histories of ranching in Texas during the second half of the nineteenth century.
As working-class men, cowboys showed their masculinity through their skills at work as well as public displays in town. But what cowboys thought was manly behavior did not always match those ideas of the business-minded cattlemen, who largely absorbed middle-class masculine ideals of restraint. Real men, by these standards, had self-mastery over their impulses and didn’t fight, drink, gamble or consort with "unsavory" women. Moore explores how, in contrast to the mythic image, from the late 1870s on, as the Texas frontier became more settled and the open range disappeared, the real cowboys faced increasing demands from the people around them to rein in the very traits that Americans considered the most masculine.
Published in Cooperation with the William P. Clements Center for Southwest Studies, Southern Methodist University.

Cowboys are an American legend, but despite ubiquity in history and popular culture, misperceptions abound. Technically, a cowboy worked with cattle, as a ranch hand, while his boss, the cattleman, owned the ranch. Jacqueline M. Moore casts aside romantic and one-dimensional images of cowboys by analyzing the class, gender, and labor histories of ranching in Texas during the second half of the nineteenth century.
As working-class men, cowboys showed their masculinity through their skills at work as well as public displays in town. But what cowboys thought was manly behavior did not always match those ideas of the business-minded cattlemen, who largely absorbed middle-class masculine ideals of restraint. Real men, by these standards, had self-mastery over their impulses and didn’t fight, drink, gamble or consort with "unsavory" women. Moore explores how, in contrast to the mythic image, from the late 1870s on, as the Texas frontier became more settled and the open range disappeared, the real cowboys faced increasing demands from the people around them to rein in the very traits that Americans considered the most masculine.
Published in Cooperation with the William P. Clements Center for Southwest Studies, Southern Methodist University.

Charts the myth of the “good guy with a gun,” connecting America’s frontier beginnings with visions of the end of the world

In the midst of widespread mass shootings in America, a common motif stands out: the perpetrators of these attacks often view themselves as vigilante saviors, whose job it is to regulate society in a way that exterminates their enemies.

In this fascinating critique, Rachel Wagner makes the case that this unfortunate phenomenon is best understood through the idea of the cowboy apocalypse. She shows that across much US media, from video games and blockbuster movies to novels and TV, a story arc has been created that provides a complete myth about the end of the world and the future after that. In these stories, the cowboy messiah is envisioned as a good guy with a gun. But he doesn't save the world. He just saves his world: he protects his family and others he deems worthy while embracing the chance to wipe the global slate clean and start fresh, with survivors testing their mettle on a new frontier.

Wagner illuminates the links between Christian apocalypticism, American gun culture, and the romanticization of the white male-dominated American frontier, showing how the vigilante has come to be regarded as a new savior figure, out to protect the world for white supremacy and patriarchy. She also offers ways to respond with other powerful cultural myths, making use of media to tell other stories. Cowboy Apocalypse offers a new means of making sense of how guns profoundly shape American life, and how we might engage with them otherwise.

Charts the myth of the “good guy with a gun,” connecting America’s frontier beginnings with visions of the end of the world

In the midst of widespread mass shootings in America, a common motif stands out: the perpetrators of these attacks often view themselves as vigilante saviors, whose job it is to regulate society in a way that exterminates their enemies.

In this fascinating critique, Rachel Wagner makes the case that this unfortunate phenomenon is best understood through the idea of the cowboy apocalypse. She shows that across much US media, from video games and blockbuster movies to novels and TV, a story arc has been created that provides a complete myth about the end of the world and the future after that. In these stories, the cowboy messiah is envisioned as a good guy with a gun. But he doesn't save the world. He just saves his world: he protects his family and others he deems worthy while embracing the chance to wipe the global slate clean and start fresh, with survivors testing their mettle on a new frontier.

Wagner illuminates the links between Christian apocalypticism, American gun culture, and the romanticization of the white male-dominated American frontier, showing how the vigilante has come to be regarded as a new savior figure, out to protect the world for white supremacy and patriarchy. She also offers ways to respond with other powerful cultural myths, making use of media to tell other stories. Cowboy Apocalypse offers a new means of making sense of how guns profoundly shape American life, and how we might engage with them otherwise.

In Crazy Water: Six Fictions, Lori Baker pushes the boundaries between truth and reality with curious, tragi-comic results. The imagination is Baker's terrain, and in these stories, pleasant suburban childhoods, family drives, seaside vacations, and an academic's quest for tenure all are strangely warped, yet nonetheless still mirror a world we thought we knew. In these brief pages, boys become dogs, students hide in the molluscan places, and mothers do their best to rescind their unsatisfying children.
"I say things smugly as if I understand them, muses one of Baker's narrators. Indeed, characters and readers alike are undermined in these deft and quirky fictions. Exposing and imploding all of our expectations, Baker shows us how menacing (and funny) the apparently ordinary can be.

In Crazy Water: Six Fictions, Lori Baker pushes the boundaries between truth and reality with curious, tragi-comic results. The imagination is Baker's terrain, and in these stories, pleasant suburban childhoods, family drives, seaside vacations, and an academic's quest for tenure all are strangely warped, yet nonetheless still mirror a world we thought we knew. In these brief pages, boys become dogs, students hide in the molluscan places, and mothers do their best to rescind their unsatisfying children.
"I say things smugly as if I understand them, muses one of Baker's narrators. Indeed, characters and readers alike are undermined in these deft and quirky fictions. Exposing and imploding all of our expectations, Baker shows us how menacing (and funny) the apparently ordinary can be.

In Crazy Water: Six Fictions, Lori Baker pushes the boundaries between truth and reality with curious, tragi-comic results. The imagination is Baker's terrain, and in these stories, pleasant suburban childhoods, family drives, seaside vacations, and an academic's quest for tenure all are strangely warped, yet nonetheless still mirror a world we thought we knew. In these brief pages, boys become dogs, students hide in the molluscan places, and mothers do their best to rescind their unsatisfying children.
"I say things smugly as if I understand them, muses one of Baker's narrators. Indeed, characters and readers alike are undermined in these deft and quirky fictions. Exposing and imploding all of our expectations, Baker shows us how menacing (and funny) the apparently ordinary can be.

Investigates how the Christian fundamentalist movement brings Creationism into the mainstream through a Kentucky museum

In Creating the Creation Museum, Kathleen C. Oberlin shows us how the largest Creationist organization, Answers in Genesis (AiG), built a museum—which has had over three million visitors—to make its movement mainstream. She takes us behind the scenes, vividly bringing the museum to life by detailing its infamous exhibits on human fossils, dinosaur remains, and more.

Drawing on over three years of research at the Creation Museum, where she was granted rare access to AiG’s leadership, Oberlin examines how the museum convincingly reframes scientific facts, such as modeling itself on traditional natural history museums. Through a unique historical dataset of over 1,000 internal documents from creationist organizations and an analysis of media coverage, Creating the Creation Museum shows how the museum works as a site of social movement activity and a place to contest the secular mainstream. Oberlin ultimately argues that the Creation Museum has real-world consequences in today’s polarized era.

Investigates how the Christian fundamentalist movement brings Creationism into the mainstream through a Kentucky museum

In Creating the Creation Museum, Kathleen C. Oberlin shows us how the largest Creationist organization, Answers in Genesis (AiG), built a museum—which has had over three million visitors—to make its movement mainstream. She takes us behind the scenes, vividly bringing the museum to life by detailing its infamous exhibits on human fossils, dinosaur remains, and more.

Drawing on over three years of research at the Creation Museum, where she was granted rare access to AiG’s leadership, Oberlin examines how the museum convincingly reframes scientific facts, such as modeling itself on traditional natural history museums. Through a unique historical dataset of over 1,000 internal documents from creationist organizations and an analysis of media coverage, Creating the Creation Museum shows how the museum works as a site of social movement activity and a place to contest the secular mainstream. Oberlin ultimately argues that the Creation Museum has real-world consequences in today’s polarized era.

Investigates how the Christian fundamentalist movement brings Creationism into the mainstream through a Kentucky museum

In Creating the Creation Museum, Kathleen C. Oberlin shows us how the largest Creationist organization, Answers in Genesis (AiG), built a museum—which has had over three million visitors—to make its movement mainstream. She takes us behind the scenes, vividly bringing the museum to life by detailing its infamous exhibits on human fossils, dinosaur remains, and more.

Drawing on over three years of research at the Creation Museum, where she was granted rare access to AiG’s leadership, Oberlin examines how the museum convincingly reframes scientific facts, such as modeling itself on traditional natural history museums. Through a unique historical dataset of over 1,000 internal documents from creationist organizations and an analysis of media coverage, Creating the Creation Museum shows how the museum works as a site of social movement activity and a place to contest the secular mainstream. Oberlin ultimately argues that the Creation Museum has real-world consequences in today’s polarized era.

Investigates how the Christian fundamentalist movement brings Creationism into the mainstream through a Kentucky museum

In Creating the Creation Museum, Kathleen C. Oberlin shows us how the largest Creationist organization, Answers in Genesis (AiG), built a museum—which has had over three million visitors—to make its movement mainstream. She takes us behind the scenes, vividly bringing the museum to life by detailing its infamous exhibits on human fossils, dinosaur remains, and more.

Drawing on over three years of research at the Creation Museum, where she was granted rare access to AiG’s leadership, Oberlin examines how the museum convincingly reframes scientific facts, such as modeling itself on traditional natural history museums. Through a unique historical dataset of over 1,000 internal documents from creationist organizations and an analysis of media coverage, Creating the Creation Museum shows how the museum works as a site of social movement activity and a place to contest the secular mainstream. Oberlin ultimately argues that the Creation Museum has real-world consequences in today’s polarized era.

Behind the scenes of the many artists and innovators flourishing beyond the bounds of intellectual property laws

Intellectual property law, or IP law, is based on certain assumptions about creative behavior. The case for regulation assumes that creators have a fundamental legal right to prevent copying, and without this right they will under-invest in new work. But this premise fails to fully capture the reality of creative production. It ignores the range of powerful non-economic motivations that compel creativity, and it overlooks the capacity of creative industries for self-governance and innovative social and market responses to appropriation.

This book reveals the on-the-ground practices of a range of creators and innovators. In doing so, it challenges intellectual property orthodoxy by showing that incentives for creative production often exist in the absence of, or in disregard for, formal legal protections. Instead, these communities rely on evolving social norms and market responses—sensitive to their particular cultural, competitive, and technological circumstances—to ensure creative incentives. From tattoo artists to medical researchers, Nigerian filmmakers to roller derby players, the communities illustrated in this book demonstrate that creativity can thrive without legal incentives, and perhaps more strikingly, that some creative communities prefer, and thrive, in environments defined by self-regulation rather than legal rules.

Beyond their value as descriptions of specific industries and communities, the accounts collected here help to ground debates over IP policy in the empirical realities of the creative process. Their parallels and divergences also highlight the value of rules that are sensitive to the unique mix of conditions and motivations of particular industries and communities, rather than the monoculture of uniform regulation of the current IP system.

Behind the scenes of the many artists and innovators flourishing beyond the bounds of intellectual property laws

Intellectual property law, or IP law, is based on certain assumptions about creative behavior. The case for regulation assumes that creators have a fundamental legal right to prevent copying, and without this right they will under-invest in new work. But this premise fails to fully capture the reality of creative production. It ignores the range of powerful non-economic motivations that compel creativity, and it overlooks the capacity of creative industries for self-governance and innovative social and market responses to appropriation.

This book reveals the on-the-ground practices of a range of creators and innovators. In doing so, it challenges intellectual property orthodoxy by showing that incentives for creative production often exist in the absence of, or in disregard for, formal legal protections. Instead, these communities rely on evolving social norms and market responses—sensitive to their particular cultural, competitive, and technological circumstances—to ensure creative incentives. From tattoo artists to medical researchers, Nigerian filmmakers to roller derby players, the communities illustrated in this book demonstrate that creativity can thrive without legal incentives, and perhaps more strikingly, that some creative communities prefer, and thrive, in environments defined by self-regulation rather than legal rules.

Beyond their value as descriptions of specific industries and communities, the accounts collected here help to ground debates over IP policy in the empirical realities of the creative process. Their parallels and divergences also highlight the value of rules that are sensitive to the unique mix of conditions and motivations of particular industries and communities, rather than the monoculture of uniform regulation of the current IP system.

Behind the scenes of the many artists and innovators flourishing beyond the bounds of intellectual property laws

Intellectual property law, or IP law, is based on certain assumptions about creative behavior. The case for regulation assumes that creators have a fundamental legal right to prevent copying, and without this right they will under-invest in new work. But this premise fails to fully capture the reality of creative production. It ignores the range of powerful non-economic motivations that compel creativity, and it overlooks the capacity of creative industries for self-governance and innovative social and market responses to appropriation.

This book reveals the on-the-ground practices of a range of creators and innovators. In doing so, it challenges intellectual property orthodoxy by showing that incentives for creative production often exist in the absence of, or in disregard for, formal legal protections. Instead, these communities rely on evolving social norms and market responses—sensitive to their particular cultural, competitive, and technological circumstances—to ensure creative incentives. From tattoo artists to medical researchers, Nigerian filmmakers to roller derby players, the communities illustrated in this book demonstrate that creativity can thrive without legal incentives, and perhaps more strikingly, that some creative communities prefer, and thrive, in environments defined by self-regulation rather than legal rules.

Beyond their value as descriptions of specific industries and communities, the accounts collected here help to ground debates over IP policy in the empirical realities of the creative process. Their parallels and divergences also highlight the value of rules that are sensitive to the unique mix of conditions and motivations of particular industries and communities, rather than the monoculture of uniform regulation of the current IP system.

Explores new perspectives on social media entertainment

There is a new class of cultural producers—YouTube vloggers, Twitch gameplayers, Instagram influencers, TikTokers, Chinese wanghong, and others—who are part of a rapidly emerging and highly disruptive industry of monetized “user-generated” content. As this new wave of native social media entrepreneurs emerge, so do new formations of culture and the ways they are studied.

In this volume, contributors draw on scholarship in media and communication studies, science and technology studies, and social media, Internet, and platform studies, in order to define this new field of study and the emergence of creator culture. Creator Culture introduces readers to new paradigms of social media entertainment from critical perspectives, demonstrating both relations to and differentiations from the well-established media forms and institutions traditionally within the scope of media studies.

This volume does not seek to impose a uniform perspective; rather, the goal is to stimulate in-depth, globally-focused engagement with this burgeoning industry and establish a dynamic research agenda for scholars, teachers, and students, as well as creators and professionals across the media, communication, creative, and social media industries.

Contributors include: Jean Burgess, Zoë Glatt, Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damián Fraticelli, José M. Tomasena, Junyi Lv, Hector Postigo, Brooke Erin Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram Mohan, Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao, Arturo Arriagada, Jeremy Shtern, Stephanie Hill

Explores new perspectives on social media entertainment

There is a new class of cultural producers—YouTube vloggers, Twitch gameplayers, Instagram influencers, TikTokers, Chinese wanghong, and others—who are part of a rapidly emerging and highly disruptive industry of monetized “user-generated” content. As this new wave of native social media entrepreneurs emerge, so do new formations of culture and the ways they are studied.

In this volume, contributors draw on scholarship in media and communication studies, science and technology studies, and social media, Internet, and platform studies, in order to define this new field of study and the emergence of creator culture. Creator Culture introduces readers to new paradigms of social media entertainment from critical perspectives, demonstrating both relations to and differentiations from the well-established media forms and institutions traditionally within the scope of media studies.

This volume does not seek to impose a uniform perspective; rather, the goal is to stimulate in-depth, globally-focused engagement with this burgeoning industry and establish a dynamic research agenda for scholars, teachers, and students, as well as creators and professionals across the media, communication, creative, and social media industries.

Contributors include: Jean Burgess, Zoë Glatt, Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damián Fraticelli, José M. Tomasena, Junyi Lv, Hector Postigo, Brooke Erin Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram Mohan, Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao, Arturo Arriagada, Jeremy Shtern, Stephanie Hill

Explores new perspectives on social media entertainment

There is a new class of cultural producers—YouTube vloggers, Twitch gameplayers, Instagram influencers, TikTokers, Chinese wanghong, and others—who are part of a rapidly emerging and highly disruptive industry of monetized “user-generated” content. As this new wave of native social media entrepreneurs emerge, so do new formations of culture and the ways they are studied.

In this volume, contributors draw on scholarship in media and communication studies, science and technology studies, and social media, Internet, and platform studies, in order to define this new field of study and the emergence of creator culture. Creator Culture introduces readers to new paradigms of social media entertainment from critical perspectives, demonstrating both relations to and differentiations from the well-established media forms and institutions traditionally within the scope of media studies.

This volume does not seek to impose a uniform perspective; rather, the goal is to stimulate in-depth, globally-focused engagement with this burgeoning industry and establish a dynamic research agenda for scholars, teachers, and students, as well as creators and professionals across the media, communication, creative, and social media industries.

Contributors include: Jean Burgess, Zoë Glatt, Sarah Banet-Weiser, Brent Luvaas, Carlos A. Scolari, Damián Fraticelli, José M. Tomasena, Junyi Lv, Hector Postigo, Brooke Erin Duffy, Megan Sawey, Jarrod Walzcer, Sangeet Kumar, Sriram Mohan, Aswin Punathambekar, Mohamed El Marzouki, Elaine Jing Zhao, Arturo Arriagada, Jeremy Shtern, Stephanie Hill

An updated introduction to the religions developed in the Caribbean region

Creole Religions of the Caribbean offers a comprehensive introduction to the overlapping religions that have developed as a result of the creolization process. Caribbean peoples drew on the variants of Christianity brought by European colonizers, as well as on African religious and healing traditions and the remnants of Amerindian practices, to fashion new systems of belief. From Vodou, Santería, Regla de Palo, the Abakuá Secret Society, and Obeah to Quimbois and Espiritismo, the volume traces the historical–cultural origins of the major Creole religions, as well as the newer traditions such as Rastafari.

This third edition updates the scholarship by featuring new critical approaches that have been brought to bear on the study of religion, such as queer studies, environmental studies, and diasporic studies. The third edition also expands the regional considerations of the diaspora to the US Latinx communities that are influenced by Creole spiritual practices, taking into account the increased significance of material culture?art, music, literature, and healing practices influenced by Creole religions.

An updated introduction to the religions developed in the Caribbean region

Creole Religions of the Caribbean offers a comprehensive introduction to the overlapping religions that have developed as a result of the creolization process. Caribbean peoples drew on the variants of Christianity brought by European colonizers, as well as on African religious and healing traditions and the remnants of Amerindian practices, to fashion new systems of belief. From Vodou, Santería, Regla de Palo, the Abakuá Secret Society, and Obeah to Quimbois and Espiritismo, the volume traces the historical–cultural origins of the major Creole religions, as well as the newer traditions such as Rastafari.

This third edition updates the scholarship by featuring new critical approaches that have been brought to bear on the study of religion, such as queer studies, environmental studies, and diasporic studies. The third edition also expands the regional considerations of the diaspora to the US Latinx communities that are influenced by Creole spiritual practices, taking into account the increased significance of material culture?art, music, literature, and healing practices influenced by Creole religions.

An updated introduction to the religions developed in the Caribbean region

Creole Religions of the Caribbean offers a comprehensive introduction to the overlapping religions that have developed as a result of the creolization process. Caribbean peoples drew on the variants of Christianity brought by European colonizers, as well as on African religious and healing traditions and the remnants of Amerindian practices, to fashion new systems of belief. From Vodou, Santería, Regla de Palo, the Abakuá Secret Society, and Obeah to Quimbois and Espiritismo, the volume traces the historical–cultural origins of the major Creole religions, as well as the newer traditions such as Rastafari.

This third edition updates the scholarship by featuring new critical approaches that have been brought to bear on the study of religion, such as queer studies, environmental studies, and diasporic studies. The third edition also expands the regional considerations of the diaspora to the US Latinx communities that are influenced by Creole spiritual practices, taking into account the increased significance of material culture?art, music, literature, and healing practices influenced by Creole religions.

From Game of Thrones to Breaking Bad, the key theories and concepts in criminal justice are explained through the lens of television

In Crime TV, Jonathan A. Grubb and Chad Posick bring together an eminent group of scholars to show us the ways in which crime—and the broader criminal justice system—are depicted on television. From Breaking Bad and Westworld to Mr. Robot and Homeland, this volume highlights how popular culture frames our understanding of crime, criminological theory, and the nature of justice through modern entertainment.

Featuring leading criminologists, Crime TV makes the key concepts and analytical tools of criminology as engaging as possible for students and interested readers. Contributors tackle an array of exciting topics and shows, taking a fresh look at feminist criminology on The Handmaid’s Tale, psychopathy on The Fall, the importance of social bonds on 13 Reasons Why, radical social change on The Walking Dead, and the politics of punishment on Game of Thrones.

Crime TV offers a fresh and exciting approach to understanding the essential concepts in criminology and criminal justice and how theories of crime circulate in popular culture.

From Game of Thrones to Breaking Bad, the key theories and concepts in criminal justice are explained through the lens of television

In Crime TV, Jonathan A. Grubb and Chad Posick bring together an eminent group of scholars to show us the ways in which crime—and the broader criminal justice system—are depicted on television. From Breaking Bad and Westworld to Mr. Robot and Homeland, this volume highlights how popular culture frames our understanding of crime, criminological theory, and the nature of justice through modern entertainment.

Featuring leading criminologists, Crime TV makes the key concepts and analytical tools of criminology as engaging as possible for students and interested readers. Contributors tackle an array of exciting topics and shows, taking a fresh look at feminist criminology on The Handmaid’s Tale, psychopathy on The Fall, the importance of social bonds on 13 Reasons Why, radical social change on The Walking Dead, and the politics of punishment on Game of Thrones.

Crime TV offers a fresh and exciting approach to understanding the essential concepts in criminology and criminal justice and how theories of crime circulate in popular culture.

From Game of Thrones to Breaking Bad, the key theories and concepts in criminal justice are explained through the lens of television

In Crime TV, Jonathan A. Grubb and Chad Posick bring together an eminent group of scholars to show us the ways in which crime—and the broader criminal justice system—are depicted on television. From Breaking Bad and Westworld to Mr. Robot and Homeland, this volume highlights how popular culture frames our understanding of crime, criminological theory, and the nature of justice through modern entertainment.

Featuring leading criminologists, Crime TV makes the key concepts and analytical tools of criminology as engaging as possible for students and interested readers. Contributors tackle an array of exciting topics and shows, taking a fresh look at feminist criminology on The Handmaid’s Tale, psychopathy on The Fall, the importance of social bonds on 13 Reasons Why, radical social change on The Walking Dead, and the politics of punishment on Game of Thrones.

Crime TV offers a fresh and exciting approach to understanding the essential concepts in criminology and criminal justice and how theories of crime circulate in popular culture.

Why homicides have increased


The homicide rate in the United States increased by approximately 55 percent from 2014 to 2021. An initial spike in homicide rates began in 2015, and the rate continued on its generally upward trajectory through subsequent years, eventually increasing by the largest annual margin in recorded history during 2020. By 2021, several cities and states recorded homicide rates higher than during the crime-plagued 1990s. Why did America suddenly become more violent?

James Tuttle examines the underlying causes behind this surge in violence, arguing that it is the result of the decline in American well-being, a growing distrust in institutions, an increase in alcohol and drug abuse, and escalating firearm sales. Tuttle also shows how the homicide epidemic has hit different parts of the country; notably there has been an increase in homicide in the Midwest that is 25 percent greater than in the rest of the country.

Through comprehensive analysis of the most recent crime data available, Tuttle provides compelling evidence supporting these contentions, illuminating the intricate relationship between societal decline and the homicide epidemic. This book buildings on evidence that demonstrates the limited impact of police tactics on crime rates, and finds little substantiation for the notion that police department defunding played a role in the rise of crime across American cities. Crime Wave attempts to reframe the public debate beyond the current “police-only” paradigm of explaining crime trends by examining the broader social and cultural forces that shape American violence.

Why homicides have increased


The homicide rate in the United States increased by approximately 55 percent from 2014 to 2021. An initial spike in homicide rates began in 2015, and the rate continued on its generally upward trajectory through subsequent years, eventually increasing by the largest annual margin in recorded history during 2020. By 2021, several cities and states recorded homicide rates higher than during the crime-plagued 1990s. Why did America suddenly become more violent?

James Tuttle examines the underlying causes behind this surge in violence, arguing that it is the result of the decline in American well-being, a growing distrust in institutions, an increase in alcohol and drug abuse, and escalating firearm sales. Tuttle also shows how the homicide epidemic has hit different parts of the country; notably there has been an increase in homicide in the Midwest that is 25 percent greater than in the rest of the country.

Through comprehensive analysis of the most recent crime data available, Tuttle provides compelling evidence supporting these contentions, illuminating the intricate relationship between societal decline and the homicide epidemic. This book buildings on evidence that demonstrates the limited impact of police tactics on crime rates, and finds little substantiation for the notion that police department defunding played a role in the rise of crime across American cities. Crime Wave attempts to reframe the public debate beyond the current “police-only” paradigm of explaining crime trends by examining the broader social and cultural forces that shape American violence.

Why homicides have increased


The homicide rate in the United States increased by approximately 55 percent from 2014 to 2021. An initial spike in homicide rates began in 2015, and the rate continued on its generally upward trajectory through subsequent years, eventually increasing by the largest annual margin in recorded history during 2020. By 2021, several cities and states recorded homicide rates higher than during the crime-plagued 1990s. Why did America suddenly become more violent?

James Tuttle examines the underlying causes behind this surge in violence, arguing that it is the result of the decline in American well-being, a growing distrust in institutions, an increase in alcohol and drug abuse, and escalating firearm sales. Tuttle also shows how the homicide epidemic has hit different parts of the country; notably there has been an increase in homicide in the Midwest that is 25 percent greater than in the rest of the country.

Through comprehensive analysis of the most recent crime data available, Tuttle provides compelling evidence supporting these contentions, illuminating the intricate relationship between societal decline and the homicide epidemic. This book buildings on evidence that demonstrates the limited impact of police tactics on crime rates, and finds little substantiation for the notion that police department defunding played a role in the rise of crime across American cities. Crime Wave attempts to reframe the public debate beyond the current “police-only” paradigm of explaining crime trends by examining the broader social and cultural forces that shape American violence.

From animal rights to anti-abortion, from tax resistance to anti-poverty, activists from across the political spectrum often deliberately break the law to further their causes. While not behaviors common to hardened or self-seeking criminals, the staging of civil disobedience, non-violent resistance, and direct action can nevertheless trigger a harsh response from law enforcement, with those arrested risking jail time and criminal records. Crimes of Dissent features the voices of these activists, presenting a fascinating insider’s look at the motivations, costs and consequences of deliberately violating the law as a strategy of social change.
Crimes of Dissent provides readers with an in-depth understanding of why activists break the law, and what happens to them when they do. Using dynamic examples, both historic and recent, Jarret Lovell explores how seasoned protesters are handled and treated by the criminal justice system, shedding light on the intersection between the political and the criminal. By adopting the unique vantage of the street-level activist, Crimes of Dissent provides a fascinating view of protest from the ground, giving voice to those who refuse to remain silent by risking punishment for their political actions.

From animal rights to anti-abortion, from tax resistance to anti-poverty, activists from across the political spectrum often deliberately break the law to further their causes. While not behaviors common to hardened or self-seeking criminals, the staging of civil disobedience, non-violent resistance, and direct action can nevertheless trigger a harsh response from law enforcement, with those arrested risking jail time and criminal records. Crimes of Dissent features the voices of these activists, presenting a fascinating insider’s look at the motivations, costs and consequences of deliberately violating the law as a strategy of social change.
Crimes of Dissent provides readers with an in-depth understanding of why activists break the law, and what happens to them when they do. Using dynamic examples, both historic and recent, Jarret Lovell explores how seasoned protesters are handled and treated by the criminal justice system, shedding light on the intersection between the political and the criminal. By adopting the unique vantage of the street-level activist, Crimes of Dissent provides a fascinating view of protest from the ground, giving voice to those who refuse to remain silent by risking punishment for their political actions.

From animal rights to anti-abortion, from tax resistance to anti-poverty, activists from across the political spectrum often deliberately break the law to further their causes. While not behaviors common to hardened or self-seeking criminals, the staging of civil disobedience, non-violent resistance, and direct action can nevertheless trigger a harsh response from law enforcement, with those arrested risking jail time and criminal records. Crimes of Dissent features the voices of these activists, presenting a fascinating insider’s look at the motivations, costs and consequences of deliberately violating the law as a strategy of social change.
Crimes of Dissent provides readers with an in-depth understanding of why activists break the law, and what happens to them when they do. Using dynamic examples, both historic and recent, Jarret Lovell explores how seasoned protesters are handled and treated by the criminal justice system, shedding light on the intersection between the political and the criminal. By adopting the unique vantage of the street-level activist, Crimes of Dissent provides a fascinating view of protest from the ground, giving voice to those who refuse to remain silent by risking punishment for their political actions.

This, the twenty-seventh volume in the annual series of publications by the American Society for Political and Legal Philosophy, features a number of distinguised contributors addressing the topic of criminal justice. Part I considers "The Moral and Metaphysical Sources of the Criminal Law," with contributions by Michael S. Moore, Lawrence Rosen, and Martin Shapiro.
The four chapters in Part II all relate, more or less directly, to the issue of retribution, with papers by Hugo Adam Bedau, Michael Davis, Jeffrie G. Murphy, and R. B. Brandt. In the following part, Dennis F. Thompson, Christopher D. Stone, and Susan Wolf deal with the special problem of criminal responsibility in government—one of great importance in modern society. The fourth and final part, echoing the topic of NOMOS XXIV, Ethics, Economics, and the Law, addresses the economic theory of crime. The section includes contributions by Alvin K. Klevorick, Richard A. Posner, Jules L. Coleman, and Stephen J. Schulhofer.
A valuable bibiography on criminal justice by Andrew C. Blanar concludes this volume of NOMOS.

This, the twenty-seventh volume in the annual series of publications by the American Society for Political and Legal Philosophy, features a number of distinguised contributors addressing the topic of criminal justice. Part I considers "The Moral and Metaphysical Sources of the Criminal Law," with contributions by Michael S. Moore, Lawrence Rosen, and Martin Shapiro.
The four chapters in Part II all relate, more or less directly, to the issue of retribution, with papers by Hugo Adam Bedau, Michael Davis, Jeffrie G. Murphy, and R. B. Brandt. In the following part, Dennis F. Thompson, Christopher D. Stone, and Susan Wolf deal with the special problem of criminal responsibility in government—one of great importance in modern society. The fourth and final part, echoing the topic of NOMOS XXIV, Ethics, Economics, and the Law, addresses the economic theory of crime. The section includes contributions by Alvin K. Klevorick, Richard A. Posner, Jules L. Coleman, and Stephen J. Schulhofer.
A valuable bibiography on criminal justice by Andrew C. Blanar concludes this volume of NOMOS.

This Major Reference series brings together a wide range of key international articles in law and legal theory. Many of these essays are not readily accessible, and their presentation in these volumes will provide a vital new resource for both research and teaching. Each volume is edited by leading international authorities who explain the significance and context of articles in an informative and complete introduction.

Winner, 2020 DLC Outstanding Contribution Award, given by the American Society of Criminology

An exploration of criminal trajectories, placing them in a developmental context

Over the past several years, notions of developmental trajectories—particularly criminal trajectories—have taken hold as important areas of investigation for researchers interested in the longitudinal study of crime. This accessible volume presents the first full-length overview of criminal trajectories as a concept and methodology and makes the case for a developmental approach to the topic.

The volume shows how a developmental perspective is important from a practical standpoint, helping to inform the design of prevention and early intervention programs to forestall the onset of antisocial and criminal activity, particularly when it begins in childhood. Crime in this view does not suit a one-size-fits-all model. There are different types of criminals who develop as the result of different types of developmental factors and experiences. By considering what risk factors may set the stage for later crimes in certain circumstances, the authors argue that we may be able to intervene at any point along the life course and, if addressed early enough, prevent criminal behavior from taking root.

Criminal Trajectories offers a comprehensive synthesis of the findings from numerous criminal trajectory studies, presented through a multi-disciplinary lens. It addresses the policy and practice implications of these findings for the criminal justice system—including a critique of current sentencing and incarceration practices—and presents twelve recommendations informed by developmental frameworks for future work.

Winner, 2020 DLC Outstanding Contribution Award, given by the American Society of Criminology

An exploration of criminal trajectories, placing them in a developmental context

Over the past several years, notions of developmental trajectories—particularly criminal trajectories—have taken hold as important areas of investigation for researchers interested in the longitudinal study of crime. This accessible volume presents the first full-length overview of criminal trajectories as a concept and methodology and makes the case for a developmental approach to the topic.

The volume shows how a developmental perspective is important from a practical standpoint, helping to inform the design of prevention and early intervention programs to forestall the onset of antisocial and criminal activity, particularly when it begins in childhood. Crime in this view does not suit a one-size-fits-all model. There are different types of criminals who develop as the result of different types of developmental factors and experiences. By considering what risk factors may set the stage for later crimes in certain circumstances, the authors argue that we may be able to intervene at any point along the life course and, if addressed early enough, prevent criminal behavior from taking root.

Criminal Trajectories offers a comprehensive synthesis of the findings from numerous criminal trajectory studies, presented through a multi-disciplinary lens. It addresses the policy and practice implications of these findings for the criminal justice system—including a critique of current sentencing and incarceration practices—and presents twelve recommendations informed by developmental frameworks for future work.

Winner, 2020 DLC Outstanding Contribution Award, given by the American Society of Criminology

An exploration of criminal trajectories, placing them in a developmental context

Over the past several years, notions of developmental trajectories—particularly criminal trajectories—have taken hold as important areas of investigation for researchers interested in the longitudinal study of crime. This accessible volume presents the first full-length overview of criminal trajectories as a concept and methodology and makes the case for a developmental approach to the topic.

The volume shows how a developmental perspective is important from a practical standpoint, helping to inform the design of prevention and early intervention programs to forestall the onset of antisocial and criminal activity, particularly when it begins in childhood. Crime in this view does not suit a one-size-fits-all model. There are different types of criminals who develop as the result of different types of developmental factors and experiences. By considering what risk factors may set the stage for later crimes in certain circumstances, the authors argue that we may be able to intervene at any point along the life course and, if addressed early enough, prevent criminal behavior from taking root.

Criminal Trajectories offers a comprehensive synthesis of the findings from numerous criminal trajectory studies, presented through a multi-disciplinary lens. It addresses the policy and practice implications of these findings for the criminal justice system—including a critique of current sentencing and incarceration practices—and presents twelve recommendations informed by developmental frameworks for future work.

The complicated relationship between defendants with mental health disorders and the criminal justice system

The American criminal justice system is based on the bedrock principles of fairness and justice for all. In striving to ensure that all criminal defendants are treated equally under the law, it endeavors to handle similar cases in similar fashion, attempting to apply rules and procedures even-handedly regardless of a defendant’s social class, race, ethnicity, or gender. Yet, the criminal justice system has also recognized exceptions when special circumstances underlie a defendant’s behavior or are likely to skew the defendant’s trial. One of the most controversial set of exceptions –often poorly articulated and inconsistently applied – involves criminal defendants with a mental disorder.

A series of special rules and procedures has evolved over the centuries, often without fanfare and even today with little systematic examination, that lawyers and judges apply to cases involving defendants with a mental disorder. This book provides an analysis of the key issues in this dynamic interplay between individuals with a mental disorder and the criminal justice system.

The volume identifies the various stages of criminal justice proceedings when the mental status of a defendant may be relevant, associated legal and policy issues, the history and evolution of these issues, and how they are currently resolved. To assist this exploration, the text also offers an overview of mental disorders, their relevance to criminal proceedings, how forensic mental health assessments are conducted and employed during these proceedings, and their application to competency and responsibility determinations. In sum, this book provides an important resource for students and scholars with an interest in mental health, law, and criminal justice.

The complicated relationship between defendants with mental health disorders and the criminal justice system

The American criminal justice system is based on the bedrock principles of fairness and justice for all. In striving to ensure that all criminal defendants are treated equally under the law, it endeavors to handle similar cases in similar fashion, attempting to apply rules and procedures even-handedly regardless of a defendant’s social class, race, ethnicity, or gender. Yet, the criminal justice system has also recognized exceptions when special circumstances underlie a defendant’s behavior or are likely to skew the defendant’s trial. One of the most controversial set of exceptions –often poorly articulated and inconsistently applied – involves criminal defendants with a mental disorder.

A series of special rules and procedures has evolved over the centuries, often without fanfare and even today with little systematic examination, that lawyers and judges apply to cases involving defendants with a mental disorder. This book provides an analysis of the key issues in this dynamic interplay between individuals with a mental disorder and the criminal justice system.

The volume identifies the various stages of criminal justice proceedings when the mental status of a defendant may be relevant, associated legal and policy issues, the history and evolution of these issues, and how they are currently resolved. To assist this exploration, the text also offers an overview of mental disorders, their relevance to criminal proceedings, how forensic mental health assessments are conducted and employed during these proceedings, and their application to competency and responsibility determinations. In sum, this book provides an important resource for students and scholars with an interest in mental health, law, and criminal justice.

The complicated relationship between defendants with mental health disorders and the criminal justice system

The American criminal justice system is based on the bedrock principles of fairness and justice for all. In striving to ensure that all criminal defendants are treated equally under the law, it endeavors to handle similar cases in similar fashion, attempting to apply rules and procedures even-handedly regardless of a defendant’s social class, race, ethnicity, or gender. Yet, the criminal justice system has also recognized exceptions when special circumstances underlie a defendant’s behavior or are likely to skew the defendant’s trial. One of the most controversial set of exceptions –often poorly articulated and inconsistently applied – involves criminal defendants with a mental disorder.

A series of special rules and procedures has evolved over the centuries, often without fanfare and even today with little systematic examination, that lawyers and judges apply to cases involving defendants with a mental disorder. This book provides an analysis of the key issues in this dynamic interplay between individuals with a mental disorder and the criminal justice system.

The volume identifies the various stages of criminal justice proceedings when the mental status of a defendant may be relevant, associated legal and policy issues, the history and evolution of these issues, and how they are currently resolved. To assist this exploration, the text also offers an overview of mental disorders, their relevance to criminal proceedings, how forensic mental health assessments are conducted and employed during these proceedings, and their application to competency and responsibility determinations. In sum, this book provides an important resource for students and scholars with an interest in mental health, law, and criminal justice.

Investigating cinema under the magnifying glass

From a look at classics like Psycho and Double Indemnity to recent films like Traffic and Thelma & Louise, Nicole Rafter and Michelle Brown show that criminological theory is produced not only in the academy, through scholarly research, but also in popular culture, through film. Criminology Goes to the Movies connects with ways in which students are already thinking criminologically through engagements with popular culture, encouraging them to use the everyday world as a vehicle for theorizing and understanding both crime and perceptions of criminality. The first work to bring a systematic and sophisticated criminological perspective to bear on crime films, Rafter and Brown’s book provides a fresh way of looking at cinema, using the concepts and analytical tools of criminology to uncover previously unnoticed meanings in film, ultimately making the study of criminological theory more engaging and effective for students while simultaneously demonstrating how theories of crime circulate in our mass-mediated worlds. The result is an illuminating new way of seeing movies and a delightful way of learning about criminology.

Investigating cinema under the magnifying glass

From a look at classics like Psycho and Double Indemnity to recent films like Traffic and Thelma & Louise, Nicole Rafter and Michelle Brown show that criminological theory is produced not only in the academy, through scholarly research, but also in popular culture, through film. Criminology Goes to the Movies connects with ways in which students are already thinking criminologically through engagements with popular culture, encouraging them to use the everyday world as a vehicle for theorizing and understanding both crime and perceptions of criminality. The first work to bring a systematic and sophisticated criminological perspective to bear on crime films, Rafter and Brown’s book provides a fresh way of looking at cinema, using the concepts and analytical tools of criminology to uncover previously unnoticed meanings in film, ultimately making the study of criminological theory more engaging and effective for students while simultaneously demonstrating how theories of crime circulate in our mass-mediated worlds. The result is an illuminating new way of seeing movies and a delightful way of learning about criminology.

Investigating cinema under the magnifying glass

From a look at classics like Psycho and Double Indemnity to recent films like Traffic and Thelma & Louise, Nicole Rafter and Michelle Brown show that criminological theory is produced not only in the academy, through scholarly research, but also in popular culture, through film. Criminology Goes to the Movies connects with ways in which students are already thinking criminologically through engagements with popular culture, encouraging them to use the everyday world as a vehicle for theorizing and understanding both crime and perceptions of criminality. The first work to bring a systematic and sophisticated criminological perspective to bear on crime films, Rafter and Brown’s book provides a fresh way of looking at cinema, using the concepts and analytical tools of criminology to uncover previously unnoticed meanings in film, ultimately making the study of criminological theory more engaging and effective for students while simultaneously demonstrating how theories of crime circulate in our mass-mediated worlds. The result is an illuminating new way of seeing movies and a delightful way of learning about criminology.

2024 Daniel E. Griffiths Research Award Winner

2024 Outstanding Academic Title, given by Choice Reviews

An expansive volume presenting crip approaches to writing, research, and publishing.

Crip Authorship: Disability as Method is an expansive volume presenting the multidisciplinary methods brought into being by disability studies and activism. Mara Mills and Rebecca Sanchez have convened leading scholars, artists, and activists to explore the ways disability shapes authorship, transforming cultural production, aesthetics, and media.

Starting from the premise that disability is plural and authorship spans composition, affect, and publishing, this collection of thirty-five compact essays asks how knowledge about disability is produced and shared in disability studies. Disability alters, generates, and dismantles method. Crip authorship takes place within and beyond the commodity version of authorship, in books, on social media, and in creative works that will never be published.

The chapters draw on the expertise of international researchers and activists in the humanities, social sciences, education, arts, and design. Across five sections—Writing, Research, Genre/Form, Publishing, Media—contributors consider disability as method for creative work: practices of writing and other forms of composition; research methods and collaboration; crip aesthetics; media formats and hacks; and the capital, access, legal standing, and care networks required to publish. Designed to be accessible and engaging for students, Crip Authorship also provides theoretically sophisticated arguments in a condensed form that will make the text a key resource for disability studies scholars.

Essays include Mel Y Chen on the temporality of writing with chronic illness; Remi Yergeau on perseveration; La Marr Jurelle Bruce on mad Black writing; Alison Kafer on the reliance of the manifesto genre on disability; Jaipreet Virdi on public scholarship for disability justice; Ellen Samuels on the importance of disability and illness to autotheory; Xuan Thuy Nguyen on decolonial research methods for disability studies; Emily Lim Rogers on virtual ethnography; Cameron Awkward-Rich on depression and trans reading methods; Robert McRuer on crip theory in translation; Kelsie Acton on plain language writing; and Georgina Kleege on description as an access and aesthetic technique.

2024 Daniel E. Griffiths Research Award Winner

2024 Outstanding Academic Title, given by Choice Reviews

An expansive volume presenting crip approaches to writing, research, and publishing.

Crip Authorship: Disability as Method is an expansive volume presenting the multidisciplinary methods brought into being by disability studies and activism. Mara Mills and Rebecca Sanchez have convened leading scholars, artists, and activists to explore the ways disability shapes authorship, transforming cultural production, aesthetics, and media.

Starting from the premise that disability is plural and authorship spans composition, affect, and publishing, this collection of thirty-five compact essays asks how knowledge about disability is produced and shared in disability studies. Disability alters, generates, and dismantles method. Crip authorship takes place within and beyond the commodity version of authorship, in books, on social media, and in creative works that will never be published.

The chapters draw on the expertise of international researchers and activists in the humanities, social sciences, education, arts, and design. Across five sections—Writing, Research, Genre/Form, Publishing, Media—contributors consider disability as method for creative work: practices of writing and other forms of composition; research methods and collaboration; crip aesthetics; media formats and hacks; and the capital, access, legal standing, and care networks required to publish. Designed to be accessible and engaging for students, Crip Authorship also provides theoretically sophisticated arguments in a condensed form that will make the text a key resource for disability studies scholars.

Essays include Mel Y Chen on the temporality of writing with chronic illness; Remi Yergeau on perseveration; La Marr Jurelle Bruce on mad Black writing; Alison Kafer on the reliance of the manifesto genre on disability; Jaipreet Virdi on public scholarship for disability justice; Ellen Samuels on the importance of disability and illness to autotheory; Xuan Thuy Nguyen on decolonial research methods for disability studies; Emily Lim Rogers on virtual ethnography; Cameron Awkward-Rich on depression and trans reading methods; Robert McRuer on crip theory in translation; Kelsie Acton on plain language writing; and Georgina Kleege on description as an access and aesthetic technique.

2024 Daniel E. Griffiths Research Award Winner

2024 Outstanding Academic Title, given by Choice Reviews

An expansive volume presenting crip approaches to writing, research, and publishing.

Crip Authorship: Disability as Method is an expansive volume presenting the multidisciplinary methods brought into being by disability studies and activism. Mara Mills and Rebecca Sanchez have convened leading scholars, artists, and activists to explore the ways disability shapes authorship, transforming cultural production, aesthetics, and media.

Starting from the premise that disability is plural and authorship spans composition, affect, and publishing, this collection of thirty-five compact essays asks how knowledge about disability is produced and shared in disability studies. Disability alters, generates, and dismantles method. Crip authorship takes place within and beyond the commodity version of authorship, in books, on social media, and in creative works that will never be published.

The chapters draw on the expertise of international researchers and activists in the humanities, social sciences, education, arts, and design. Across five sections—Writing, Research, Genre/Form, Publishing, Media—contributors consider disability as method for creative work: practices of writing and other forms of composition; research methods and collaboration; crip aesthetics; media formats and hacks; and the capital, access, legal standing, and care networks required to publish. Designed to be accessible and engaging for students, Crip Authorship also provides theoretically sophisticated arguments in a condensed form that will make the text a key resource for disability studies scholars.

Essays include Mel Y Chen on the temporality of writing with chronic illness; Remi Yergeau on perseveration; La Marr Jurelle Bruce on mad Black writing; Alison Kafer on the reliance of the manifesto genre on disability; Jaipreet Virdi on public scholarship for disability justice; Ellen Samuels on the importance of disability and illness to autotheory; Xuan Thuy Nguyen on decolonial research methods for disability studies; Emily Lim Rogers on virtual ethnography; Cameron Awkward-Rich on depression and trans reading methods; Robert McRuer on crip theory in translation; Kelsie Acton on plain language writing; and Georgina Kleege on description as an access and aesthetic technique.

2024 Daniel E. Griffiths Research Award Winner

2024 Outstanding Academic Title, given by Choice Reviews

An expansive volume presenting crip approaches to writing, research, and publishing.

Crip Authorship: Disability as Method is an expansive volume presenting the multidisciplinary methods brought into being by disability studies and activism. Mara Mills and Rebecca Sanchez have convened leading scholars, artists, and activists to explore the ways disability shapes authorship, transforming cultural production, aesthetics, and media.

Starting from the premise that disability is plural and authorship spans composition, affect, and publishing, this collection of thirty-five compact essays asks how knowledge about disability is produced and shared in disability studies. Disability alters, generates, and dismantles method. Crip authorship takes place within and beyond the commodity version of authorship, in books, on social media, and in creative works that will never be published.

The chapters draw on the expertise of international researchers and activists in the humanities, social sciences, education, arts, and design. Across five sections—Writing, Research, Genre/Form, Publishing, Media—contributors consider disability as method for creative work: practices of writing and other forms of composition; research methods and collaboration; crip aesthetics; media formats and hacks; and the capital, access, legal standing, and care networks required to publish. Designed to be accessible and engaging for students, Crip Authorship also provides theoretically sophisticated arguments in a condensed form that will make the text a key resource for disability studies scholars.

Essays include Mel Y Chen on the temporality of writing with chronic illness; Remi Yergeau on perseveration; La Marr Jurelle Bruce on mad Black writing; Alison Kafer on the reliance of the manifesto genre on disability; Jaipreet Virdi on public scholarship for disability justice; Ellen Samuels on the importance of disability and illness to autotheory; Xuan Thuy Nguyen on decolonial research methods for disability studies; Emily Lim Rogers on virtual ethnography; Cameron Awkward-Rich on depression and trans reading methods; Robert McRuer on crip theory in translation; Kelsie Acton on plain language writing; and Georgina Kleege on description as an access and aesthetic technique.

A bold and contemporary discourse of the intersection of disability studies and queer studies

Crip Theory attends to the contemporary cultures of disability and queerness that are coming out all over. Both disability studies and queer theory are centrally concerned with how bodies, pleasures, and identities are represented as “normal” or as abject, but Crip Theory is the first book to analyze thoroughly the ways in which these interdisciplinary fields inform each other.

Drawing on feminist theory, African American and Latino/a cultural theories, composition studies, film and television studies, and theories of globalization and counter-globalization, Robert McRuer articulates the central concerns of crip theory and considers how such a critical perspective might impact cultural and historical inquiry in the humanities. Crip Theory puts forward readings of the Sharon Kowalski story, the performance art of Bob Flanagan, and the journals of Gary Fisher, as well as critiques of the domesticated queerness and disability marketed by the Millennium March, or Bravo TV’s Queer Eye for the Straight Guy. McRuer examines how dominant and marginal bodily and sexual identities are composed, and considers the vibrant ways that disability and queerness unsettle and re-write those identities in order to insist that another world is possible.

A bold and contemporary discourse of the intersection of disability studies and queer studies

Crip Theory attends to the contemporary cultures of disability and queerness that are coming out all over. Both disability studies and queer theory are centrally concerned with how bodies, pleasures, and identities are represented as “normal” or as abject, but Crip Theory is the first book to analyze thoroughly the ways in which these interdisciplinary fields inform each other.

Drawing on feminist theory, African American and Latino/a cultural theories, composition studies, film and television studies, and theories of globalization and counter-globalization, Robert McRuer articulates the central concerns of crip theory and considers how such a critical perspective might impact cultural and historical inquiry in the humanities. Crip Theory puts forward readings of the Sharon Kowalski story, the performance art of Bob Flanagan, and the journals of Gary Fisher, as well as critiques of the domesticated queerness and disability marketed by the Millennium March, or Bravo TV’s Queer Eye for the Straight Guy. McRuer examines how dominant and marginal bodily and sexual identities are composed, and considers the vibrant ways that disability and queerness unsettle and re-write those identities in order to insist that another world is possible.

A bold and contemporary discourse of the intersection of disability studies and queer studies

Crip Theory attends to the contemporary cultures of disability and queerness that are coming out all over. Both disability studies and queer theory are centrally concerned with how bodies, pleasures, and identities are represented as “normal” or as abject, but Crip Theory is the first book to analyze thoroughly the ways in which these interdisciplinary fields inform each other.

Drawing on feminist theory, African American and Latino/a cultural theories, composition studies, film and television studies, and theories of globalization and counter-globalization, Robert McRuer articulates the central concerns of crip theory and considers how such a critical perspective might impact cultural and historical inquiry in the humanities. Crip Theory puts forward readings of the Sharon Kowalski story, the performance art of Bob Flanagan, and the journals of Gary Fisher, as well as critiques of the domesticated queerness and disability marketed by the Millennium March, or Bravo TV’s Queer Eye for the Straight Guy. McRuer examines how dominant and marginal bodily and sexual identities are composed, and considers the vibrant ways that disability and queerness unsettle and re-write those identities in order to insist that another world is possible.

Contends that disability is a central but misunderstood element of global austerity politics.

Broadly attentive to the political and economic shifts of the last several decades, Robert McRuer asks how disability activists, artists and social movements generate change and resist the dominant forms of globalization in an age of austerity, or “crip times.”

Throughout Crip Times, McRuer considers how transnational queer disability theory and culture—activism, blogs, art, photography, literature, and performance—provide important and generative sites for both contesting austerity politics and imagining alternatives. The book engages various cultural flashpoints, including the spectacle surrounding the London 2012 Olympic and Paralympic Games; the murder trial of South African Paralympian Oscar Pistorius; the photography of Brazilian artist Livia Radwanski which documents the gentrification of Colonia Roma in Mexico City; the defiance of Chilean students demanding a free and accessible education for all; the sculpture and performance of UK artist Liz Crow; and the problematic rhetoric of “aspiration” dependent upon both able-bodied and disabled figurations that emerged in Thatcher’s England.

Crip Times asserts that disabled people themselves are demanding that disability be central to our understanding of political economy and uneven development and suggests that, in some locations, their demand for disability justice is starting to register. Ultimately, McRuer argues that a politics of austerity will always generate the compulsion to fortify borders and to separate a narrowly defined “us” in need of protection from “them.”

Contends that disability is a central but misunderstood element of global austerity politics.

Broadly attentive to the political and economic shifts of the last several decades, Robert McRuer asks how disability activists, artists and social movements generate change and resist the dominant forms of globalization in an age of austerity, or “crip times.”

Throughout Crip Times, McRuer considers how transnational queer disability theory and culture—activism, blogs, art, photography, literature, and performance—provide important and generative sites for both contesting austerity politics and imagining alternatives. The book engages various cultural flashpoints, including the spectacle surrounding the London 2012 Olympic and Paralympic Games; the murder trial of South African Paralympian Oscar Pistorius; the photography of Brazilian artist Livia Radwanski which documents the gentrification of Colonia Roma in Mexico City; the defiance of Chilean students demanding a free and accessible education for all; the sculpture and performance of UK artist Liz Crow; and the problematic rhetoric of “aspiration” dependent upon both able-bodied and disabled figurations that emerged in Thatcher’s England.

Crip Times asserts that disabled people themselves are demanding that disability be central to our understanding of political economy and uneven development and suggests that, in some locations, their demand for disability justice is starting to register. Ultimately, McRuer argues that a politics of austerity will always generate the compulsion to fortify borders and to separate a narrowly defined “us” in need of protection from “them.”

Contends that disability is a central but misunderstood element of global austerity politics.

Broadly attentive to the political and economic shifts of the last several decades, Robert McRuer asks how disability activists, artists and social movements generate change and resist the dominant forms of globalization in an age of austerity, or “crip times.”

Throughout Crip Times, McRuer considers how transnational queer disability theory and culture—activism, blogs, art, photography, literature, and performance—provide important and generative sites for both contesting austerity politics and imagining alternatives. The book engages various cultural flashpoints, including the spectacle surrounding the London 2012 Olympic and Paralympic Games; the murder trial of South African Paralympian Oscar Pistorius; the photography of Brazilian artist Livia Radwanski which documents the gentrification of Colonia Roma in Mexico City; the defiance of Chilean students demanding a free and accessible education for all; the sculpture and performance of UK artist Liz Crow; and the problematic rhetoric of “aspiration” dependent upon both able-bodied and disabled figurations that emerged in Thatcher’s England.

Crip Times asserts that disabled people themselves are demanding that disability be central to our understanding of political economy and uneven development and suggests that, in some locations, their demand for disability justice is starting to register. Ultimately, McRuer argues that a politics of austerity will always generate the compulsion to fortify borders and to separate a narrowly defined “us” in need of protection from “them.”

Shines a light on the emerging field of law dedicated to responding to and resolving the crises of the twenty-first century

In an increasingly globalized world, a complex and interlocking web of nations, governments, non-state actors, laws, and rules affect human behavior. When crisis hits—whether that be extrajudicial detention, unprompted deportation, pandemics, or natural disasters—lawyers are increasingly among the first responders, equipped with the knowledge necessary to navigate the regulations of this ever more complex world.

Crisis Lawyering explores this phenomenon and attempts to identify and define what it means to engage in the practice of law in crisis situations. In so doing, it hopes to sketch out the contours of the emerging field of crisis lawyering. Contributors to this volume explore cases surrounding domestic violence; dealing with immigrants in detention and banned from travel; policing in Ferguson, Missouri; the kidnapping of journalists; and climate change, among other crises. Their analysis not only serves as guidance to lawyers in such situations, but also helps others who deal with crises understand those crises—and the role of lawyers in them—better so that they may respond to them more effectively, efficiently, collaboratively and creatively.

Crisis Lawyering shines a light on the emerging field of law dedicated to responding to and resolving the complex crises of the twenty-first century.

Shines a light on the emerging field of law dedicated to responding to and resolving the crises of the twenty-first century

In an increasingly globalized world, a complex and interlocking web of nations, governments, non-state actors, laws, and rules affect human behavior. When crisis hits—whether that be extrajudicial detention, unprompted deportation, pandemics, or natural disasters—lawyers are increasingly among the first responders, equipped with the knowledge necessary to navigate the regulations of this ever more complex world.

Crisis Lawyering explores this phenomenon and attempts to identify and define what it means to engage in the practice of law in crisis situations. In so doing, it hopes to sketch out the contours of the emerging field of crisis lawyering. Contributors to this volume explore cases surrounding domestic violence; dealing with immigrants in detention and banned from travel; policing in Ferguson, Missouri; the kidnapping of journalists; and climate change, among other crises. Their analysis not only serves as guidance to lawyers in such situations, but also helps others who deal with crises understand those crises—and the role of lawyers in them—better so that they may respond to them more effectively, efficiently, collaboratively and creatively.

Crisis Lawyering shines a light on the emerging field of law dedicated to responding to and resolving the complex crises of the twenty-first century.

Shines a light on the emerging field of law dedicated to responding to and resolving the crises of the twenty-first century

In an increasingly globalized world, a complex and interlocking web of nations, governments, non-state actors, laws, and rules affect human behavior. When crisis hits—whether that be extrajudicial detention, unprompted deportation, pandemics, or natural disasters—lawyers are increasingly among the first responders, equipped with the knowledge necessary to navigate the regulations of this ever more complex world.

Crisis Lawyering explores this phenomenon and attempts to identify and define what it means to engage in the practice of law in crisis situations. In so doing, it hopes to sketch out the contours of the emerging field of crisis lawyering. Contributors to this volume explore cases surrounding domestic violence; dealing with immigrants in detention and banned from travel; policing in Ferguson, Missouri; the kidnapping of journalists; and climate change, among other crises. Their analysis not only serves as guidance to lawyers in such situations, but also helps others who deal with crises understand those crises—and the role of lawyers in them—better so that they may respond to them more effectively, efficiently, collaboratively and creatively.

Crisis Lawyering shines a light on the emerging field of law dedicated to responding to and resolving the complex crises of the twenty-first century.

Starting in the early 1990s, journalists and scholars began responding to and trying to take account of new technologies and their impact on our lives. By the end of the decade, the full-fledged study of cyberculture had arrived. Today, there exists a large body of critical work on the subject, with cutting-edge studies probing beyond the mere existence of virtual communities and online identities to examine the social, cultural, and economic relationships that take place online.
Taking stock of the exciting work that is being done and positing what cyberculture’s future might look like, Critical Cyberculture Studies brings together a diverse and multidisciplinary group of scholars from around the world to assess the state of the field. Opening with a historical overview of the field by its most prominent spokesperson, it goes on to highlight the interests and methodologies of a mobile and creative field, providing a much-needed how-to guide for those new to cyberstudies. The final two sections open up to explore issues of race, class, and gender and digital media's ties to capital and commerce—from the failure of dot-coms to free software and the hacking movement.
This flagship book is a must-read for anyone interested in the dynamic and increasingly crucial study of cyberculture and new technologies.

Starting in the early 1990s, journalists and scholars began responding to and trying to take account of new technologies and their impact on our lives. By the end of the decade, the full-fledged study of cyberculture had arrived. Today, there exists a large body of critical work on the subject, with cutting-edge studies probing beyond the mere existence of virtual communities and online identities to examine the social, cultural, and economic relationships that take place online.
Taking stock of the exciting work that is being done and positing what cyberculture’s future might look like, Critical Cyberculture Studies brings together a diverse and multidisciplinary group of scholars from around the world to assess the state of the field. Opening with a historical overview of the field by its most prominent spokesperson, it goes on to highlight the interests and methodologies of a mobile and creative field, providing a much-needed how-to guide for those new to cyberstudies. The final two sections open up to explore issues of race, class, and gender and digital media's ties to capital and commerce—from the failure of dot-coms to free software and the hacking movement.
This flagship book is a must-read for anyone interested in the dynamic and increasingly crucial study of cyberculture and new technologies.

Starting in the early 1990s, journalists and scholars began responding to and trying to take account of new technologies and their impact on our lives. By the end of the decade, the full-fledged study of cyberculture had arrived. Today, there exists a large body of critical work on the subject, with cutting-edge studies probing beyond the mere existence of virtual communities and online identities to examine the social, cultural, and economic relationships that take place online.
Taking stock of the exciting work that is being done and positing what cyberculture’s future might look like, Critical Cyberculture Studies brings together a diverse and multidisciplinary group of scholars from around the world to assess the state of the field. Opening with a historical overview of the field by its most prominent spokesperson, it goes on to highlight the interests and methodologies of a mobile and creative field, providing a much-needed how-to guide for those new to cyberstudies. The final two sections open up to explore issues of race, class, and gender and digital media's ties to capital and commerce—from the failure of dot-coms to free software and the hacking movement.
This flagship book is a must-read for anyone interested in the dynamic and increasingly crucial study of cyberculture and new technologies.

**WINNER, D. Scott Palmer Prize for Best Edited Collection, given by the New England Council of Latin American Studies**

Introduces new approaches, theoretical trends, and understudied topics in Latinx Studies

This groundbreaking work offers a multidisciplinary, social-science oriented perspective on Latinx studies, including the social histories and contemporary lives of a diverse range of Latina and Latino populations. Editors Ana Y. Ramos-Zayas and Mérida M. Rúa have crafted an anthology that is unique in both form and content. The book combines previously published canonical pieces with original, cutting-edge works created for this volume. The sections of the text are arranged thematically as critical dialogues, each with a brief preface that provides context and a conceptual direction for the scholarly conversation that ensues.

The editors frame the volume around the “humanistic social sciences,” using the term to highlight the historical and social contexts under which expressive cultural forms and archival records are created.

Critical Dialogues in Latinx Studies masterfully sheds light on the diversity and complexity of the everyday lives of Latinx populations, the political economic structures that shape enduring racialization and cultural stereotyping, and the continuing efforts to carve out new lives as diasporic, transnational, global, and colonial subjects.

**WINNER, D. Scott Palmer Prize for Best Edited Collection, given by the New England Council of Latin American Studies**

Introduces new approaches, theoretical trends, and understudied topics in Latinx Studies

This groundbreaking work offers a multidisciplinary, social-science oriented perspective on Latinx studies, including the social histories and contemporary lives of a diverse range of Latina and Latino populations. Editors Ana Y. Ramos-Zayas and Mérida M. Rúa have crafted an anthology that is unique in both form and content. The book combines previously published canonical pieces with original, cutting-edge works created for this volume. The sections of the text are arranged thematically as critical dialogues, each with a brief preface that provides context and a conceptual direction for the scholarly conversation that ensues.

The editors frame the volume around the “humanistic social sciences,” using the term to highlight the historical and social contexts under which expressive cultural forms and archival records are created.

Critical Dialogues in Latinx Studies masterfully sheds light on the diversity and complexity of the everyday lives of Latinx populations, the political economic structures that shape enduring racialization and cultural stereotyping, and the continuing efforts to carve out new lives as diasporic, transnational, global, and colonial subjects.

**WINNER, D. Scott Palmer Prize for Best Edited Collection, given by the New England Council of Latin American Studies**

Introduces new approaches, theoretical trends, and understudied topics in Latinx Studies

This groundbreaking work offers a multidisciplinary, social-science oriented perspective on Latinx studies, including the social histories and contemporary lives of a diverse range of Latina and Latino populations. Editors Ana Y. Ramos-Zayas and Mérida M. Rúa have crafted an anthology that is unique in both form and content. The book combines previously published canonical pieces with original, cutting-edge works created for this volume. The sections of the text are arranged thematically as critical dialogues, each with a brief preface that provides context and a conceptual direction for the scholarly conversation that ensues.

The editors frame the volume around the “humanistic social sciences,” using the term to highlight the historical and social contexts under which expressive cultural forms and archival records are created.

Critical Dialogues in Latinx Studies masterfully sheds light on the diversity and complexity of the everyday lives of Latinx populations, the political economic structures that shape enduring racialization and cultural stereotyping, and the continuing efforts to carve out new lives as diasporic, transnational, global, and colonial subjects.

Ways of knowing against colonialism

In the 1990s, the North American Free Trade Agreement (NAFTA), the Violence Against Women Act (VAWA), and US and Canadian boarding/residential schools’ practices led to an increase in cases of missing and murdered Indigenous women from the US-Mexico border, Guatemala, Canada, and the United States. Indigenous artists aiming to recontextualize these state-sponsored instances of violence created works grappling with time, ancestry, and relationality. Lilian Mengesha interprets the works of these artists within a decolonial context through an aesthetic frame she calls “critical dreaming.”

Using methods from performance studies, gender studies, and Indigenous studies, Critical Dreaming considers artists as expert world makers. Mengesha examines selected works by Lara Kramer, Regina José Galindo, Rebecca Belmore, Monique Mojica, LeAnne Howe, and Sky Hopinka, demonstrating how each materializes alternative modes of experiencing time, making kin, and communing with land.

Mengesha argues that critical dreaming is a performance that advances material and embodied practices of survival, both individual and collective, to challenge colonial and nationalist discourses invested in a teleology of disappeared people, history, and land. Her writing provides valuable insight into the intergenerational effects of settler colonialism on Indigenous communities throughout the Americas, looking at how artists build worlds anew through Indigenous ways of knowing and making inspired from the past and repurposed for the present.

Critical Dreaming offers a resonant framework for understanding Indigenous embodied ways of knowing that work against colonial attempts to discredit or disappear forms of imagination, relationality, and resistance connecting disparate Indigenous communities. This powerful book urges readers to recognize how Indigenous artists contribute to ongoing struggles against multiple forms of colonialism.

Ways of knowing against colonialism

In the 1990s, the North American Free Trade Agreement (NAFTA), the Violence Against Women Act (VAWA), and US and Canadian boarding/residential schools’ practices led to an increase in cases of missing and murdered Indigenous women from the US-Mexico border, Guatemala, Canada, and the United States. Indigenous artists aiming to recontextualize these state-sponsored instances of violence created works grappling with time, ancestry, and relationality. Lilian Mengesha interprets the works of these artists within a decolonial context through an aesthetic frame she calls “critical dreaming.”

Using methods from performance studies, gender studies, and Indigenous studies, Critical Dreaming considers artists as expert world makers. Mengesha examines selected works by Lara Kramer, Regina José Galindo, Rebecca Belmore, Monique Mojica, LeAnne Howe, and Sky Hopinka, demonstrating how each materializes alternative modes of experiencing time, making kin, and communing with land.

Mengesha argues that critical dreaming is a performance that advances material and embodied practices of survival, both individual and collective, to challenge colonial and nationalist discourses invested in a teleology of disappeared people, history, and land. Her writing provides valuable insight into the intergenerational effects of settler colonialism on Indigenous communities throughout the Americas, looking at how artists build worlds anew through Indigenous ways of knowing and making inspired from the past and repurposed for the present.

Critical Dreaming offers a resonant framework for understanding Indigenous embodied ways of knowing that work against colonial attempts to discredit or disappear forms of imagination, relationality, and resistance connecting disparate Indigenous communities. This powerful book urges readers to recognize how Indigenous artists contribute to ongoing struggles against multiple forms of colonialism.

Ways of knowing against colonialism

In the 1990s, the North American Free Trade Agreement (NAFTA), the Violence Against Women Act (VAWA), and US and Canadian boarding/residential schools’ practices led to an increase in cases of missing and murdered Indigenous women from the US-Mexico border, Guatemala, Canada, and the United States. Indigenous artists aiming to recontextualize these state-sponsored instances of violence created works grappling with time, ancestry, and relationality. Lilian Mengesha interprets the works of these artists within a decolonial context through an aesthetic frame she calls “critical dreaming.”

Using methods from performance studies, gender studies, and Indigenous studies, Critical Dreaming considers artists as expert world makers. Mengesha examines selected works by Lara Kramer, Regina José Galindo, Rebecca Belmore, Monique Mojica, LeAnne Howe, and Sky Hopinka, demonstrating how each materializes alternative modes of experiencing time, making kin, and communing with land.

Mengesha argues that critical dreaming is a performance that advances material and embodied practices of survival, both individual and collective, to challenge colonial and nationalist discourses invested in a teleology of disappeared people, history, and land. Her writing provides valuable insight into the intergenerational effects of settler colonialism on Indigenous communities throughout the Americas, looking at how artists build worlds anew through Indigenous ways of knowing and making inspired from the past and repurposed for the present.

Critical Dreaming offers a resonant framework for understanding Indigenous embodied ways of knowing that work against colonial attempts to discredit or disappear forms of imagination, relationality, and resistance connecting disparate Indigenous communities. This powerful book urges readers to recognize how Indigenous artists contribute to ongoing struggles against multiple forms of colonialism.

Critical Essays showcases a critic whom Ezra Pound called in 1914, "the best critic in England, one might say the only critic of any importance." This volume provides access to the best of Ford Madox Ford's essays. The essays are arranged chronologically and span nearly forty years—covering most of Ford's writing life. Saunders and Stang have included essays, literary portraits, and book reviews that Ford published in the English Review, The Tribune, The Bystander, The Outlook, Piccadilly Review, the Transatlantic Review, and the Chicago Tribune Sunday Magazine, among other places.

A classic anthology of writings on the legal status and lived experiences of women of color

Now in its second edition, the acclaimed anthology Critical Race Feminism presents over 40 readings on the legal status of women of color by leading authors and scholars such as Anita Hill, Lani Guinier, Kathleen Neal Cleaver, and Angela Harris. The collection gives voice to Black, Latina, Asian, Native American, and Arab women, and explores both straight and queer perspectives. Both a forceful statement and a platform for change, the anthology addresses an ambitious range of subjects, from life in the workplace and motherhood to sexual harassment, domestic violence, and other criminal justice issues. Extending beyond national borders, the volume tackles global issues such as the rights of Muslim women, immigration, multiculturalism, and global capitalism.

Revealing how the historical experiences and contemporary realities of women of color are profoundly influenced by a legacy of racism and sexism that is neither linear nor logical, Critical Race Feminism serves up a panoramic perspective, illustrating how women of color can find strength in the face of oppression.

The beating of Rodney King, the killing of Amadou Diallo, and the LAPD Rampart Scandal: these events have been interpreted by the courts, the media and the public in dramatically conflicting ways. Critical Race Narratives examines what is at stake in these conflicts and, in so doing, rethinks racial strife in the United States as a highly-charged struggle over different methods of reading and writing.
Focusing in particular on the practice and theorization of narrative strategies, Gutiérrez-Jones engages many of the most influential texts in the recent race debatesincluding The Bell Curve, America in Black and White, The Alchemy of Race and Rights, and The Mismeasure of Man. In the process, Critical Race Narratives pursues key questions posed by the texts as they work within, or against, disciplinary expectations: can critical engagements with narrative enable a more democratic dialogue regarding race? what promise does such experimentation hold for working through the traumatic legacy of racism in the United States? Throughout, Critical Race Narratives initiates a timely dialogue between race-focused narrative experiment in scholarly writing and similar work in literary texts and popular culture.

The beating of Rodney King, the killing of Amadou Diallo, and the LAPD Rampart Scandal: these events have been interpreted by the courts, the media and the public in dramatically conflicting ways. Critical Race Narratives examines what is at stake in these conflicts and, in so doing, rethinks racial strife in the United States as a highly-charged struggle over different methods of reading and writing.
Focusing in particular on the practice and theorization of narrative strategies, Gutiérrez-Jones engages many of the most influential texts in the recent race debatesincluding The Bell Curve, America in Black and White, The Alchemy of Race and Rights, and The Mismeasure of Man. In the process, Critical Race Narratives pursues key questions posed by the texts as they work within, or against, disciplinary expectations: can critical engagements with narrative enable a more democratic dialogue regarding race? what promise does such experimentation hold for working through the traumatic legacy of racism in the United States? Throughout, Critical Race Narratives initiates a timely dialogue between race-focused narrative experiment in scholarly writing and similar work in literary texts and popular culture.

The beating of Rodney King, the killing of Amadou Diallo, and the LAPD Rampart Scandal: these events have been interpreted by the courts, the media and the public in dramatically conflicting ways. Critical Race Narratives examines what is at stake in these conflicts and, in so doing, rethinks racial strife in the United States as a highly-charged struggle over different methods of reading and writing.
Focusing in particular on the practice and theorization of narrative strategies, Gutiérrez-Jones engages many of the most influential texts in the recent race debatesincluding The Bell Curve, America in Black and White, The Alchemy of Race and Rights, and The Mismeasure of Man. In the process, Critical Race Narratives pursues key questions posed by the texts as they work within, or against, disciplinary expectations: can critical engagements with narrative enable a more democratic dialogue regarding race? what promise does such experimentation hold for working through the traumatic legacy of racism in the United States? Throughout, Critical Race Narratives initiates a timely dialogue between race-focused narrative experiment in scholarly writing and similar work in literary texts and popular culture.

The beating of Rodney King, the killing of Amadou Diallo, and the LAPD Rampart Scandal: these events have been interpreted by the courts, the media and the public in dramatically conflicting ways. Critical Race Narratives examines what is at stake in these conflicts and, in so doing, rethinks racial strife in the United States as a highly-charged struggle over different methods of reading and writing.
Focusing in particular on the practice and theorization of narrative strategies, Gutiérrez-Jones engages many of the most influential texts in the recent race debatesincluding The Bell Curve, America in Black and White, The Alchemy of Race and Rights, and The Mismeasure of Man. In the process, Critical Race Narratives pursues key questions posed by the texts as they work within, or against, disciplinary expectations: can critical engagements with narrative enable a more democratic dialogue regarding race? what promise does such experimentation hold for working through the traumatic legacy of racism in the United States? Throughout, Critical Race Narratives initiates a timely dialogue between race-focused narrative experiment in scholarly writing and similar work in literary texts and popular culture.

A new edition of a seminal text in Critical Race Theory

Since the publication of the third edition of Critical Race Theory: An Introduction in 2017, the United States has experienced a dramatic increase in racially motivated mass shootings and a pandemic that revealed how deeply entrenched medical racism is and how public disasters disproportionately affect minority communities. We have also seen a sharp backlash against Critical Race Theory, and a president who deemed racism a thing of the past while he fanned the flames of racial intolerance and promoted nativist sentiments among his followers. Now more than ever, the racial disparities in all aspects of
public life are glaringly obvious.

Taking note of all these developments, this fourth edition covers a range of new topics and events and addresses the rise of a fierce wave of criticism from right-wing websites, think tanks, and foundations, some of which insist that America is now colorblind and has little use for racial analysis and study. Award-winning authors Richard Delgado and Jean Stefancic also address the rise in legislative efforts to curtail K–12 teaching of racial history.

Critical Race Theory, Fourth Edition, is essential for understanding developments in this burgeoning field, which has spread to other disciplines and countries. The new edition also covers the ways in which other societies and disciplines adapt its teachings and, for readers wanting to advance a progressive race agenda, includes new readings and questions for discussion aimed at outlining practical steps to achieve this objective.

A new edition of a seminal text in Critical Race Theory

Since the publication of the third edition of Critical Race Theory: An Introduction in 2017, the United States has experienced a dramatic increase in racially motivated mass shootings and a pandemic that revealed how deeply entrenched medical racism is and how public disasters disproportionately affect minority communities. We have also seen a sharp backlash against Critical Race Theory, and a president who deemed racism a thing of the past while he fanned the flames of racial intolerance and promoted nativist sentiments among his followers. Now more than ever, the racial disparities in all aspects of
public life are glaringly obvious.

Taking note of all these developments, this fourth edition covers a range of new topics and events and addresses the rise of a fierce wave of criticism from right-wing websites, think tanks, and foundations, some of which insist that America is now colorblind and has little use for racial analysis and study. Award-winning authors Richard Delgado and Jean Stefancic also address the rise in legislative efforts to curtail K–12 teaching of racial history.

Critical Race Theory, Fourth Edition, is essential for understanding developments in this burgeoning field, which has spread to other disciplines and countries. The new edition also covers the ways in which other societies and disciplines adapt its teachings and, for readers wanting to advance a progressive race agenda, includes new readings and questions for discussion aimed at outlining practical steps to achieve this objective.

A new edition of a seminal text in Critical Race Theory

Since the publication of the third edition of Critical Race Theory: An Introduction in 2017, the United States has experienced a dramatic increase in racially motivated mass shootings and a pandemic that revealed how deeply entrenched medical racism is and how public disasters disproportionately affect minority communities. We have also seen a sharp backlash against Critical Race Theory, and a president who deemed racism a thing of the past while he fanned the flames of racial intolerance and promoted nativist sentiments among his followers. Now more than ever, the racial disparities in all aspects of
public life are glaringly obvious.

Taking note of all these developments, this fourth edition covers a range of new topics and events and addresses the rise of a fierce wave of criticism from right-wing websites, think tanks, and foundations, some of which insist that America is now colorblind and has little use for racial analysis and study. Award-winning authors Richard Delgado and Jean Stefancic also address the rise in legislative efforts to curtail K–12 teaching of racial history.

Critical Race Theory, Fourth Edition, is essential for understanding developments in this burgeoning field, which has spread to other disciplines and countries. The new edition also covers the ways in which other societies and disciplines adapt its teachings and, for readers wanting to advance a progressive race agenda, includes new readings and questions for discussion aimed at outlining practical steps to achieve this objective.

According to many pundits and cultural commentators, the U.S. is enjoying a post-racial age, thanks in part to Barack Obama's rise to the presidency. This high gloss of optimism fails, however, to recognize that racism remains ever present and alive, spread by channels of media and circulated even in colloquial speech in ways that can be difficult to analyze.
In this groundbreaking collection edited by Michael G. Lacy and Kent A. Ono, scholars seek to examine this complicated and contradictory terrain while moving the field of communication in a more intellectually productive direction. An outstanding group of contributors from a range of academic backgrounds challenges traditional definitions and applications of rhetoric. From the troubling media representations of black looters after Hurricane Katrina and rhetoric in news coverage about the Columbine and Virginia Tech massacres to cinematic representations of race in Crash, Blood Diamond, and Quentin Tarantino’s films, these essays reveal complex intersections and constructions of racialized bodies and discourses, critiquing race in innovative and exciting ways. Critical Rhetorics of Race seeks not only to understand and navigate a world fraught with racism, but to change it, one word at a time.

According to many pundits and cultural commentators, the U.S. is enjoying a post-racial age, thanks in part to Barack Obama's rise to the presidency. This high gloss of optimism fails, however, to recognize that racism remains ever present and alive, spread by channels of media and circulated even in colloquial speech in ways that can be difficult to analyze.
In this groundbreaking collection edited by Michael G. Lacy and Kent A. Ono, scholars seek to examine this complicated and contradictory terrain while moving the field of communication in a more intellectually productive direction. An outstanding group of contributors from a range of academic backgrounds challenges traditional definitions and applications of rhetoric. From the troubling media representations of black looters after Hurricane Katrina and rhetoric in news coverage about the Columbine and Virginia Tech massacres to cinematic representations of race in Crash, Blood Diamond, and Quentin Tarantino’s films, these essays reveal complex intersections and constructions of racialized bodies and discourses, critiquing race in innovative and exciting ways. Critical Rhetorics of Race seeks not only to understand and navigate a world fraught with racism, but to change it, one word at a time.

According to many pundits and cultural commentators, the U.S. is enjoying a post-racial age, thanks in part to Barack Obama's rise to the presidency. This high gloss of optimism fails, however, to recognize that racism remains ever present and alive, spread by channels of media and circulated even in colloquial speech in ways that can be difficult to analyze.
In this groundbreaking collection edited by Michael G. Lacy and Kent A. Ono, scholars seek to examine this complicated and contradictory terrain while moving the field of communication in a more intellectually productive direction. An outstanding group of contributors from a range of academic backgrounds challenges traditional definitions and applications of rhetoric. From the troubling media representations of black looters after Hurricane Katrina and rhetoric in news coverage about the Columbine and Virginia Tech massacres to cinematic representations of race in Crash, Blood Diamond, and Quentin Tarantino’s films, these essays reveal complex intersections and constructions of racialized bodies and discourses, critiquing race in innovative and exciting ways. Critical Rhetorics of Race seeks not only to understand and navigate a world fraught with racism, but to change it, one word at a time.

According to many pundits and cultural commentators, the U.S. is enjoying a post-racial age, thanks in part to Barack Obama's rise to the presidency. This high gloss of optimism fails, however, to recognize that racism remains ever present and alive, spread by channels of media and circulated even in colloquial speech in ways that can be difficult to analyze.
In this groundbreaking collection edited by Michael G. Lacy and Kent A. Ono, scholars seek to examine this complicated and contradictory terrain while moving the field of communication in a more intellectually productive direction. An outstanding group of contributors from a range of academic backgrounds challenges traditional definitions and applications of rhetoric. From the troubling media representations of black looters after Hurricane Katrina and rhetoric in news coverage about the Columbine and Virginia Tech massacres to cinematic representations of race in Crash, Blood Diamond, and Quentin Tarantino’s films, these essays reveal complex intersections and constructions of racialized bodies and discourses, critiquing race in innovative and exciting ways. Critical Rhetorics of Race seeks not only to understand and navigate a world fraught with racism, but to change it, one word at a time.

Featuring interviews with nineteen leading U.S. literary and cultural critics, Critics at Work offers a unique picture of recent developments in literary studies, critical theory, American studies, gay and lesbian studies, philosophy, and other fields. It provides informative, timely, and often provocative commentary on a broad range of topics, from the state of theory today and the prospects for cultural studies to the role of public intellectuals and the place of political activism. These conversations also elicit illuminating and sometimes surprising insights into the personal and professional lives of its contributors.
Individually, each interview gives a significant overview of a critic's work. Taken together, they provide an assessment of literary and cultural studies from the establishment of theory and its diffusion, in recent years, into various cultural and identity studies. In addition to the interviews themselves, the volume includes useful short introductions to each critic's work and biography.
Interviewees: K. Anthony Appiah, Lauren Berlant, Cathy Davidson, Morris Dickstein, Stanley Fish, Barbara Foley, Nancy Fraser, Gerald Graff, Alice Kaplan, E. Ann Kaplan, Robin D.G. Kelley, Paul Lauter, Louis Menand, Richard Ohmann, Andrew Ross, Eve Kosofsky Sedgwick, Jane Tompkins, Marianna Torgovnick, and Alan Wald.

Featuring interviews with nineteen leading U.S. literary and cultural critics, Critics at Work offers a unique picture of recent developments in literary studies, critical theory, American studies, gay and lesbian studies, philosophy, and other fields. It provides informative, timely, and often provocative commentary on a broad range of topics, from the state of theory today and the prospects for cultural studies to the role of public intellectuals and the place of political activism. These conversations also elicit illuminating and sometimes surprising insights into the personal and professional lives of its contributors.
Individually, each interview gives a significant overview of a critic's work. Taken together, they provide an assessment of literary and cultural studies from the establishment of theory and its diffusion, in recent years, into various cultural and identity studies. In addition to the interviews themselves, the volume includes useful short introductions to each critic's work and biography.
Interviewees: K. Anthony Appiah, Lauren Berlant, Cathy Davidson, Morris Dickstein, Stanley Fish, Barbara Foley, Nancy Fraser, Gerald Graff, Alice Kaplan, E. Ann Kaplan, Robin D.G. Kelley, Paul Lauter, Louis Menand, Richard Ohmann, Andrew Ross, Eve Kosofsky Sedgwick, Jane Tompkins, Marianna Torgovnick, and Alan Wald.

Featuring interviews with nineteen leading U.S. literary and cultural critics, Critics at Work offers a unique picture of recent developments in literary studies, critical theory, American studies, gay and lesbian studies, philosophy, and other fields. It provides informative, timely, and often provocative commentary on a broad range of topics, from the state of theory today and the prospects for cultural studies to the role of public intellectuals and the place of political activism. These conversations also elicit illuminating and sometimes surprising insights into the personal and professional lives of its contributors.
Individually, each interview gives a significant overview of a critic's work. Taken together, they provide an assessment of literary and cultural studies from the establishment of theory and its diffusion, in recent years, into various cultural and identity studies. In addition to the interviews themselves, the volume includes useful short introductions to each critic's work and biography.
Interviewees: K. Anthony Appiah, Lauren Berlant, Cathy Davidson, Morris Dickstein, Stanley Fish, Barbara Foley, Nancy Fraser, Gerald Graff, Alice Kaplan, E. Ann Kaplan, Robin D.G. Kelley, Paul Lauter, Louis Menand, Richard Ohmann, Andrew Ross, Eve Kosofsky Sedgwick, Jane Tompkins, Marianna Torgovnick, and Alan Wald.

In seventeenth-century North America, communities on eastern Long Island were an integral part of the tumultuous and dynamic New England region and the larger Atlantic American world. They were created and modified by ideas and traditions that were inherent to life in Atlantic America and were not simply imported from Europe or established solely by settlers and imposed on native peoples.
In Crossing the Sound Faren R. Siminoff skillfully weaves new data with sophisticated theoretical analysis to demonstrate that the development of eastern Long Island was based more on complex interactions between settlers and native peoples than on clashes between the two groups. English and Dutch colonists did not merely transport traditional systems of land ownership, political organizations, and control of economic resources to the Northeast. Rather, both settlers and natives underwent a process of negotiation, resulting in a hybrid society that adapted and reworked new and old patterns of life, highlighting the lasting influence of native communities on the emerging American identity.
This compelling case study adds new layers to the history of the Atlantic world: it becomes a story without a dominant voice or community at its core, demonstrating that neither monolithic groups nor static interests prevailed in the region. Crossing the Sound offers a fresh interpretation of colonial relationships tracing social, cultural, and political exchanges between groups.

In seventeenth-century North America, communities on eastern Long Island were an integral part of the tumultuous and dynamic New England region and the larger Atlantic American world. They were created and modified by ideas and traditions that were inherent to life in Atlantic America and were not simply imported from Europe or established solely by settlers and imposed on native peoples.
In Crossing the Sound Faren R. Siminoff skillfully weaves new data with sophisticated theoretical analysis to demonstrate that the development of eastern Long Island was based more on complex interactions between settlers and native peoples than on clashes between the two groups. English and Dutch colonists did not merely transport traditional systems of land ownership, political organizations, and control of economic resources to the Northeast. Rather, both settlers and natives underwent a process of negotiation, resulting in a hybrid society that adapted and reworked new and old patterns of life, highlighting the lasting influence of native communities on the emerging American identity.
This compelling case study adds new layers to the history of the Atlantic world: it becomes a story without a dominant voice or community at its core, demonstrating that neither monolithic groups nor static interests prevailed in the region. Crossing the Sound offers a fresh interpretation of colonial relationships tracing social, cultural, and political exchanges between groups.

Beginning in the late 1970s and early 1980s,
significant numbers of Haitian immigrants began to arrive and settle in Miami.
Overcoming some of the most foreboding obstacles ever to face immigrants in
America, they, their children, and now their grandchildren, as well as more
recently arriving immigrants from Haiti, have diversified socioeconomically.
Together, they have made South Florida home to the largest population of
native-born Haitians and diasporic Haitians outside of the Caribbean and one of
the most significant Caribbean immigrant communities in the world. Religion has
played a central role in making all of this happen.



Crossing the Water and Keeping the Faith is a historical and
ethnographic study of Haitian religion in immigrant communities, based on
fieldwork in both Miami and Haiti, as well as extensive archival research.
Where many studies of Haitian religion limit themselves to one faith, Rey and
Stepick explore Catholicism, Protestantism, and Vodou in conversation with one
another, suggesting that despite the differences between these practices, the
three faiths ultimately create a sense of unity, fulfillment, and self-worth in
Haitian communities. This meticulously researched and vibrantly written book
contributes to the growing body of literature on religion among new immigrants,
as well as providing a rich exploration of Haitian faith communities.

Beginning in the late 1970s and early 1980s,
significant numbers of Haitian immigrants began to arrive and settle in Miami.
Overcoming some of the most foreboding obstacles ever to face immigrants in
America, they, their children, and now their grandchildren, as well as more
recently arriving immigrants from Haiti, have diversified socioeconomically.
Together, they have made South Florida home to the largest population of
native-born Haitians and diasporic Haitians outside of the Caribbean and one of
the most significant Caribbean immigrant communities in the world. Religion has
played a central role in making all of this happen.



Crossing the Water and Keeping the Faith is a historical and
ethnographic study of Haitian religion in immigrant communities, based on
fieldwork in both Miami and Haiti, as well as extensive archival research.
Where many studies of Haitian religion limit themselves to one faith, Rey and
Stepick explore Catholicism, Protestantism, and Vodou in conversation with one
another, suggesting that despite the differences between these practices, the
three faiths ultimately create a sense of unity, fulfillment, and self-worth in
Haitian communities. This meticulously researched and vibrantly written book
contributes to the growing body of literature on religion among new immigrants,
as well as providing a rich exploration of Haitian faith communities.

Beginning in the late 1970s and early 1980s,
significant numbers of Haitian immigrants began to arrive and settle in Miami.
Overcoming some of the most foreboding obstacles ever to face immigrants in
America, they, their children, and now their grandchildren, as well as more
recently arriving immigrants from Haiti, have diversified socioeconomically.
Together, they have made South Florida home to the largest population of
native-born Haitians and diasporic Haitians outside of the Caribbean and one of
the most significant Caribbean immigrant communities in the world. Religion has
played a central role in making all of this happen.



Crossing the Water and Keeping the Faith is a historical and
ethnographic study of Haitian religion in immigrant communities, based on
fieldwork in both Miami and Haiti, as well as extensive archival research.
Where many studies of Haitian religion limit themselves to one faith, Rey and
Stepick explore Catholicism, Protestantism, and Vodou in conversation with one
another, suggesting that despite the differences between these practices, the
three faiths ultimately create a sense of unity, fulfillment, and self-worth in
Haitian communities. This meticulously researched and vibrantly written book
contributes to the growing body of literature on religion among new immigrants,
as well as providing a rich exploration of Haitian faith communities.

"A provocative treatment of political martyrdom in the United States . . . . a well-crafted, thought-provoking book."
—The Lincoln Herald
"In the U.S., dead politicians and controversial reformers have frequently been called martyrs to a cause. But achieving martyrdom is more elusive than simply being jailed, murdered, or rejected in fighting for what one believes. This is the thrust of Naveh's argument, which traces the martyr motif in American political culture since the 1830s."
—Choice
"Drawing upon eulogies and obituaries, sermons and biographies, poems and public memorials, Crown of Thorns is most valuable in providing a taxonomy that helps suggest why some public figures sink into oblivion while a very few others belong to the ages."
—The Journal of American History
"Naveh makes admirable use of a wide range of primary sources, particularly those drawn from popular rather than elite culture . . . . well written . . . Crown of Thorns should be of some interest to all who are interested in the dynamics of cultural inertia and social change in the United States."
—History

"A provocative treatment of political martyrdom in the United States . . . . a well-crafted, thought-provoking book."
—The Lincoln Herald
"In the U.S., dead politicians and controversial reformers have frequently been called martyrs to a cause. But achieving martyrdom is more elusive than simply being jailed, murdered, or rejected in fighting for what one believes. This is the thrust of Naveh's argument, which traces the martyr motif in American political culture since the 1830s."
—Choice
"Drawing upon eulogies and obituaries, sermons and biographies, poems and public memorials, Crown of Thorns is most valuable in providing a taxonomy that helps suggest why some public figures sink into oblivion while a very few others belong to the ages."
—The Journal of American History
"Naveh makes admirable use of a wide range of primary sources, particularly those drawn from popular rather than elite culture . . . . well written . . . Crown of Thorns should be of some interest to all who are interested in the dynamics of cultural inertia and social change in the United States."
—History

Corrects the record on how Yiddish media portrayed African Americans

Understandings of Black-Jewish relations have been notable for the near consensus among scholars that the Yiddish press repeatedly condemned discrimination and prejudice against African Americans, and highlighted the similarities between the situation of Jews in Eastern Europe and Blacks in America. This book argues that this view covers just a sliver of the varied representations of Black women and men. East European Jewish culture during the immigration era was not uniformly supportive of Black Americans as those interpretations suggest.

Crude Creatures draws on a mixture of previously unexplored Yiddish press, theatre, and literature from Eastern Europe and the United States through 1929 to examine how Black Africans and African Americans were depicted. It charts a significant gap between the sincere condemnation of lynching, violence against Black Americans, and racial segregation on the one hand, and the ways in which Jewish authors, newspapers, playwrights, actors, and theater managers actually represented Black people on the other. While most East European Jews would not have seen a Black person before their arrival in America, they had already acquired preconceived imagery of Black people through rabbinic exegesis, pious advice, travel narratives (either original or adapted from other languages), folklore, scientific explorations, pulp literature, press reports, political rhetoric, and educational materials. Thus, Yiddish writers commonly described Black people as cannibals, oversexed, prone to violence, childlike, or just happy-go-lucky people.

Crude Creatures provides a critical revision, correcting the accepted rosy narrative of Black women and men’s portrayals in Yiddish culture, and highlighting what we can learn from these representations about how immigrant groups integrated their own cultures into American racial hierarchy and vocabulary.

Corrects the record on how Yiddish media portrayed African Americans

Understandings of Black-Jewish relations have been notable for the near consensus among scholars that the Yiddish press repeatedly condemned discrimination and prejudice against African Americans, and highlighted the similarities between the situation of Jews in Eastern Europe and Blacks in America. This book argues that this view covers just a sliver of the varied representations of Black women and men. East European Jewish culture during the immigration era was not uniformly supportive of Black Americans as those interpretations suggest.

Crude Creatures draws on a mixture of previously unexplored Yiddish press, theatre, and literature from Eastern Europe and the United States through 1929 to examine how Black Africans and African Americans were depicted. It charts a significant gap between the sincere condemnation of lynching, violence against Black Americans, and racial segregation on the one hand, and the ways in which Jewish authors, newspapers, playwrights, actors, and theater managers actually represented Black people on the other. While most East European Jews would not have seen a Black person before their arrival in America, they had already acquired preconceived imagery of Black people through rabbinic exegesis, pious advice, travel narratives (either original or adapted from other languages), folklore, scientific explorations, pulp literature, press reports, political rhetoric, and educational materials. Thus, Yiddish writers commonly described Black people as cannibals, oversexed, prone to violence, childlike, or just happy-go-lucky people.

Crude Creatures provides a critical revision, correcting the accepted rosy narrative of Black women and men’s portrayals in Yiddish culture, and highlighting what we can learn from these representations about how immigrant groups integrated their own cultures into American racial hierarchy and vocabulary.

A 10th anniversary edition of this field defining work—an intellectual inspiration for a generation of LGBTQ scholars

Cruising Utopia arrived in 2009 to insist that queerness must be reimagined as a futurity-bound phenomenon, an insistence on the potentiality of another world that would crack open the pragmatic present. Part manifesto, part love-letter to the past and the future, José Esteban Muñoz argued that the here and now were not enough and issued an urgent call for the revivification of the queer political imagination.

On the anniversary of its original publication, this edition includes two essays that extend and expand the project of Cruising Utopia, as well as a new foreword by the current editors of Sexual Cultures, the book series he co-founded with Ann Pellegrini 20 years ago. This 10th anniversary edition celebrates the lasting impact that Cruising Utopia has had on the decade of queer of color critique that followed and introduces a new generation of readers to a future not yet here.

A 10th anniversary edition of this field defining work—an intellectual inspiration for a generation of LGBTQ scholars

Cruising Utopia arrived in 2009 to insist that queerness must be reimagined as a futurity-bound phenomenon, an insistence on the potentiality of another world that would crack open the pragmatic present. Part manifesto, part love-letter to the past and the future, José Esteban Muñoz argued that the here and now were not enough and issued an urgent call for the revivification of the queer political imagination.

On the anniversary of its original publication, this edition includes two essays that extend and expand the project of Cruising Utopia, as well as a new foreword by the current editors of Sexual Cultures, the book series he co-founded with Ann Pellegrini 20 years ago. This 10th anniversary edition celebrates the lasting impact that Cruising Utopia has had on the decade of queer of color critique that followed and introduces a new generation of readers to a future not yet here.

A 10th anniversary edition of this field defining work—an intellectual inspiration for a generation of LGBTQ scholars

Cruising Utopia arrived in 2009 to insist that queerness must be reimagined as a futurity-bound phenomenon, an insistence on the potentiality of another world that would crack open the pragmatic present. Part manifesto, part love-letter to the past and the future, José Esteban Muñoz argued that the here and now were not enough and issued an urgent call for the revivification of the queer political imagination.

On the anniversary of its original publication, this edition includes two essays that extend and expand the project of Cruising Utopia, as well as a new foreword by the current editors of Sexual Cultures, the book series he co-founded with Ann Pellegrini 20 years ago. This 10th anniversary edition celebrates the lasting impact that Cruising Utopia has had on the decade of queer of color critique that followed and introduces a new generation of readers to a future not yet here.

A gripping insight into the digital debate over data ownership, permanence and policy

“This is going on your permanent record!” is a threat that has never held more weight than it does in the Internet Age, when information lasts indefinitely. The ability to make good on that threat is as democratized as posting a Tweet or making blog. Data about us is created, shared, collected, analyzed, and processed at an overwhelming scale. The damage caused can be severe, affecting relationships, employment, academic success, and any number of other opportunities—and it can also be long lasting.

One possible solution to this threat? A digital right to be forgotten, which would in turn create a legal duty to delete, hide, or anonymize information at the request of another user. The highly controversial right has been criticized as a repugnant affront to principles of expression and access, as unworkable as a technical measure, and as effective as trying to put the cat back in the bag. Ctrl+Z breaks down the debate and provides guidance for a way forward. It argues that the existing perspectives are too limited, offering easy forgetting or none at all. By looking at new theories of privacy and organizing the many potential applications of the right, law and technology scholar Meg Leta Jones offers a set of nuanced choices. To help us choose, she provides a digital information life cycle, reflects on particular legal cultures, and analyzes international interoperability. In the end, the right to be forgotten can be innovative, liberating, and globally viable.

A gripping insight into the digital debate over data ownership, permanence and policy

“This is going on your permanent record!” is a threat that has never held more weight than it does in the Internet Age, when information lasts indefinitely. The ability to make good on that threat is as democratized as posting a Tweet or making blog. Data about us is created, shared, collected, analyzed, and processed at an overwhelming scale. The damage caused can be severe, affecting relationships, employment, academic success, and any number of other opportunities—and it can also be long lasting.

One possible solution to this threat? A digital right to be forgotten, which would in turn create a legal duty to delete, hide, or anonymize information at the request of another user. The highly controversial right has been criticized as a repugnant affront to principles of expression and access, as unworkable as a technical measure, and as effective as trying to put the cat back in the bag. Ctrl+Z breaks down the debate and provides guidance for a way forward. It argues that the existing perspectives are too limited, offering easy forgetting or none at all. By looking at new theories of privacy and organizing the many potential applications of the right, law and technology scholar Meg Leta Jones offers a set of nuanced choices. To help us choose, she provides a digital information life cycle, reflects on particular legal cultures, and analyzes international interoperability. In the end, the right to be forgotten can be innovative, liberating, and globally viable.