Fordham University Press

What does it mean to lead a moral life?

In their first extended study of moral philosophy, Judith Butler offers a provocative outline for a new ethical practice—one responsive to the need for critical autonomy yet grounded in the opacity of the human subject.

Butler takes as their starting point one’s ability to answer the questions “What have I done?” and “What ought I to do?” They show that these questions can be answered only by asking a prior question, “Who is this ‘I’ who is under an obligation to give an account of itself and to act in certain ways?” Because I find that I cannot give an account of myself without accounting for the social conditions under which I emerge, ethical reflection requires a turn to social theory.

In three powerfully crafted and lucidly written chapters, Butler demonstrates how difficult it is to give an account of oneself, and how this lack of self-transparency and narratibility is crucial to an ethical understanding of the human. In dialogue with Adorno, Levinas, Foucault, and other thinkers, they eloquently argue the limits, possibilities, and dangers of contemporary ethical thought.

Butler offers a critique of the moral self, arguing that the transparent, rational, and continuous ethical subject is an impossible construct that seeks to deny the specificity of what it is to be human. We can know ourselves only incompletely, and only in relation to a broader social world that has always preceded us and already shaped us in ways we cannot grasp. If inevitably we are partially opaque to ourselves, how can giving an account of ourselves define the ethical act? And doesn’t an ethical system that holds us impossibly accountable for full self-knowledge and self-consistency inflict a kind of psychic violence, leading to a culture of self-beratement and cruelty? How does the turn to social theory offer us a chance to understand the specifically social character of our own unknowingness about ourselves?

By recasting ethics as a project in which being ethical means becoming critical of norms under which we are asked to act, but which we can never fully choose, Butler illuminates what it means for us as “fallible creatures” to create and share an ethics of vulnerability, humility, and ethical responsiveness.

An incendiary literary work more relevant now than ever.

“if anger were an ax/it would split me open/and if this is a sermon/let it be my granddaddy’s sermon/my grandmother’s foottapping/steady rocking/choir singing” —from "It Is Not a New Age"

First published in 1998, Imagine Being More Afraid of Freedom than Slavery is the debut collection by acclaimed poet and performer Pamela Sneed. Provocative and potent, it tackles the political and personal issues of enslavement, sexuality, emotional trauma, and abuse. These poems chart the journey of an artist trying to escape cycles of dependency and reclaim lost self and identity. Drawing parallels to Harriet Tubman’s journey on the Underground Railroad, Sneed’s explora­tions of the woods are a metaphor and emotional path one must explore to attain self-ownership. Sneed’s poems are bound by the search for love, freedom, and justice—from images of lesbian love to Emmet Till’s bloated body, they offer a raging cry and a roadmap for those interested in transforming the personal into social justice and abolitionist practices.

Manhattan is the tale of a young French scholar who travels to the United States in 1965 on a Fulbright Fellowship to consult the manuscripts of beloved authors. In Yale University’s Beinecke Library, tantalized by the conversational and epistolary brilliance of a fellow researcher, she is lured into a picaresque and tragic adventure. Meanwhile, back in France, her children and no-nonsense mother await her return.

A young European intellectual’s first contact with America and the city of New York are the background of this story. The experience of Manhattan haunts this labyrinth of a book as, over a period of thirty-five years, its narrator visits and revisits Central Park and a half-buried squirrel, the Statue of Liberty and a never again to be found hotel in the vicinity of Morningside Heights: a journey into memory in which everything is never the same.

Traveling from library to library, France to the United States, Shakespeare to Kafka to Joyce, Manhattan deploys with gusto all the techniques for which Cixous’s fiction and essays are known: rapid juxtapositions of time and place, narrative and description, analysis and philosophical reflection. It investigates subjects Cixous has spent her life probing: reading, writing, and the “omnipotence-other” seductions of literature; a family’s flight from Nazi Germany and postcolonial Algeria; childhood, motherhood, and, not least, the strange experience of falling in love with a counterfeit genius.

A provocative, highly accessible journey to the heart of Sophocles’ Antigone elucidating why it keeps resurfacing as a central text of Western thought and Western culture.

There is probably no classical text that has inspired more interpretation, critical attention, and creative response than Sophocles’ Antigone. The general perspective from which the book is written could be summarized with this simple question: What is it about the figure of Antigone that keeps haunting us? Why do all these readings and rewritings keep emerging? To what kind of always contemporary contradiction does the need, the urge to reread and reimagine Antigone—in all kinds of contexts and languages—correspond?

As key anchor points of this general interrogation, three particular “obsessions” have driven the author’s thinking and writing about Antigone. First is the issue of violence. The violence in Antigone is the opposite of “graphic” as we have come to know it in movies and in the media; rather, it is sharp and piercing, it goes straight to the bone. It is the violence of language, the violence of principles, the violence of desire, the violence of subjectivity. Then there is the issue of funerary rites and their role in appeasing the specific “undeadness” that seems to be the other side of human life, its irreducible undercurrent that death alone cannot end and put to rest. This issue prompted the author to look at the relationship between language, sexuality, death, and “second death.” The third issue, which constitutes the focal point of the book, is Antigone’s statement that if it were her children or husband lying unburied out there, she would let them rot and not take it upon herself to defy the decree of the state. The author asks, how does this exclusivist, singularizing claim (she would do it only for Polyneices), which she uses to describe the “unwritten law” she follows, tally with Antigone’s universal appeal and compelling power? Attempting to answer this leads to the question of what this particular (Oedipal) family’s misfortune, of which Antigone chooses to be the guardian, shares with the general condition of humanity. Which in turn forces us to confront the seemingly self-evident question: “What is incest?”

Let Them Rot is Alenka Zupančič’s absorbing and succinct guided tour of the philosophical and psychoanalytic issues arising from the Theban trilogy. Her original and surprising intervention into the broad and prominent field of study related to Sophocles’ Antigone illuminates the classical text’s ongoing relevance and invites a wide readership to become captivated by its themes.

Pushing the boundaries of Latinx literature and what constitutes a borderlands poetics.

Throughout Roberto Tejada’s body of work, the renowned poet and celebrated critic has explored themes of Latinx culture, politics, history, language, and ecologies. In his latest collection, Why the Assembly Disbanded, he presents a unique contribution to Latinx letters that reflects on the relations between the United States and Latin America, especially their real and symbolic borderlands.

Immersive, postmodern, and philosophical, Why the Assembly Disbanded provides an associative, critical Latinx aesthetic connecting the Mexico–United States borderlands to Latin America’s neo-baroque heritage. Migrants, settlers, tourists, and exiles moving across various hemispheric landscapes are featured in these exuberant, capacious, and self-reflexive poems. Tejada relates the ravages of white supremacy in our culture that, together with immigrant precarity, turn home into a place of foreboding and impending eviction, even as a dream-weather makes room at last for scenes of possibility and attainment in the account of human history.

The sweeping futuristic vistas open on to narratives of colonial extraction, human displacement, abuses of capitalism, mass media spectacle, the antagonism of language and technical images in the sensorium of urban and digital life-worlds, and the relations of desire encouraged by pictures and words in the economy of attention. Los Angeles and Mexico City figure prominently in poems committed to voicing modes of formation and community in an intersectional reckoning of personhoods prompted in work by artists Betye Saar, Amiri Baraka, Connie Samaras, and Rubén Ortiz Torres.

With language given to pageantry, tonal precision, and a hopeful lyric radiance that can accommodate ecstasy and justice, Roberto Tejada’s carnivalesque, borderland imagery pushes the boundaries of Latinx literature. World-building by way of reverie, speculation, and retro-futurist tableaux, and with vivid, sometimes violent particularity, his poems enact hallucinatory realities of the hemisphere: an imagination that triangulates history, lyricism, and art as social practice.

Circuitous Journeys: Modern Spiritual Autobiography provides a close reading and analysis of ten major life stories by twentieth-century leaders and thinkers from a variety of religious and cultural traditions: Mohandas Gandhi, Black Elk, Thomas Merton, Dorothy Day, C. S. Lewis, Malcolm X, Paul Cowan, Rigoberta Menchu, Dan Wakefield, and Nelson Mandela.

The book uses approaches from literary criticism, developmental psychology (influenced by Erik Erikson, James Fowler, and Carol Gilligan), and spirituality (influenced by John S. Donne, Emile Griffin, Walter Conn, and Bernard Lonergan).

Each text is read in the light of the autobiographical tradition begun by St. Augustine’s Confessions, but with a focus on distinctively modern and post-modern transformations of the self-writing genre. The twentieth-century context of religious alienation, social autonomy, identity crises and politics, and the search for social justice is examined in each text.

William Seraile uncovers the history of the colored orphan asylum, founded in New York City in 1836 as the nation’s first orphanage for African American children. It is a remarkable institution that is still in the forefront aiding children. Although no longer an orphanage, in its current incarnation as Harlem-Dowling West Side Center for Children and Family Services it maintains the principles of the women who organized it nearly 200 years ago.

The agency weathered three wars, two major financial panics, a devastating fire during the 1863 Draft Riots, several epidemics, waves of racial prejudice, and severe financial difficulties to care for orphaned, neglected, and delinquent children. Eventually financial support would come from some of New York’s finest families, including the Jays, Murrays, Roosevelts, Macys, and Astors.

While the white female managers and their male advisers were dedicated to uplifting these black children, the evangelical, mainly Quaker founding managers also exhibited the extreme paternalistic views endemic at the time, accepting the advice or support of the African American community only grudgingly. It was frank criticism in 1913 from W. E. B. Du Bois that highlighted the conflict between the orphanage and the community it served, and it wasn’t until 1939 that it hired the first black trustee.

More than 15,000 children were raised in the orphanage, and throughout its history letters and visits have revealed that hundreds if not thousands of “old boys and girls” looked back with admiration and respect at the home that nurtured them throughout their formative years.

Weaving together African American history with a unique history of New York City, this is not only a painstaking study of a previously unsung institution of black history but a unique window onto complex racial dynamics during a period when many failed to recognize equality among all citizens as a worthy purpose.

For Strasbourg consists of a series of essays and interviews about the city of Strasbourg and the philosophical friendships Jacques Derrida developed there over a period of some forty years.

Written just months before his death, the opening essay, “The Place Name(s): Strasbourg,” recounts in detail, and in very moving terms, Derrida’s deep attachment to this French city on the border between France and Germany. More than just a personal narrative, however, the essay is a profound interrogation of the relationship between philosophy and place, philosophy and language, and philosophy and friendship. As such, it raises a series of philosophical, political, and ethical questions that might all be placed under the aegis of what Derrida once called “philosophical nationalities and nationalism.”

The other three texts included in the book are long interviews/conversations between Derrida and his two principal interlocutors in Strasbourg, Jean-Luc Nancy and Philippe Lacoue-Labarthe. These interviews are significant both for the themes they focus on (language, politics, friendship, death, life after death, and so on) and for what they reveal about Derrida’s relationships to Nancy and Lacoue-Labarthe. Filled with sharp insights into one anothers’ work and peppered with personal anecdotes and humor, the interviews bear witness to the decades-long intellectual friendships of these three important contemporary thinkers.

This collection thus stands as a reminder of and testimony to Derrida’s unique relationship to Strasbourg and to the two thinkers most closely associated with that city.

Named 'Top 6' South Asia studies publications of 2016 by the British Association for South Asian Studies

The Alchemy of Empire unravels the non-European origins of Enlightenment science. Focusing on the abject materials of empire-building, this study traces the genealogies of substances like mud, mortar, ice, and paper, as well as forms of knowledge like inoculation. Showing how East India Company employees deployed the paradigm of alchemy in order to make sense of the new worlds they confronted, Rajani Sudan argues that the Enlightenment was born largely out of Europe’s (and Britain’s) sense of insecurity and inferiority in the early modern world. Plumbing the depths of the imperial archive, Sudan uncovers the history of the British Enlightenment in the literary artifacts of the long eighteenth century, from the correspondence of the East India Company and the papers of the Royal Society to the poetry of Alexander Pope and the novels of Jane Austen.

WINNER, 2025 NATIONAL INDIE EXCELLENCE AWARD, MULTICULTURAL NON-FICTION
WINNER, 2025 IPPY AWARD, MULTICULTURAL NON-FICTION - ADULT (GOLD)
WINNER, 2024 BEST INDIE BOOK AWARD, CULINARY MEMOIR
WINNER, 2024 LIVING NOW BOOK AWARD, INSPIRATIONAL MEMOIR - MALE (BRONZE)

A NEW YORK PUBLIC LIBRARY & FOREWORD REVIEWS BOOK OF THE DAY • NAMED A BEST BOOK OF 2023 BY ZED BOOK CLUB & INDIA CURRENTS • LA WEEKLY BOOK PICK • RECOMMENDED BY BOOK RIOT & ELECTRIC LITERATURE

A timely self-examination of the “mixed” American experience featuring exclusive recipes and photographs from the author’s multicultural family.

As citizens continue to evolve and diversify within the United States, the ingredients that make up each flavorful household are waiting to be discovered and devoured. In Colorful Palate, author Raj Tawney shares his coming-of-age memoir as a young man born into an Indian, Puerto Rican, and Italian-American family, his struggles with understanding his own identity, and the mouthwatering flavors of the melting pot from within his own childhood kitchen.

While the world outside can be cruel and unforgiving, it’s even more complicated for a mixed-race kid, unsure of his place in the world. Turning to his mother and grandmother for guidance, Tawney assists in the kitchen, providing intimate moments and candor as he listened to the tales behind each culinary delicacy and the women who perfected it. Each lovingly prepared meal offered another opportunity to learn more about his extraordinary heritage. The ability to create delicious fare with his family wasn’t just a duty for the grand ladies who raised him; it was a survival tactic for navigating new and unknown cultures, not always willing to accept them at first or even a hundredth glance. As Tawney examines both himself and his loved ones through the formative stages of his life, from boyhood through adulthood, he begins to realize, through all of the chaos and confusion, just how “American” he actually was.

In this contemporary coming-of-age tale, Tawney tackles personal hot-button issues about race and identity through poignant, heartfelt moments centered on delicious meals. From succulent tandoori chicken to delectable arroz con habichuelas to scrumptious spaghetti and meatballs, Tawney shares his family recipes along with the intimate stories he overheard in the kitchen as he played sous chef to hundreds of recipes that not only span continents but also come with their own personal histories attached. Colorful Palate is a tale of the mixed experience, one of the millions that rarely get told, undefined by a single group or birthright and unapologetic about its lack of classification.

WINNER, 2025 ASSOCIATION OF UNIVERSITY PRESSES BOOK, JACKET, AND JOURNAL SHOW IN THE JACKETS & COVERS CATEGORY

A captivating memoir of New York’s Historic Upper West Side at a time when community and unity defined the neighborhood

Step into the world of Just City and embark on a poignant journey to a time when ideals were woven into the very fabric of a neighborhood. Jennifer Baum’s evocative storytelling brings to life an era in New York City’s history where affordable housing wasn’t just a concept, but a reality that defined the essence of community.

Within the pages of this captivating memoir, you’ll find yourself transported to the historic Upper West Side—a place where diversity flourished and a shared belief in the importance of a home for all bound the residents together. Through personal anecdotes and heartfelt accounts, Baum illuminates her own upbringing alongside the stories of those who shared her neighbor­hood. She describes how as an adult, she came to appreciate that being raised in an integrated collective was a unique and exceptional experience. As she moves around the world for school, a husband, and work, she tells the story of her search for a home that would embody the values and community she grew up with.

Just City goes beyond the physicality of housing; it unveils the emotional tapestry of housing for an entire generation. As you immerse yourself in the stories of rallies, grassroots efforts, and the sense of kinship that defined this era, you’ll witness a generation that stood united for justice and fairness. The book captures not just moments, but the ethos of a time when the city was a testament to the power of community.

Celebrate the legacy of an era when a city was truly a home, when principles of social respon­sibility thrived. Just City isn’t just a memoir—it’s an invitation to revive the spirit of unity and create a city where everyone belongs. So open its pages and let its words rekindle the flame of a just and inclusive city once more.

At a time when terms like restoration, religion, authority, obligations, and natural law—once the rallying cries of the most emancipatory movements—are increasingly coopted by conservative forces, Revolution and Restoration offers a thought-provoking account of how “outdated” concepts can ignite radical energy and collective action. Through both historical and contemporary examples, the book elaborates the concrete possibilities for reimagining politics and society that emerge out of the clash between incompatible legal and economic structures.

At its core, Tomba’s book confronts the very foundations of the modern state and its three pillars: property, democracy, and citizenship. These pillars, long celebrated in the Western canon, are nevertheless mechanisms of exclusion: property is the denial of communal access, representative democracy the marginalization of the demos from decision-making, and citizenship the exclusion of the foreigner. Revolution and Restoration critiques these pillars to show how new concepts and political possibilities that emerge from political and social conflicts hold the potential to transcend and remake democracies in crisis.

Once dismissed as “tragedy,” the commons have been making a comeback. Amid intensifying social and environmental injustices in neoliberal regimes, scholars and activists have turned to the commons—historically, the shared ownership of land—as a way to express more just ways of living within and against the grasp of capitalism. Resurgent Commons reframes the commons by foregrounding relations of care and socio-ecological reproduction, while questioning anthropocentric formulations that would render the commons a set of available resources and the product of human cooperation. Interdisciplinary in nature, Tola’s book troubles universalist accounts of the commons by unearthing its ambivalent role in European colonial histories marked by racial and sexual violence and environmental destruction.

As central case studies, the book considers contemporary political projects that enact feminist, anti-racist and more-than-human practices of urban commoning in Rome, a sprawling built environment in the European South that is also a city of ruins. From transfeminist commons to struggles for repairing areas where industrial ruins and recalcitrant natures coexist, to encounters with indigenous perspectives from the Americas, resurgent commons enact forms of life that are at odds with dominant regimes of property and governance. The book shows how a reconsideration of a supposedly obsolete mode of shared ownership can enable new modes of inhabiting the earth.

Reading Better States traces the persistence of desires for the postcolonial state in an era of environmental harms and climate catastrophe. As pollution, toxicity, drought, and flood increasingly threaten peoples and environments across the global South, postcolonial writers and ordinary citizens alike have not ceded their futures to the damaged presents they inhabit. Rather, Reading Better States shows how they turn to the state as a resource, imagining postcolonial states as powerful actors and calling upon them to intervene in processes like global capitalism and environmental racism, or to provide environmental protections and basic material necessities. These utopic possibilities are concrete rather than grand, limited and situated rather than totalizing. But they are no less utopic for being quotidian.

Reading Better States challenges the anti-statism prevalent in postcolonial studies and the environmental humanities, where states are predominantly defined through violence. Seeing postcolonial states beyond their bad surfaces requires a utopian method of reading, a way of seeing the state that reads its negativity against the grain for alternative possibilities. In Reading Better States the state is Janus-faced. It is a bad actor, but it is also a site of collective hopes and concrete utopian visions. Using a wide-ranging archive of novels, films, court decisions, legislation, poetry, and testimony, Reading Better States reveals the importance of environmental concrete utopias in the present and reconsiders the postcolonial state for its interventionist possibilities as well as its violence. It does this through a utopian method that, like concrete utopias themselves, attends to negativity while stretching beyond it, seeking out visions of surplus which exceed, even if they cannot escape, the damage and disappointment of the present earth.

Introduces a way to study migration that privileges literary analysis over and against sociological data and insists on the importance of culture in the production of political identities

This book argues that Italians first became racialized as white in São Paulo, Brazil, at the turn of the twentieth century. Whereas Italians in the United States struggled with xenophobia and were often not fully acknowledged as white, in São Paulo, due to a series of social, economic, and cultural factors, Italians became closely associated with ideas of whiteness, modernization, and civilization. This book brings to light how the overlooked experiences of Italians in Brazil complicate conventional narratives about the racial ambiguity and oppression of Italians in the Americas, on the one hand, and the conflation of Italians with cultural and economic backwardness in Europe, on the other.

In the book, close readings of a wide array of texts—the travel writings of Gina Lombroso Ferrero, the short stories of Antônio de Alcântara Machado, the columns of José Correia Leite, the political essays of Miguel Reale, and the memoirs of Zélia Gattai—trace a “New World Italian discourse,” or the overlapping narratives about Italian racial, economic, and cultural superiority which constructed and maintained Italians’ status as a model minority in São Paulo. These discursive practices represent essential antecedents to the racial nationalism that reared its ugly head in Italy throughout the twentieth century and remain central to contemporary debates about national identity in the Italian public sphere.

The Italian Colony of São Paulo: Race, Class, and Cultural Capital in Brazil is available from the publisher on an open-access basis.

Anthropologically explores the entanglement of theology and politics among contemporary Orthodox Christians.

Much of the anthropological literature on Christianity tends to concentrate on Protestants and Catholics in the Global South. The contemporary scholarly interest in such communities descends from histories of missionization and colonization of these regions, as well as a sense of their theological kinship with the secularized visions of Western political and social life. Orthodox Christianity, however, has largely been rendered marginal in mainstream anthropological engagement because of its theological and social alterity from such Western anthropological traditions of knowledge production. Because of this, Orthodox Christian lifeworlds in and beyond the academy are created, contested, and transformed in relation to various “others,” whether they be religious, political, secular, or historical, with an eye toward a discursive opposition between modernity and Orthodoxy.

Each of the essays in Anthropologies of Orthodox Christianity texture a new trajectory in the study of this religious tradition that take seriously the theopolitical aspects of Orthodox life through anthropological inquiry. The volume engages and moves beyond the tension between populist and institutional framings of religion, and critically addresses the ontological gap in both anthropology and theology as social, cultural, and geopolitical interest in Orthodox Christianity continues to expand and grow.

Challenges the assumptions made over the medieval/modern divide by examining the medieval roots of modern racism

Humanists have long insisted on a chasm separating modernity and the Middle Ages. In Bad Medievalism and the Modernity Problem, Kathy Lavezzo demonstrates how the temporal divide scholars typically accept is a fiction that has shaped racial discourse over a longue durée. The hard line drawn between “then” and “now” is of a piece with the line separating whiteness from humans deemed irrevocably other. Thus, Lavezzo advocates a “bad”—that is, depressing and disturbing, even nauseating—historicism attuned to the interpenetration of race, whiteness and periodicity in the “west.”

Teasing out the dialectical invocation of both periods by figures as diverse as W. E. B. Du Bois, Carolyn Bynum, Stuart Hall, Johan Huizinga, Paule Marshall, Karl Marx, Gloria Naylor, J. R. R. Tolkien and Sylvia Wynter, Lavezzo demonstrates how the tension between and across categories of the “medieval” and the “modern” has mobilized intense emotional and political responses.

Inspired by Lavezzo’s discovery that Hall, the beloved founder of cultural studies, planned as a student at Oxford to become a medievalist, but was dissuaded from that path by his teacher Tolkien, Bad Medievalism unpacks the implications of that charged encounter. Central chapters contrast Tolkien’s white heritage medievalism with a speculative inquiry into the Piers Plowman dissertation that Hall never wrote.

Other chapters assess the white “feel” of periodization by scholars including Jacob Burckhardt, Huizinga, Fredric Jameson, and Bynum, and draw on theorists including Du Bois and Wynter to chart the medieval roots of a racialized discourse of progress and primitivism. Bad Medievalism culminates in new readings of Gloria Naylor’s Bailey’s Cafe and Paule Marshall’s The Fisher King, demonstrating their importance as productively pessimistic engagements with the racial legacies of both the medieval and the modern.

A crucial intervention at the intersection of ecotheology and trauma theology

We are in the midst of a global ecological crisis. At times, the scale of the suffering involved can be hard to fully comprehend. The whole planetary ecosystem feels out of kilter. Meanwhile, trauma theorists, and society at large, have become increasingly aware of the incidence of trauma in a growing variety of contexts. In Witnessing a Wounded World Tim Middleton asks what might be gained by viewing ecological suffering through the lens of trauma.

By bringing concepts and methodologies from trauma theology to bear on questions that arise within ecotheology, Middleton engages a series of pressing questions. What kind of traumas are being precipitated by anthropogenic climate change and accelerating biodiversity loss? What would it mean to envisage the Earth itself as traumatized? And how might a Christian theologian respond?

From large-scale deforestation and opencast mining to rampaging wildfires and fracturing ice sheets, the Earth itself is subject to intense devastation. Witnessing a Wounded World analyses such phenomena in terms of three traumatic ruptures—to communication, to flesh, and to time. Drawing on practices of witnessing and the insights of deep incarnation Christologies, Middleton proceeds to offer a theological account of this ecological trauma. For Christians, a model of Christic witnessing can bring the Earth’s suffering to light.

As the first sustained treatment of ecological trauma to address the trauma of the Earth itself, Witnessing a Wounded World makes a profound contribution to discussions of suffering, faith, and the present ecological emergency.

Designs a novel analytical framework to approach transcultural food mobilities, a culinary phenomenon which has been with us for decades as a result of colonialism and globalization

Why is it surprising for some of us to read the pairing of “Chinese” with “pizzas” and “Italian” with “dumplings,” such as proposed in the book’s title? After all, in some regions of the two countries, Italians eat dumplings, and Chinese make baked, steamed, or fried flatbread with toppings or fillings frequently. Furthermore, when dumplings are made in Italy by Chinese migrants or Chinese Italians, or when pizzas are made in China by Italian migrants, Chinese Italians, or Chinese without apparent ties with Italy, are these culinary products Chinese, Italian, Chinese-Italian, or something else? Why do we need to care for such labeling dilemmas?

This book shows how China-Italy food mobilities relayed in popular culture helped forge Chinese and Italians’ socioeconomic identities in recent decades by fundamentally shaping contemporary Chinese and Italian consumer cultures. This book addresses China-Italy food cultures against the backdrops of two epoch-making socioeconomic processes. During the 1980s, Chinese cuisine became the first non-European food widely available in Italy, thanks to the widespread presence of Chinese eateries. Only American fast food, which established itself in Italy around the same time, enjoyed comparable popularity as a destination for Italian culinary tourism. Meanwhile, in the early 1990s, together with American hamburgers and fried chicken, the American food chain Pizza Hut’s pizzas and spaghetti were the first non-Asian foods that post-Mao Chinese customers recognized as “Western.” The book proposes a critical framework that analyzes transcultural food mobilities by seriously assessing the confluence of diverse mobilities and their impact on food cultures. Ultimately, the study shows that a sophisticated interpretation of transcultural food mobilities can help address alterity and build understanding in a world of increasing political and cultural polarization.

Brings together geographies and methodologies often kept apart by the difficulties of researching such a broad-ranging topic as the war

Shots in the Dark offers cutting-edge scholarship across different subfields in World War II history, revealing new insights into how this crucial conflict was planned, experienced, and fought. Twelve chapters demonstrate the broad scope of wartime innovation and how the war functioned as a global turning point, driving change at all levels of human society, from government institutions to individual identities.

Contributors collaborated in a vibrant workshops series sponsored by the North American branch of the Second World War Research Group (SWWRGNA), an organization that emerged to nurture scholarship on the global war and unite scholars fragmented in narrower regional and methodological “stovepipes” to consider the war as a whole. The SWWRGNA and this volume showcase the work of diverse historians across subfields—operational, cultural, gender, social, intelligence, and diplomatic history. This approach exposes the Second World War as a catalyst for overlapping global changes that revolutionized the world after 1945. These scholars reveal continuities and parallels in wartime experiences that would remain invisible in narrowly focused projects.

The volume establishes three frameworks for understanding and interpreting changes the war provoked: 1) institutional adaptation, 2) “totalization,” or the militarization of civilians, and 3) cultural transformation. Each of the three frameworks is explored from four vantage points. Geographies are deliberately contrasted within each framework to examine the broad scope of that level of war-driven change.

Illusive Materialisms brings a close attention to gender to bear on the philosophical and political argument that sensual pleasure, framed as a mode of feminine responsiveness, is the primary business of enlightenment. Ultimately, the book argues on behalf of a history of feminine speculation that resonates with contemporary feminist and queer efforts to recenter pleasure and its generative illusions in the necessary work of critique. Through its analysis of a materialism that is often hiding in plain sight, Illusive Materialisms explores different ways to cultivate delight in a world in ruin.

While most studies of materialism during the French Enlightenment focus on works by men, Illusive Materialisms foregrounds responses by women to the materialist currents that cut across the eighteenth-century canon and that aim to recast femininity as the privileged condition of the modern, enlightened subject. For the women writers examined here, femininity is both a form that is embodied and an art that is practiced, often with transformative effects.

Illusive Materialisms illuminates the crucial role played by femininity in a long history of materialist philosophy. At the same time, it uncovers a specifically feminine engagement with the materialist thought and practice of eighteenth-century France. The book shows how three women authors (Madeleine de Puisieux, Émilie Du Châtelet, and Françoise de Graffigny) rework, revise, and reuse materialist texts and ideas in order to craft an ethic of pleasure whose effects traverse their writing and their life. At the same time, it demonstrates that feminine forms, images, and persons lie at the heart of a tradition of materialist thought stretching from antiquity into the present day.

An engaging and thought-provoking translation of Paul Ricoeur’s earliest work that is essential for understanding his philosophical development

The Reflexive Method Applied to the Problem of God in Lachelier and Lagneau, now held in the Ricoeur Archive in Paris, was a qualifying thesis Ricoeur wrote at the age of twenty-one when he was just beginning his advanced university studies. In it he examines the use of the reflexive method by two important French philosophers from the nineteenth century, Jules Lachelier and Jules Lagneau. They both sought to develop an “integral metaphysics” that recognizes God as the principle underlying pure, impersonal thought and practical reason, and that requires a kind of philosophical faith. In his conclusion, Ricoeur criticizes their doctrine of God and philosophy of immanence for not being able to deal with the question of transcendence and for its failure to address concrete human existence, yet he concedes that it may be seen as a first truce in “the internecine war” between faith and reason.

Despite this criticism, Ricoeur later maintained that his own philosophy does stand “in the line of a reflexive philosophy” while remaining “within the sphere of Husserlian phenomenology” and striving to be “a hermeneutical variation of this phenomenology.” He also continued to address the question of faith and reason in works like Figuring the Sacred and (with André LaCocque) Thinking Biblically, as well as in many other essays.

The Reflexive Method Applied to the Problem of God in Lachelier and Lagneau is necessary reading for anyone doing serious work on and with Ricoeur’s philosophy.

A bold and rigorous reexamination of transcendence—uniting religion, theology, philosophy and science—while bridging Confucian and Christian thought to explore the origins of the world and human destiny.

Debating Transcendence is a groundbreaking contribution to the ongoing dialogue between Confucian and Christian thought by addressing the transcendence debate—a key controversy that has shaped centuries of cross-cultural intellectual exchange. Song examines whether the Confucian concept of Tian (Heaven) or Taiji (Ultimate Limit) possesses a transcendent dimension comparable to Christian understandings of the Creator God. This study revisits the historical and philosophical roots of the debate, tracing its evolution from early interactions between Confucianism and Christianity during the 16th century to present-day discussions.

At the heart of this book is Song’s aim to construct a Confucian definition of theology and a Confucian approach to comparative theology. Grounded in a scientifically rigorous methodology that transcends the conceptual boundaries of philosophy, religion, and theology, this new approach balances rootedness and impartiality, minimizing biases and revealing shared ground. Covering essential thinkers from the West and the East—such as Plato, Augustine, Descartes, and Paul Tillich alongside Confucius, Laozi, Wang Bi, and Zhu Xi—Song explores the historical development of key concepts such as creatio ex nihilo (creation out of nothing) and sheng sheng (birth birth), challenging misconceptions and highlighting underexplored commonalities and differences. Drawing from his diverse scholarly background and extensive engagement with both traditions, Song distinguishes Confucian from Daoist metaphysics and demonstrates that Confucian metaphysics, centered around the concept of generatio ex nihilo, offers a compelling framework for understanding transcendence that not only resembles but, in certain aspects, surpasses major streams of its Christian counterpart.

Readers seeking to understand the profound spiritual foundations underpinning interactions between China and the West will find Song’s work essential. Combining rigor, scope, and depth, Debating Transcendence paves the way for refreshed interactions between Confucian and Christian thought, offering insights vital to contemporary scholarship and interreligious exchange.

“Will you not memorize a little poetry to halt the slaughter?” the Palestinian poet Mahmoud Darwish wrote. Darwish’s poetic statement points to world-evacuating and genocidal violences—in a triangulation of Palestine, Iraq, and the American settler state—as his language recalls us to a sonority in utterance and acts of refusal in collective form. Through readings of Arabic and Arab poetry, art, translation, and philosophy, Jeffrey Sacks illumines an indetermined, non-accumulative, non-propertied manner of lingual doing—across post-Ottoman topographies and states, and in excess of any single language—where language is a practice in sociality, the social is indistinct from the ontological, and being is a poetic mode—what this book calls “poeticality.”

Poeticality studies the Lebanese-American poet and painter Etel Adnan, the Iraqi poet and translator Khālid al-Maʿālī, philosophers in the Arabic peripatetic tradition, and writings of Karl Marx, Paul Celan, Walter Benjamin, and others, to demonstrate a sense of form wholly other than what is advanced in self-determined social existence, linguistic self-understanding, and philosophical self-representation—a manner of address and a social pose, which Sacks summarizes under the heading “settler life.”

Settler life—a form of life, a practice of reading, and an asymmetric distribution of social destruction—asserts itself as a generalized and regulating attack upon Black and Indigenous life, and upon all forms of nonwhite, non-Christian, non-heteronormative existence. “Everything is in the language we use,” the Oglala Lakota poet Layli Long Soldier has written. This book—learning from Long Soldier’s observation and with Darwish’s sense of the poetic—affirms the demand for Indigenous sovereignty, in Palestine, in Turtle Island, and elsewhere, a demand which, through the collective acts occasioned in it, decomposes and deposes all sovereign forms and all stately legalities, in refusal of settler life.

Life in the Cracks is a rich ethnographic portrait of law, violence, and resistance in Haiti. In a contemporary context marked by international interference, global capitalism, and state collapse, Haitians face complex challenges that are largely ignored and misunderstood. By examining the most unexpected inflections of ordinary life, Life in the Cracks offers a well-grounded account of people’s experience of law in their lives. The book describes what it means to endure violence partly engendered by the law, and thus to live up to one’s disappointment with the law itself.

By not taking for granted the places where the law appears, Life in the Cracks asks legal anthropology to confront questions beyond law-making and law-application, dispute resolution, and social order. In everyday life’s textures of messy subtleties and contradictory movements that are never reconciled, Life in the Cracks reconsiders the place of law in human affairs. Motta reimagines how people cope with their disillusionments by reinventing relationships with each other. What had appeared questions of law and justice turn out to be questions of life and death. As life resists annihilation, Motta shows, many Haitians have found ways to breathe new life into the present and make the future worth fighting for.

Spiro Jabbour’s enigmatic exploration of the resonances between the Eastern Christian science of the soul and psychoanalysis, now in annotated English translation

Confession and Psychoanalysis, written by Spiro Jabbour—the prolific Syrian monastic, scholar, and translator—offers a speculative formulation of mystical ethics in the aftermath of the postcolonial loss of tradition. Jabbour reads Freud’s theories of the drive, transference, and the unconscious through Orthodox Christian writings on the purification of the heart and transfiguration the soul in the works of, among others, John Climacus, Maximos the Confessor, and Gregory Palamas.

Composed in 1983 in Homs, Confession and Psychoanalysis is the written account of the spiritual guidance Jabbour offered to a seeker who queried him concerning the practice of confession. Taking the question of spiritual interlocution and the encounter between Freudian psychoanalysis and Orthodox asceticism as its launching point, Jabbour’s text moves across a staggering breadth of topics—Islamic Sufism, psychotherapy and psycho-somatic medicine, Arabic poetics and linguistics, hesychasm, counterfeit cultural life in the aftermath of war and dispossession, and the destructive ambivalence of civilization. As such, Confession and Psychoanalysis is a window into a dynamic Middle Eastern Christian tradition that speaks with and beyond a devastated present.

An innovative historical analysis that draws upon performance and theatre studies to stage the ruination and demise of the eighteenth-century Mexican Jesuits.

Inventories of Ruin dramatizes the ruination of the Mexican Province of the Society of Jesus as their power and influence wane over a period of approximately fifty years in the eighteenth-century Spanish Atlantic world. To tell the story of the arrest, migration, and ultimate dissolution of this powerful organization of missionary men, three sets of “inventories” are juxtaposed. The first is composed by notaries, who record the objects left behind by the Jesuits at a college in Puebla de Los Angeles when arrested on June 25, 1767. The second is an “inventory of the self,” a conversion narrative, composed by a Swedish convert who encounters the Jesuit refugees while shipboard on the Mediterranean Sea. The last is an inventory of the dead written by an exiled ex-Jesuit in Bologna, Italy, whose necrology memorializes the life and death of his brethren from the now defunct Mexican Province.

Inventories of Ruin is about the ruination and disappearance of Jesuit ways of being that counters Jesuit historiography’s framing of this period as a moment of “suppression.” At the same time, Inventories of Ruin is about how this story of ruination appears in the archives. The book studies the epistemological drama of inventorying, as writers labor to uproot religious power, to locate and secure a religious self, and to capture religious histories. What weighs upon these texts is a sense of anxiety because the question of what will be found animates authors whose literary exertions appear as historiographical struggles to have a say over what appears and what vanishes before leaving the stage, or before pushing others toward the exit.

Introduces a new way of understanding influence, reception, and adaptation via the work of Italy’s most famous modern writer

In Transmedial Resonance, Robert A. Rushing addresses the remarkable and ongoing responses to the imagination of Italo Calvino, Italy’s most important modern writer. Since his death in 1985, Calvino’s writing has served as a constant figure of inspiration for other artists, and tellingly, that inspiration has been “more outside than inside.” Although Calvino’s reputation as a writer is immense, his influence has in fact been vastly larger outside of literature, including in architecture, city planning, community organizing, design, visual arts, video games, the performing arts and much more. That influence is not only transmedial. It has also been “more outside than inside” across national boundaries, particularly in the English-speaking world.

Rushing thinks about Calvino’s influence through the metaphor of resonance. When something resonates, he argues, it may be “inspired” to do so, but it does so in its own voice, singing its own song. In fact, resonance offers an entirely different way of thinking about influence and artistic reception, stressing the energy of the inspiration rather than fidelity to the original. In keeping with that underlying sonic metaphor, Rushing looks at specifically acoustic responses to Calvino. They include Chris Cerrone’s Pulitzer-nominated “opera in headphones” based on Invisible Cities, Lisa Mezzacappa’s Cosmicomics jazz suite, and Ashwini Ramaswamy’s multimedia dance performance of Invisible Cities, which combines traditional South Indian Bharatanatyam, urban breaking, and African American modern dance. These works, Rushing shows, tell the story of a very different Calvino, one who is (in Mezzacappa’s words) “nerdy and neurotic,” playfully perverse, and profoundly political.

Bringing together sound studies with literary studies and cultural reception, Transmedial Resonance argues for a radical re-imagination of how we think about artistic and cultural influence, calling for a completely new understanding of this major figure of modern Italian and world literature.

The multi-century event of enslavement and colonialism changed the cultural and political imagination of the Atlantic world. We still live and work in the horizon of that event. It was an event that placed a violent Manichean structure of antiblackness at the foundation of our shared world. What kinds of life are possible in nihilistic, antiblack worlds of social death? Is it possible to imagine life outside the reach of those worlds? What decolonial methods help us understand that form of life in relation to expressive cultures of resistance and refusal?

At the Margins of Nihilism develops a theoretical frame through a comparative reading of Jacques Derrida and Orlando Patterson. Reading between deconstruction and social death, Drabinski describes a notion of life as interstitial, situated outside the play of life and death in systems of antiblackness. This notion of life has broad epistemological, existential, and ontological implications.

Drawing from a diverse set of sources including Zora Neale Hurston, Ralph Ellison, Gloria Anzaldúa, and others, At the Margins of Nihilism shows how the nihilisms of Richard Wright, Frantz Fanon, James Baldwin, and contemporary afropessimism operate as a closed system. Each system is opened by vernacular forms of life and practices of refusal. Those forms and practices speak to the power and significance of life that persists across centuries of antiblack culture, social life, and political hegemony.

Holocaust and Hope shows one of our preeminent critics grappling with a subject to which he had returned for decades: literary, cultural, political, and historiographical implications of the Holocaust and its aftermath in Europe and America. In his last planned book, Geoffrey Hartman confronts contradictions that pose a challenge for our present and future. The passing of Holocaust survivors and their immediate families makes continued acts of witnessing more necessary even as distance in time makes the identities and acts of future witnessing more complicated. In addition, the particular kinds of amplification that we may be accustomed to or expect from our contemporary media environment can call forth not an intensity of response but rather an inertia, an “unreality effect,” that can come unexpectedly from the heightening of the real, or the hyperreality of too much, too fast, too strong.

Holocaust and Hope takes seriously the difference between our coming after Auschwitz and our being past it. With characteristic intensity and humanity, Hartman’s essays explore the full complexity of how to transmit knowledge of the Holocaust to the future in ways that avoid simplification, the illusion of synthesis, or the aspiration to final closure, on the one hand, or compulsive repetition on the other. A significant part of the answer, for Hartman, requires special attention to the role of literary and audiovisual forms in promoting an active witnessing to extreme suffering that is relevant both for our time and the encroaching future.

A poetic exploration that reimagines form and language through celestial patterns

Informed by mystery, chaos, order and writing as container, A Winter Triangle explores poetic space and form amid the infinite possibilities of composition and change. Composed of three parts, or "points," like its namesake asterism, this collection is inspired by Stéphane Mallarmé's idea of composing poetry from the "senseless splendor" of the skies as well as the designs for automata by 12th-century inventor and engineer Ismail al-Jazari, and mythological depictions of Sirius, the dog/wolf star, as both a keeper of order and the agent of chaos and energy.

Inventing a new poetic form, the septentrional, which trembles in its own process of becoming throughout the length of the book, Marcella Durand questions the potential of poetry in the face of artificial intelligence, climate change, and political turbulence in which language is often twisted into the opposite of its own meaning. By counting the seven syllables of the septentrional, and opening spaces (caesura) within the poetic line to provide breath and rejuvenation amid exhausting world events, these poems resituate poetry as an alternate space in which to reimagine the given forms of constellations and how we imagine order out of seeming chaos. Thus the question is opened as to whether the poet may ever make sense of the "senseless splendor" of the skies, or simply convey them as they are through poetry, holding the infinite within the finite, for a time.

Durand reads the "dustlike" script of the calligraphic galleon, a ship created entirely out of words, as art and struggles to understand the burning Wolf/Dog star which stands between law and lawlessness. Is there actual connection between stars in the constellations we have invented? Can we find room for composition within the broken loops of infinity? At the point between old and new, bow and arrow, chaos and order, A Winter Triangle asks us to face the overwhelm of change—self-inflicted, invented, planetary and real.

How Thomas Jefferson’s vision for knowledge shapes what we know and how we access it – and why that matters more than ever

As the United States approaches the 250th anniversary of the Declaration of Independence, Peculiar Satisfaction examines how the ideals and contradictions of the nation’s founding live on in libraries, archives, and museums. Thomas Jefferson championed an informed citizenry as essential to democracy, yet the systems he built to organize knowledge reinforced racial and ideological hierarchies that persist today.

Melissa Adler explores Jefferson’s lasting influence on public institutions, from his personal library, which became the foundation of the Library of Congress, to his archival practices in government record-keeping and his museum at Monticello as a site of colonial knowledge production. Through an interdisciplinary lens, she reveals how his methods of classification and preservation shaped national memory and democratic participation.

Drawing from archival research and critical theory, Peculiar Satisfaction exposes the paradoxes of access, exclusion, and control embedded in information systems. As censorship and disinformation threaten democracy, Adler argues that understanding these foundational structures is essential to defending the role of knowledge in public life.

Offering a fresh perspective on the ways information, power, and race have shaped American institutions, this book will engage scholars and general readers interested in how libraries, archives, and museums influence history, democracy, and collective memory and argues for a nuanced understanding of these institutions at a critical moment where disinformation and authoritarian rule threaten to undo them.

The astonishing tale of Fay Etrange – republished in its original unexpurgated form!

First published in 1932, A Scarlet Pansy is an extraordinarily vivid and richly textured depiction of American queer life in the early twentieth century, tracing the coming-of-age of androgynous Fay Etrange. Born in small-town Pennsylvania and struggling with her difference, Fay eventually accepts her gender and sexual nonconformity and immerses herself in the fairy subculture of New York City. A self-proclaimed “oncer”—never tricking with same man twice—she immerses herself in the nightclubs, theaters, and street life of the city, cavorting with kindred spirits including female impersonators, streetwalkers, and hustlers as well as other fairies and connoisseurs of rough trade. While reveling in these exploits she becomes a successful banker and later attends medical school, where she receives training in obstetrics. There she also develops her life’s ambition to find a cure for gonorrhea, a disease supposedly “fastened on mankind as a penalty for enjoying love.”

A Scarlet Pansy stands apart from similar fiction of its time—as well as that of the ensuing decades—by celebrating rather than pathologizing its effeminate and sexually adventurous protagonist. In this edition, republished in its original unexpurgated form, Robert J. Corber examines the way in which it flew in the face of other literature of the time in its treatment of gender expression and same-sex desire. He places the novel squarely within its social and cultural context of nearly a century ago. Much more than an artifact, A Scarlet Pansy remains a uniquely delightful and penetrating work of literature, resonating as much with present-day culture as it is illuminating of our understanding of queer history and challenging our notions of what makes a man a woman, and vice-versa.

Facts and established truths are regularly denied in contemporary life. This situation has brought paranoid politics into the mainstream, from conspiracy theories like QAnon, to sex panics and assaults on public health measures, to election denialism and the rise of vigilante militias. Paranoid Publics analyzes these phenomena as psychosocial realities enmeshed with emerging ways of determining truth.

Today’s paranoia cannot simply be blamed on the rise of social media or the recent surge of populist anger. Rather, as Chaudhary shows, both are fueled by preexisting psychosocial processes. Applying psychodynamics to analyze truth and politics, Paranoid Publics foregrounds unconscious demands, wishes, and compulsions. Against the hope that progressive economic policies might dispel widespread disorientation and disillusionment, Chaudhary reveals how psychic realities mark politics as deeply as do self-interest and class dynamics.

Chaudhary takes up and reinvents psychoanalytic concepts to analyze how, for example, the personal liberty exercised through vaccine exemptions is paradoxically grounded in submission to the authority of the family and the state. Such politically consequential attitudes concerning truth emerge from a social order that they proceed to challenge. Making a case for psychosocial understandings of our current historical juncture, Paranoid Publics radically expands our notion of the political.

Explores four centuries of colonization, land divisions, and urban development around this historic landmark neighborhood in West Harlem

It was the neighborhood where Alexander Hamilton built his country home, George Gershwin wrote his first hit, a young Norman Rockwell discovered he liked to draw, and Ralph Ellison wrote Invisible Man. Through words and pictures, Hamilton Heights and Sugar Hill traces the transition of this picturesque section of Harlem from lush farmland in the early 1600s to its modern-day growth as a unique Manhattan neighborhood highlighted by stunning architecture, Harlem Renaissance gatherings, and the famous residents who called it home.

Stretching from approximately 135th Street and Edgecombe Avenue to around 165th, all the way to the Hudson River, this small section in the Heights of West Harlem is home to so many significant events, so many extraordinary people, and so much of New York’s most stunning architecture, it’s hard to believe one place could contain all that majesty. Author Davida Siwisa James brings to compelling literary life the unique residents and dwelling places of this Harlem neighborhood that stands at the heart of the country’s founding. Here she uncovers the long-lost history of the transitions to Hamilton Grange in the aftermath of Alexander Hamilton’s death and the building boom from about 1885 to 1930 that made it one of Manhattan’s most historic and architecturally desirable neighborhoods, now and a century ago. The book also shares the story of the LaGuardia High School of Music & Art, one of the fi rst in the nation to focus on arts and music. The author chronicles the history of the James A. Bailey House, as well as the Morris-Jumel Mansion, Manhattan’s oldest surviving residence and famously known as George Washington’s headquarters at the start of the American Revolution.

By telling the history of its vibrant people and the beautiful architecture of this lovely, well-maintained historic landmark neighborhood, James also dispels the misconception that Harlem was primarily a ghetto wasteland. The book also touches upon the Great Migration of Blacks leaving the South who landed in Harlem, helping it become the mecca for African Americans, including such Harlem Renaissance artists and luminaries as Thurgood Marshall, Count Basie, Duke Ellington, Mary Lou Williams, Paul Robeson, Regina Anderson Andrews, and W. E. B. Du Bois.

CHOICE: OUTSTANDING ACADEMIC TITLE

FINALIST, THE RANDY SHILTS AWARD FOR GAY NONFICTION, THE PUBLISHING TRIANGLE AWARDS

A passionate exhortation to expand the ways we talk about human sex, sexuality, and gender.

Twenty-five years ago, Mark D. Jordan published his landmark book on the invention and early history of the category “sodomy,” one that helped to decriminalize certain sexual acts in the United States and to remove the word sodomy from the updated version of a standard English translation of the Christian Bible. In Queer Callings, Jordan extends the same kind of illuminating critical analysis to present uses of “identity” with regard to sexual difference. While the stakes might not seem as high, he acknowledges, his newest history of sexuality is just as vital to a better present and future.

Shaking up current conversations that focus on “identity language,” this essential new book seeks to restore queer languages of desire by inviting readers to consider how understandings of “sexual identity” have shifted—and continue to shift—over time. Queer Callings re-reads texts in various genres—literary and political, religious and autobiographical—that have been preoccupied with naming sex/gender diversity beyond a scheme of LGBTQ+ identities. Engaging a wide range of literary and critical works concerned with sex/gender self-understanding in relation to “spiritual­ity,” Jordan takes up the writings of Oscar Wilde, Marcel Proust, Djuna Barnes, Samuel R. Delany, Audre Lorde, Geoff Mains, Eve Kosofsky Sedgwick, Gloria Anzaldúa, Maggie Nelson, and others.

Before it’s possible to perceive sexual identities differently, Jordan argues, current habits for classifying them have to be disrupted. In this way, Queer Callings asks us to reach beyond identity language and invites us to re-perform a selection of alternate languages—some from before the invention of phrases like “sexual identity,” others more recent. Tracing a partial genealogy for “sexual identity” and allied phrases, Jordan reveals that the terms are newer than we might imagine. Many queer folk now counted as literary or political ancestors didn’t claim a sexual or gender identity: They didn’t know they were supposed to have one. Finally, Queer Callings joins the writers it has evoked to resist any remaining confidence that it’s possible to give neatly contained accounts of human desire. Reaching into the past to open our eyes to extraordinary opportunities in our present and future, Queer Callings is a generatively destabilizing and essential read.

In cinema, blurriness is usually intended to go unnoticed. When it appears it is either considered an error — a mistake of focus or a technological failure — or a background effect of shallow focus intended to offset a defined image. As Martine Beugnet argues, however, blur is an essential feature of the cinema, possessing its own properties and affordances, and capable of powerful effects.

Examining an array of notable examples of blurriness from horror to art cinema and experimental film, and including the works of the Lumière brothers, Josef von Sternberg, Agnès Varda and many others, she develops a taxonomy of blurs, from speed and motion blur to the hand-held, “shaky camera” blur common in contemporary digital cinema. These wide-ranging instances all return the viewer to the sensorial and material qualities of the moving image.

In the face of technological developments that valorize sharpness as an indicator of progress, blur stands as a provocative reminder of the value of uncertainty—a sign of the irreducible mystery at the heart of the filmic image.

An exiled professor’s journey from inside and beyond academe

In the summer of 2014, Steven Salaita was fired from a tenured position in American Indian Studies at the University of Illinois for his unwavering stance on Palestinian human rights and other political controversies. A year later, he landed a job in Lebanon, but that, too, ended badly. With no other recourse, Salaita found himself trading his successful academic career for an hourly salaried job. Told primarily from behind the wheel of a school bus—a vantage point from which Salaita explores social anxiety, suburban architecture, political alienation, racial oppression, working-class solidarity, pro­fessional malfeasance, and the joy of chauffeuring children to and from school—An Honest Living describes the author’s decade of turbulent post-professorial life and his recent return to the lectern.

Steven Salaita was practically born to a life in academia. His father taught physics at an HBCU in southern West Virginia and his earliest memories are of life on campus and the cinder walls of the classroom. It was no surprise that he ended up in the classroom straight after graduate school. Yet three of his university jobs—Virginia Tech, the University of Illinois, and the American University of Beirut [AUB] —ended in public controversy. Shaken by his sudden notoriety and false claims of antisemitism, Salaita found himself driving a school bus to make ends meet. While some considered this just punishment for his anti-Zionist beliefs, Steven found that driving a bus provided him with not just a means to pay the bills but a path toward freedom of thought.

Now ten years later, with a job at American University at Cairo, Salaita reconciles his past with his future. His restlessness has found a home, yet his return to academe is met with the same condition of fugitivity from whence he was expelled: an occasion for defiance, not conciliation. An Honest Living presents an intimate personal narrative of the author’s decade of professional joys and travails.

WINNER, AMERICAN BOOK AWARD

Chronicles a Black Puerto Rican man’s odyssey and transformation from an incarcerated gang member to the Co-Founder of the Young Lords Party.

Growing up fatherless and poor, Felipe Luciano didn’t yearn for wealth or dream of becoming a famous actor or athlete. He was tired of being poor and ached to be a man, to reach that point of sagacity, courage, and independence that would signal to the world that he was now a warrior, ready to fight the battle for truth and justice, to slay the dragon of evil, whatever that might be. In Flesh and Spirit, Luciano paints a vivid portrait of his life in New York City as a member of the city’s Latino community as well as his pivotal role in the Young Lords and The Last Poets.

Luciano’s memoir begins when as a teenage Brooklyn gang member he is convicted of man­slaughter. This pivotal moment changes the trajectory of his life. The American kid raised on Davy Crockett and Superman TV tales emerged from the womb of prison into a harsh, new monochromatic black/white world without the benefit of rose-colored glasses. It was a painful shattering of all his childhood beliefs and the realization that he was a poor Black Puerto Rican in white America clutching onto values that didn’t work. The only flotsam in this churning sea of ’60s social turmoil was college, poetry, revolutionary activity, and sometimes God. After getting an education, Luciano went on to become an acclaimed poet and political activist who advocates for the Latino population of New York City, for the kids growing up in the same circumstances he did.

Sparing no one—not the revolutionaries, the Revolution, nor the author himself—Flesh and Spirit is written with honesty and humility to help guide young people of color and other Americans through the labyrinths of ideology, organization, missteps, false paths, and phony societal promises.

Featuring archival photographs by Michael Abramson reproduced from Palante: Voices and Photographs of the Young Lords, 1969-1971 © 2011 Haymarket Books.

Available in a new digital edition with reflowable text suitable for e-readers

In this comparative work, Jesuit priest and Zen meditation advocate William Johnston offers a contemporary reading of the fourteenth-century Christian mystical work The Cloud of Unknowing and its powerful message of God's unconditional love in the face of despair.

Available in a new digital edition with reflowable text suitable for e-readers

This rare epistolary collection from the Civil War era preserves, amidst a recounting of the martial actions of the Irish Brigade, Peter Welsh's reflections on migration, citizenship, and what we owe to our institutions in an era of prejudice and discrimination.

The first sustained treatment of religion and religions in the scholarship of a prominent Caribbean thinker

Sylvia Wynter is a profoundly transdisciplinary scholar whose works span an impressive array of theory, literature, science, anthropology, philosophy, and religious studies as well as different forms, including essays, plays, a novel, and a 935-page unpublished manuscript entitled “Black Metamor­phosis: New Natives in a New World.” Whatever the medium, Wynter frequently engages religion as a relevant category of analysis, from reflections on Christianity, Islam, and Rastafarianism to the category and role of religion as a universal aspect of human social production.

Wynter’s writings have received enthusiastic attention by scholars in Black studies, Caribbean theory, critical race theory, literature, and philosophy. But until recently little scholarly writing exists that directly engages the topic of religion in her corpus. Words Made Flesh seeks to fill this gap by focusing exclusively on religion, religions, and religiosity in her work.

Bringing together scholars that provide a wide variety of theoretical perspectives on religion, political theology, social theory, and science studies, this book offers an in-depth engagement with one of the most innovative and important thinkers of the last forty years and illustrates how Wynter’s writing has significant implications for the study of religion and religion’s relationship to colonialism, race, humanism, science, and political theology.

Inspired by and committed to global Indigenous solidarity and South-South encounters, Indigenous Affinities examines the multifaceted connection between Chiapas and Palestine. In tracing unseen threads that connect parallel geographies of struggle found in contemporary Mayan and Palestinian narratives, Indigenous Affinities proposes affinity as a new conceptual framework. Eqeiq shows how—despite emerging from distinct historical processes of minoritization, subalternization, and racialization—Mayan and Palestinian written, visual, and performance texts articulate a common configuration of Indigeneity. These seemingly unrelated connections, Eqeiq contends, can be read through shared histories of land struggle, practices of autonomy, quests for liberation, and collective resistance to racial capitalism, military oppression, and colonial violence.

Eqeiq examines murals that offer a visual testimony to common struggles and transnational connection, explores fragmented bilingualisms that have propelled language revival and revitalization, highlights a shared concern with borders, and documents the performative commemorations of massacres. Reading such sites together in the complexities and specificities of disparate contexts, Indigenous Affinities illuminates how the lens of affinity can elucidate solidarity and resistance within the Global South.

What is the relationship between a writer’s life, milieu, and thought? In this daring and intellectually expansive text, part memoir and part political philosophy, the anthropologist Rafael Sánchez explores the forces and events that shaped him and the nations through which he moved.

Reconocimientos is a book of both personal and political reckoning, from the thrillingly emancipatory possibilities of Venezuela’s plazas to the political promise and disappointments of revolution. Written in the final year of his life, Reconocimientos moves from scenes of Sánchez’s youth in Cuba to fieldwork on the cult of Maria Lionza in Venezuela to confront the terrifying and alluring forces of patriarchal privilege at the base of monumentalist authoritarianism.

Sánchez’s intimate prose speaks with the urgency both of his own mortality and of the political crises of our moment. Amid the resurgence of patriarchy, hierarchy, and the valorization of inequality that have become pillars of populist movements in Latin America and beyond, Sánchez finds a residual radical possibility in ‘horizontal’ spaces, where the forces of mimesis permit manifold transformations.

Opens the field of Dante Studies to further transnational studies of the Divine Comedy’s circulation, translation, and global influence

This fascinating book examines how Dante was repurposed by Argentine politicians and authors who were concerned with the construction of Argentine national identity in the late nineteenth and early twentieth centuries. Sottong’s work is informed by the theories of Eric Hobsbawm, Benedict Anderson, and Nicolas Shumway, who coined the concepts of “invented traditions,” “imagined communities,” and “guiding fictions,” respectively. Sottong has applied these notions to the case of Argentina, which, after the War of Independence from Spain (1810–1818), had to develop its own national cultural identity.

In this volume, she investigates Dante’s transnational influence in Argentina: Why did Argentine authors consistently call upon Dante in their attempts to develop Argentine literature? What are the textual and thematic characteristics of Dante’s Divine Comedy that make it an ideal vehicle for literary appropriation? What are the historical and cultural factors that account for Dante’s enduring popularity in Italy and beyond? How did the strong presence of Italians in Argentina influence cultural production in the developing nation? And how are the re-writings of Dante in the Argentine canon in dialogue with one another?

What Sottong found, remarkably, was that rewriting Dante was a way for Argentine authors to voice their views on the direction that should be taken to develop Argentine letters; Dante became something of a literary guide as Argentine intellectuals navigated the complex labyrinth of their national identity. The consistent rewriting of the Divine Comedy in the Argentine context testifies to the fact that great works of literature can be revived during different periods and even reappropriated by various peoples to foster mythologies of inclusion or exclusion related to national identity.

The Small Worlds of Childhood argues that prose representations of bourgeois childhood contain surprising opportunities to reflect on the temporality of experience. In their narratives of children at home in their everyday worlds, Adalbert Stifter, Rainer Maria Rilke, and Walter Benjamin are not only able to shed a unique light on key issues in the history of philosophy. They also offer a queer critique of the normative expectation that the literature of childhood is oriented toward the future.

Stone shows that when writers engage in philosophical storytelling, showing children tarrying in quotidian experience, they dislodge childhood from its nostalgic value to grown-ups and the heteronormative demand to grow up. Such stories of children as philosophical subjects thus take on their own lingering, backwards, or all together strange sense of time. Stone demonstrates the necessity of recognizing how texts on childhood—before and beyond Freud—engage literary language in the service of a variety of philosophical attitudes, reminding us how poetic techniques can tell us something extraordinary about moments of ordinary experience and the manner with which humans, and especially children, cognize the world.

By bringing canonical German-language literary and philosophical traditions into conversation with current English-language queer approaches, Stone opens a queer counter-history of German and Austrian realist and modernist literature.

This title is available from the publisher on an open-access basis.

This coursebook is the first full-length study of cinematic “legal medievalism,” or the modern interpretation of medieval law in film and popular culture

For more than a century, filmmakers have used the “Middle Ages” to produce popular entertainment and comment on contemporary issues. Each of the twenty chapters in Law, Justice, and Society in the Medieval World represents an original contribution to our understanding of how medieval regulations, laws, and customs have been depicted in film. It offers a window into the “rules” of medieval society through the lens of popular culture.

This book includes analyses of recent and older films, avant-garde as well as popular cinema. Films discussed in this book include Braveheart (1995), Kingdom of Heaven (2005), The Passion of Joan of Arc (1928), The Last Duel (2021), The Green Knight (2021), The Little Hours (2017), and The Adventures of Robin Hood (1938), among others.

Each chapter explores the contemporary context of the film in question, the medieval literary or historical milieu the film references, and the lessons the film can teach us about the medieval world. Attached to each chapter is an appendix of medieval documentary sources and reading questions to prompt critical reflection.

A deeply researched and clearly argued account of the mutual growth of the federal government and the modern tobacco

Nearly everything about the United States tobacco economy changed in the generation following the American Civil War. From labor to consumption, manufacturing to regulation, tobacco was utterly reconstructed, “comparatively a new industry,” as one contemporary wrote.

The Political Reconstruction of American Tobacco, 1862–1933 exposes the causes of these changes, and in the process, it reconsiders cornerstones of the American national narrative. Through a detailed rendering of tobacco’s late-nineteenth-century political economy, this book argues that the federal state’s and American capitalism’s development were mutually constitutive—and fundamentally political—processes. From the Civil War to the Progressive Era, diverse political movements across tobacco’s commodity chain drove state and market development, creating the immense power and stifling poverty that defined tobacco’s reconstruction. The Political Reconstruc­tion of American Tobacco, 1862–1933 emphasizes the significance of the thousands of manufactur­ers whose interest groups shaped federal tax policy and, in turn, forged a powerful and effective internal revenue system; the increasingly influential fertilizer producers and warehouse operators who determined tobacco’s value; and the crop scientists who sought to promote and rationalize US tobacco production. As these actors reshaped tobacco’s commodity chain, they missed, and even dismissed, the interests of tobacco growers, especially newly emancipated African Americans and smallholding whites throughout the South.

The ruling logic of tobacco’s reconstructed political economy rationalized agrarian indebtedness, justified low prices, and intensified labor discipline on thousands of small farms. In emphasizing these exclusions, The Political Reconstruction of American Tobacco, 1862–1933 reveals how nineteenth-century state and economic development coincided with and even created rural poverty.

Across Africa, Asia, and the Americas, colonial Britain’s property laws are in the process of being transformed. Aesthetic Impropriety analyzes vanguard legal actions and literary innovations to reveal contemporary reforms to property law that are undoing law’s colonial legacies. Casey traces precise legal histories across distinct jurisdictions throughout the anglophone world, revealing the connection between land law and petroleum extraction in the Niger Delta, inheritance and divorce laws and gender inequality in India, intellectual property law and Indigenous dispossession in South Africa, and admiralty law and racialized non-personhood in the English Atlantic. In response to these manifold forms of dispossession, significant reforms are underway, including through common law suits, statutory reform, and proposed changes to legal doctrine.

Casey develops the concept of aesthetic impropriety to identify shared structures of thought across legal and literary venues. She shows that writers of poetry and prose are also transforming harmful property laws: in Nigeria, Ben Okri and Chigozie Obioma have articulated symbiotic ecological relationships that are also evidenced in recent actions against petroleum companies; in India, Arundhati Roy’s challenge to divorce laws has preempted similar attempts at reform in Parliament; in South Africa, Zoë Wicomb theorized protections for Indigenous modes of creative production nineteen years before they were signed into law; and in the Americas, M. NourbeSe Philip has proposed a novel method of achieving justice for the one hundred fifty enslaved people who were killed in the 1781 Zong massacre.

Aesthetic Impropriety makes a convincing case for literature’s generative capacities and registers the enduring significance of the postcolonial as a necessary framework for understanding globalized inequality in the twenty-first century. By analyzing shared legal and aesthetic transformations, Aesthetic Impropriety argues that law and literature play vital roles in creating anticolonial world orders.

Muslim charities and community organizations have assumed a significant role in refugee support since the Syrian catastrophe: in Jordan and Canada, as elsewhere, they deliver food aid, house orphans, and organize remedial education. But Islam is more than just a resource for humanitarian projects. The Dread Heights details how the Islamic tradition guides refugees, relief workers, and religious scholars in a world of brutal sieges and mass displacement.

Through an ethnography of religious imagination and theological argumentation, Iqbal demonstrates what is at stake beyond secular frames for migration and relief. Even as refugees become objects of humanitarian concern suspended between national orders, The Dread Heights brings another suspension into view: a form of life whose gestures are illuminated by the Quranic figure of the Heights. Iqbal’s ethnography pursues an unsentimental lucidity across the search for refuge, the trials of creational existence, and the ultimately enigmatic divine decree. In the shadow of war, beyond humanitarian order, Islam offers an orientation to the devastation of the present.

The first comparative treatment of the topic of līlā in Hindu and Christian traditions, this volume explores what it means to consider divine and human action under the categories of play, wit, drama, grace, and compassion

God at Play presents a theological exploration of the multifaceted motif of līlā across diverse Hindu and Christian landscapes and its wide-ranging connections to divine and human creativity. Given its ubiquity in Hindu theologies and life-forms, līlā offers a rich comparative framework for exploring certain ways of understanding divine and human action as expressed in Hindu and Christian sacred texts, philosophical theology, and ritual practices.

Though līlā is often interpreted simply as “play,” the essays in this volume reflect a far richer semantic and conceptual field, ranging from spontaneity and gratuitousness, through joy and humor, to mercy and compassion. By focusing on the different contexts in which līlā is found in Hindu traditions and resisting any uniform translation of the term, the contributors to this volume avoid the risk of using predominantly western or Christian categories to understand the Hindu other. The volume thus explores how līlā functions in a variety of distinctive philosophical, theological, and devotional ways across Hindu traditions, and listens for echoes in Christian understandings of the gratuitousness of the created order in relation to God.

God at Play is a genuine experiment in deep learning across traditions. Each chapter reflects on what is learned by taking līlā as the category of comparison and invites the reader to think about what these conversations add, confirm, or change in relation to earlier twentieth-century scholarship on play—not least, in terms of what difference it might make to understand human life as an imitation and a participation in the divine life of a playful deity.

Culture is inextricable from politics. This includes the politics of who we are, as teachers, intellectuals, writers, cultural workers, and students, and what we want to bring to and take from the site of instruction. It also includes the politics of who we want to be, as citizens, professionals, and active contributors to our communities and to the world in general, and what we can be, realistically, in the particular contexts in which we live.

Teaching Politically addresses some of the political constraints that shape our pedagogical spaces, especially in the teaching of literature. The book brings together a global group of academics, activists, public intellectuals, poets, and novelists to examine the way politics manifest pedagogically, and how a commitment to educating manifests politically, in and beyond the classroom. At the heart of the discussion is how political and professional paradigms chafe against, intersect with, or otherwise become inseparable from each other in any vocation that attempts to educate: from writing, journalism, and public speaking to art, activism, and medicine.

Contributors: Dimitris Christopoulos, Dimitri Dimoulis, Khaled Fahmy, Rishi Goyal, May Hawas, Bonnie Honig, Mona Kareem, Benjamin Mangrum, Nora Parr, Bruce Robbins, Ahdaf Soueif, Omid Tofighian, Elahe Zivardar

“Fighter-Writer” reports from major battles in the Pacific highlight what America’s Marines endured in World War II

Douglass K. Daniel presents a fascinating trove of previously classified material withheld from the public because of government and public relations concerns at the time, including tactical details that could inadvertently aid the enemy, battlefield gore that could disturb readers, and the gamut of issues of taste. Navy censors in the field and editors at Marine Corps headquarters in Washington were also on alert for any material that could negatively affect the Corps itself or the overall war effort. Soul-searching stories that questioned the nature of war were rejected lest they sow doubt stateside about the cause for which so many lives were being lost.

Behind the bylines was a new breed of storytellers. Considered “fighter-writers,” Marine combat correspondents, or CCs, carried typewriters as well as weapons. The Marine Corps Division of Public Relations recruited them from America’s newsrooms to join the fight that stretched from Guadalcanal and the bloody assault on Tarawa to the black sands of Iwo Jima and the dense jungles of Okinawa. Their approved work appeared in civilian newspapers, magazines, and other national and local media.

This collection also highlights the unique efforts of the CCs and the public relations officers who commanded them. While they were assigned to report and write, they were Marines first. They eagerly put aside their notebooks to take up arms against the enemy as needed. Many were wounded in battle, and more than a dozen were killed, giving their lives to get the story behind the most significant conflict in human history.

Contemporary debate on cosmopolitanism routinely refers to Immanuel Kant as its intellectual origin. A group of Chinese and German-speaking thinkers in the early twentieth century, however, used classical Chinese philosophy as an alternative intellectual genealogy to reimagine ethics, politics, society, and modernity for the entire world. Their engagement with Confucianism, Taoism, and Buddhism broadens the scope of global intellectual history to include a non-European origin of concepts and ideas.

Due to the differences in their local crises, the Chinese and the European stories are often narrated in separate national and cultural contexts. Bridging the critical divide between China and the West, The Quest for Liberation examines the thinkers’ shared interest in Chinese philosophy and their common effort to envision a world culture other than Western modernity.

Breaking with the common logic of either studying the reception and adaptation of Western ideas in the East or critiquing the misrepresentation of the East in the West, Zhang’s book emphasizes entanglements between Chinese and European thinkers and highlights their quest for liberation in a globalizing world. Their visions of an ontological commons for everyone help us imagine a better world community in our time of global crises, beyond the clash of civilizations.

This book is available from the publisher on an open access basis.

A bold, trailblazing investigation into soteriology, approached by way of Girardian mimetic theory and Eastern Orthodox theological reflection

Redemption: A Mimetic Soteriology brings French literary critic René Girard’s mimetic theory of human behavior together with a breadth of Christian approaches to redemption through the Cross. Girard’s mimetic understanding of sacrifice is drawn upon to illuminate biblical narratives about redemption as well as the theologies of Anselm of Canterbury, Peter Abelard, and Gregory of Nyssa. Nicholas Roumas shows by these readings that redemption can be understood as a reconfigura­tion of symbolic values with profound consequences for human relations and social organization. Redemption thus serves theologians as a basis for a new practical dogmatics.

This exploration is a breath of fresh air in Orthodox theology, utilizing patristic and scriptural sources outside the framework of the predominant “neo-Patristic synthesis” and introducing an entirely new modern paradigm onto the Orthodox scene. For theologians of other traditions, Redemption contributes to the library of Girardian theologies its first Eastern Orthodox install­ment. For Girardians, it provides critique and refinement of many of Girard’s most nuanced views and gives due attention to overlooked and controversial aspects of his thought. For the lay reader, the book provides an accessible entry into the spirituality of the Cross through a lens that is both modern and traditional.

Redemption provides a revitalizing infusion into contemporary Orthodox theological discourse. Its ideas will impact theology in the Orthodox Church and beyond for decades to come and are the basis for a paradigm shift in our understanding of redemption and its practical consequences. The lay reader and professional theologian alike will find novelty and utility in its ideas.

Poetry that weaves personal narratives with deep political insights, masterfully exploring the intricate intersections of history, philosophy, and emotion

In this debut collection, renowned scholar Rosalind Morris spans the lyrical landscapes of personal experience and global political dilemmas. Organized into four distinct sections, each featuring seven poems that vary in style and content, For Lack of a Dictionary reflects the diverse facets of human complexity and the struggle to find a language capable of addressing them. Beginning with a mythopoetic exploration of the self and progressing through varied voices and forms—from the epistolary and the erotic to the elegiac—the collection navigates the absences and presences that shape our interpersonal connections. From Homer’s Iliad to Hobbes’s Leviathan, and from the intimate letters of the Rosenbergs to the television broadcasts of lunar landings, Morris revisits epic figures of classical literature with a contemporary voice, concluding with poignant reflections on personal loss and the seductive allure of magical thinking in times of grief.

In the tradition of Adrienne Rich and Muriel Rukeyser, Morris engages in a dialogue that challenges and enlightens, positioning For Lack of a Dictionary as a profound commentary on the intersections of personal and political realms.

An exploration of the mythical Mary Glass—her art, her life, and her times

Mary Glass (1946–2021) was an innovative modern dancer and choreographer, quietly instrumental to the San Francisco Bay Area art scene of the 1960s and ’70s—barely known today—admired for her experimental movements based on sounds and images of the Pacific.

As a child, Mary Glass took her first dance class with Anna Halprin on her famed redwood dance deck in Marin County’s Kent Woodlands. Dancing with the blue sky as her ceiling—surrounded by magical madrones and redwoods—the effect on Mary Glass was seismic. Fittingly, Halprin called her classes “dance experiences.”
Mary Glass’s lifestyle, her anxieties, and her dance reflect the human geography of Northern California: Happenings, Zero Population Growth (ZPG), feminism, same-sex love, civil rights, Vietnam, environmentalism. Cascading in the waves of the politics of the time was Mary Glass’s anorexia, an unexpected pregnancy, and her life-long love affair with the Black painter Eliza Vesper.

Today Mary Glass is remembered by an increasingly diminishing handful of devotees. Author Carol Mavor is one of them.

In this daring work of fictocriticism, where “feelings are facts,” Like the Sea asks its readers—just as Anna Halprin asked of each of her young students as they were leaving class—“What are you taking with you from the natural world?”

Halprin’s words will resonate in Mary’s mind her entire lifetime and beyond.

In the after-time of the prescient Mary Glass—with its decline of sea kelp and warm Decembers— Mavor herself considers the Anthropocene, tasting extinction as if swallowing the long-gone abalone mollusks of her own Bay-Area childhood: salty, like the sea, but strangely sweet. And from it, Mavor delivers the reader to the far-away country of the not-so-distant past to help envision a future.

There are no photographs or films of Mary Glass dancing. The life of Mary Glass is nearly forgotten, her memory on the edge of extinction. In meditative, dazzling and lyrical prose, Like the Sea tells us—like the ocean’s music in our ear—we need to remember extinction to imagine our way out of it.

From Marienbad to the Bates Motel, cinematic hotels are more than a mere backdrop to a film’s action. They actively scaffold the formal, aesthetic, and narrative possibilities of cinema. This book takes a journey through spaces of temporary dwelling—hotels, inns, and motels—to delve into the dynamics and contradictions that structure modern life.

Along the way, O’Dwyer considers questions of plot and eroticism, labor and globalization, and the ethics and economics of hospitality. Drawing on a broad array of films from European art cinema to experimental adult media, and placing cinema into dialogue with film theory and media history, Hotels explores both how and why the hotel has such a strong purchase on the cinematic imaginary.

Bringing together lyric poetry, documentary photographs, and lives lived along the U.S.-Mexico borderland

Written during extended periods in Brownsville, McAllen, and Marfa, Texas, in Carbonate of Copper Roberto Tejada gives voice to unsettled stories from the past, as well as to present-day experiences of custody and displacement. The poems stage scenes adjacent to the U.S.-Mexico border and to the realities of migration warped by jarring political vitriol, bearing witness to past and present-day hazards and sorrows wagered by those in search of asylum. So enabled, these poems make visible not only the infrastructure of militarized surveillance and its detention complex but also the aspiration to justice and mercy and the resilient self-organized order of time for migrants seeking human dignity while awaiting passage to the other side of the dividing line.

The book’s title refers also to a mineral found in azurite and malachite, a color medium that had an impact on art during the first phase of globalization, the ensuing colonial enterprise, and its systems of extraction. Carbonate of copper was less desirable than the deeper ultramarine made from ground lapis lazuli, but Renaissance artists and patrons nonetheless coveted it and prompted a market for the blue derivative used in tempera and oil pigment. The blue powder pigment serves, too, as a form of sorcery: one that would ward off those who deal in injury of the already dispossessed.

Turning his attention to the forced relocation of peoples, the COVID-19 death toll, the encroaching dangers of illiberal rule, the meanings of home and eviction, the power of cultural memory, as well as his artistic forebears, Tejada accounts for the uncounted and those excluded from belonging in voices that tell the cruel fortunes and joyful vitality of human and non-human life forms.

What are film props? What do they do? This book answers these questions by a close attention to those material objects that are used to construct cinematic worlds.

The term “prop” is short for property. This truncated term’s etymology belies the expansiveness of the concept and indicates the micro and macro scales at which the prop operates. Props are the material—often literal—furniture of cinema’s diegetic reality. Props are also narrative agents: think of the animacy of objects in Jean Epstein’s account of photogénie, the crystal egg in Risky Business, or the domestic bric-à-brac of Sirk’s melodramas. The prop is central to production design and the construction of mise-en-scène. And yet, the prop has rarely—almost never—been taken as an object of analysis and theorization in its own right.

This book begins by tracing the prop’s curious but unacknowledged role in film theory, before proceeding to a series of theoretical speculations and close readings that bring the prop into focus. Analyses of scenes of “prop mastery” demonstrate the labor that props perform and enable, as well as the interpretive work they make possible. Across a variety of genres, modes, and historical contexts—studio filmmaking, art cinema, adult and avant-garde films—The Prop introduces readers to the notion of “prop value,” a quality that puts the prop in proximity to the capitalist commodity, but also provides an ironic distance from the commodity’s subjection to exchange value. Gorfinkel and Rhodes argue that the prop is nothing less than a condensation of how labor, subjection, value, and instrumentality underwrite the very conditions of cinema.

A profound new volume that reckons with the history of an American Catholic Church embedded in and drawing benefits from White supremacy

For the Church to become a truly anti-racist institution, we must first understand how today’s racial challenges are embedded in the theo-logic of American Christianity and the cultural production of our Christian educational institutions. As colleges and universities reckon with their involvement in slavery, Grace of the Ghosts asks Christian-affiliated institutions (of congregation, school, and media) to expand this reckoning with attention to the many ways they have been embedded in and drew benefits from American systems of White supremacy.

Too often, White Christian histories render White Christians as the “good guys” in order to make a brutal history plausible and thus erase countless injustices committed against Indigenous, Black, Latinx, and Asian peoples. Author Jeannine Hill Fletcher writes instead a US Catholic history that sheds light on the crimes committed against these ancestors by members of their own faith community. Grace of the Ghosts focuses on specific case studies of Catholic educational and ecclesial institutions, journeying through numerous microhistories to provide an accessible program to work toward the flourishing of a multiracial and multicultural Church. Hill Fletcher digs deeply into the details of Jesuit slaveholding at Georgetown, the expansion of Church networks on the frontiers to the West and South and emer­gent cities to the North, and the extension of the work of religious women from the East Coast to the Midwest. The volume considers the implications of Catholic involvement in Indian Boarding Schools and envisions alternative possibilities in the Catholic activism of the United Farmworkers. Each micro­history elevates the theological insights that emerge from those who withstood the assaults of White Christian supremacy. Hill Fletcher then orients the reader forward by envisioning possibilities of repair. Recognizing that this will require extensive and ongoing work, the book closes with the consideration of spiritual capital (including a reclamation of Ignatius’s Spiritual Exercises) that might sustain us as we write the next chapter in the nation’s long struggle against White supremacy.

Much work must be done for reparation, reconciliation, and repair to unfold fully. Grace of the Ghosts provides a bridge to institutional accountability for past failings and a path toward becoming transformative institutions for the future.

Discover the chilling untold story of sexual forced labor in Nazi concentration camps

In his seminal work, The Concentration Camp Brothel, Robert Sommer reveals the hidden hor­rors of sexual forced labor within the SS camp system, a subject long overshadowed and seldom acknowledged in the discourse on the Holocaust.

Through his rigorous examination of over seventy archives and poignant interviews with more than thirty survivors, including former visitors of camp brothels, Sommer paints a vivid and harrow­ing picture of the atrocities committed. This book is the first to offer a comprehensive exploration of the establishment, operation, and profound impact of brothels in Nazi concentration camps.

Sommer’s research meticulously details the brothels’ integration into the concentration camp system, their role in the Nazi exploitation of bodies for control and profit, and the complex reac­tions of the prisoner society to these establishments. He explores the desperate survival strategies employed by the women forced into sexual labor and the chilling motivations of their exploiters.

The book also places the tragedy of camp brothels in the broader context of sexual violence under Nazi rule, making a critical connection between these acts of exploitation and the overall history of the Holocaust. This updated English edition incorporates new findings and perspectives since the original German publication in 2009, providing a more comprehensive understanding of the subject. The foreword by Annette F. Timm adds further context and contemporary analysis, enhancing the book’s relevance and depth.

A vibrant collection of short plays bringing Irish history and culture alive through an extraordinary collage of documents, songs, poems, and texts.

In Nine Irish Plays for Voices, award-winning poet Eamon Grennan delves deep into key Irish subjects—big, small, literary, historical, political, biographical—and illuminates them for today’s audiences and readers. These short plays draw from original material centering on important moments in Irish history and the formation of the Irish Republic, such as the Great Famine and the Easter Rising; the lives of Irish literary figures like Yeats, Joyce, and Lady Gregory; and the crucial and life-changing condition of emigration.

The rhythmic, musical, and vivid language of Grennan’s plays incorporates traditional song lyrics, lines of Irish poetry, and letters and speeches of the time. The result is a dramatic collage that tells a story through the voices of characters contemporary to the period of the play’s subject. By presenting subjects through the dramatic rendering of the human voice, the plays facilitate a close, intimate relationship between players and the audience, creating an incredibly powerful connection to the past. Historical moments and literary figures that might seem remote to the present-day reader or audience become immediate and emotionally compelling.

One of the plays, Ferry, is drawn entirely from the author’s imagination. It puts unnamed char­acters who come from the world of twentieth-century Ireland on a boat to the underworld with the philosopher Ludwig Wittgenstein. On their journey the five strangers, played by two voices, tell stories about their lives, raising the question of how language both captures and transforms lived experience. Addressing the Great Famine, Hunger uses documentary evidence to give audiences a dramatic feel for what has been a silent and traumatic element in Irish history. Noramollyannalivi­alucia: The Muse and Mr. Joyce is a one-woman piece that depicts James Joyce’s wife as an older woman sharing her memories and snippets from the works of her husband. Also included in this rich volume is the author’s adaptation of Synge’s Aran Islands, as well as Emigration Road, History! Reading the Easter Rising, The Muse and Mr. Yeats, The Loves of Lady Gregory, and Peig: An Ordinary Life.

WINNER, IPPY BOOK AWARDS, LGBTQ+ FICTION

WINNER, 2023 BEST INDIE BOOK AWARD, LGBTQ2 FICTION

SHORT LIST, VCU CABELL FIRST NOVELIST AWARD

ON LAMBDA LITERARY REVIEW'S SEPTEMBER MOST ANTICIPATED LIST

ONE OF QUEER FORTY'S BEST PRIDE READS FOR SUMMER 2023!

Three gay men in pre-Stonewall New York City find their fates thrown together in the police raid of a Village bar.

Roger Moorhouse is a Wall Street banker and Westchester family man with a preciously guarded secret. As the shouting begins and flashlights blaze in his face, the life he’s carefully curated over the years—a fancy new office overlooking lower Broadway, a house in Beechmont Woods, his wife and children—is about to come crashing down around him.

Columbia literature professor Julian Prince lives a comparatively uncloseted life when he finds his first committed relationship tested to its limits. How could he explain to Gus, a fearless young artist, that he couldn’t stay with him that weekend because the woman who was still technically Julian’s fiancée would be visiting? But when Gus is struck unconscious by a police baton, Julian comes out of hiding to protect him, even if exposure means losing everything.

For Danny Duffy, an Irish kid from the Bronx with a sassy mouth and a diverse group of friends, the raid is a galvanizing, Spartacus moment. Danny doesn’t have too much left to lose; his family has just disowned him. But once his name appears in the newspaper, he’ll be fired from his job at Sloan’s Supermarket, where he’s risen to assistant manager of produce, and begin a journey that veers between political enlightenment and violent revenge.

The three men find themselves in a police wagon together, their hidden lives threatened to be revealed to the world. Blackmail, a private investigator, Gus’s disappearance, and Danny’s quest for retribution propel Disorderly Men to its piercing conclusion, as each man meets the boundaries of his own fear, love, and shame. The stakes for each are different, but all of them confront a fundamental question: How much happiness is he allowed to have . . . and what share of it will he lay claim to?

On the urgent need to promote critical reading skills amidst rising authoritarianism

Children’s author Philip Pullman famously said that “There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children’s book.” While the recent rise of fascist ideology in the United States might seem a subject too large and adult to be dealt with in literature for children or teens, Annette Wannamaker proposes in How to Read Like an Anti-Fascist that there are books aimed at future generations which critique and counter fascist propaganda and mythmaking.

Works of literature can reflect fascist ideology and promote it as well, but Wannamaker proposes that some books also offer tools for understanding it. Books written for beginners can introduce readers to complex concepts, break big ideas into manageable parts, and teach readers how to read the world outside of the book. Antifascist books are ones that analyze fascistic rhetoric and storytelling, educate about America’s long history of authoritarianism, and highlight various facets of fascism such as scapegoating others and reasserting patriarchal power.

From “The Emperor’s New Clothes” and the tales of Superman to Mildred Taylor’s Roll of Thunder, Hear My Cry, the 1619 Project and contemporary works such as All Boys Aren’t Blue and Donald Builds the Wall, Wannamaker shows how the ethos of authoritarianism is characterized by a strict hierarchy that places children at its very bottom. In doing so, she argues convincingly that books written for young people can provide a particular view from the bottom, a perspective well-suited to interrogating systems of power.

A vivid, imaginative response to the sensual and erotic in postwar American photography, with attention to the beauty of the nude, both male and female

When photographer Coda Gray befriends a family with a special interest in a young boy, the motivation behind his special attention is difficult to grasp, “like water slipping through our fingers.” Can a man innocently love a boy who is not his own?

Using fiction to reveal the truths about families, communities, art objects, love, and mourning, Like a Lake tells the story of ten-year-old Nico, who lives with his father (an Italian- American architect) and his mother (a Japanese-American sculptor who learned how to draw while interned during World War II). Set in the 1960s, this is a story of aesthetic perfection waiting to be broken. Nico’s midcentury modern house, with its Italian pottery jars along the outside and its interior lit by Japanese lanterns. The elephant-hide gray, fiberglass reinforced plastic 1951 Eames rocking chair, with metal legs and birch runners. Clam consommé with kombu, giant kelp, yuzu rind, and a little fennel—in each bowl, two clams opened like a pair of butterflies, symbols of the happy couple. Nico’s boyish delight in developing photographs under the red safety light of Coda’s “Floating Zendo”— the darkroom boat that he keeps on Lake Tahoe.

The lives of Nico, his parents, and Coda embody northern California’s postwar landscape, giving way to fissures of alternative lifestyles and poetic visions. Author Carol Mavor addresses the sensuality and complexity of a son’s love for his mother and that mother’s own erotic response to it. The relationship between the mother and son is paralleled by what it means for a boy to be a model for a male photographer and to be his muse. Just as water can freeze into snow and ice, melt back into water, and steam, love takes on new forms with shifts of atmosphere. Like a Lake’s haunting images and sensations stay with the reader.

Winner, Victorian Society in America Book Award

A colorful tale of a singular New York City neighborhood and the personalities who make it special

To outsiders or East Siders, Riverside Park and Riverside Drive may not have the star status of Fifth Avenue or Central Park West. But at the city’s westernmost edge, there is a quiet and beauty like nowhere else in all of New York. There are miles of mansions and monuments, acres of flora, and a breadth of wildlife ranging from Peregrine falcons to goats. It’s where the Gershwins and Babe Ruth once lived, William Randolph Hearst ensconced his paramour, and Amy Schumer owns a penthouse. Told in the uniquely personal voice of a longtime resident, Heaven on the Hudson is the only New York City book that features the history, architecture, and personalities of this often overlooked neighborhood, from the eighteenth century through the present day.

Combining an extensively researched history of the area and its people with an engaging one-on-one guide to its sights, author Stephanie Azzarone sheds new light on the initial development of Riverside Park and Riverside Drive, the challenges encountered—from massive boulders to “maniacs”—and the reasons why Riverside Drive never became the “new Fifth Avenue” that promoters anticipated. From grand “country seats” to squatter settlements to multi-million-dollar residences, the book follows the neighborhood’s roller-coaster highs and lows over time. Readers will discover a trove of architectural and recreational highlights and hidden gems, including the Drive’s only freestanding privately owned villa, a tomb that’s not a tomb, and a sweet memorial to an eighteenth-century child. Azzarone also tells the stories behind Riverside’s notable and forgotten residents, including celebrities, murderers, a nineteenth-century female MD who launched the country’s first anti-noise campaign, and an Irish merchant who caused a scandal by living with an Indian princess.

While much has been written about Central Park, little has focused exclusively on Riverside Drive and Riverside Park until now. Heaven on the Hudson is dedicated to sharing this West Side neighborhood’s most special secrets, the ones that, without fail, bring both pleasure and peace in a city of more than 8 million.

In his inimitable prose, master storyteller Peter Quinn chronicles his odyssey from the Irish Catholic precincts of the Bronx to the arena of big-league politics and corporate hardball.

Cross Bronx is Peter Quinn’s one-of-a-kind account of his adventures as ad man, archivist, teacher, Wall Street messenger, court officer, political speechwriter, corporate scribe, and award-winning novelist. Like Pete Hamill, Quinn is a New Yorker through and through. His evolution from a childhood in a now-vanished Bronx, to his exploits in the halls of Albany and swish corporate offices, to then walking away from it all, is evocative and entertaining and enlightening from first page to last. Cross Bronx is bursting with witty, captivating stories.

Quinn is best known for his novels (all recently reissued by Fordham University Press under its New York ReLit imprint), most notably his American Book Award–winning novel Banished Children of Eve. Colum McCann has summed up Quinn’s trilogy of historical detective novels as “generous and agile and profound.” Quinn has now seized the time and inspiration afforded by “the strange interlude of the pandemic” to give his up-close-and-personal accounts of working as a speechwriter in political backrooms and corporate boardrooms:

“In a moment of upended expectations and fear-prone uncertainty, the tolling of John Donne’s bells becomes perhaps not as faint as it once seemed. Before judgment is pronounced and sentence carried out, I want my chance to speak from the dock. Let no man write my epitaph. In the end, this is the best I could do.” (from the Prologue)

From 1979 to 1985 Quinn worked as chief speechwriter for New York Governors Hugh Carey and Mario Cuomo, helping craft Cuomo’s landmark speech at the 1984 Democratic Convention and his address on religion and politics at Notre Dame University. Quinn then joined Time Inc. as chief speechwriter and retired as corporate editorial director for Time Warner at the end of 2007. As eyewitness and participant, he survived elections, mega-mergers, and urban ruin. In Cross Bronx he provides his insider’s view of high-powered politics and high-stakes corporate intrigue.

Incapable of writing a dull sentence, the award-winning author grabs our attention and keeps us enthralled from start to finish. Never have his skills as a storyteller been on better display than in this revealing, gripping memoir.

Winner, "Gold" Independent Publishing Award (IPPY) for LGBTQ+ Nonfiction
Winner, The Randy Shilts Award for Gay Nonfiction, 34th Annual Triangle Awards
2023 Lammy Finalist, Gay Memoir/Biography

A coming-of-age memoir of life on the front lines of the AIDS crisis with ACT UP New York.

From the moment Ron Goldberg stumbled into his first ACT UP meeting in June 1987, the AIDS activist organization became his life. For the next eight years, he chaired committees, planned protests, led teach-ins, and facilitated their Monday night meetings. He cruised and celebrated at ACT UP parties, attended far too many AIDS memorials, and participated in more than a hundred zaps and demonstrations, becoming the group’s unofficial “Chant Queen,” writing and leading chants for many of their major actions. Boy with the Bullhorn is both a memoir and an immersive history of the original New York chapter of ACT UP, the AIDS Coalition to Unleash Power, from 1987 to 1995, told with great humor, heart, and insight.

Using the author’s own story, “the activist education of a well-intentioned, if somewhat naïve nice gay Jewish theater queen,” Boy with the Bullhorn intertwines Goldberg’s experiences with the larger chronological history of ACT UP, the grassroots AIDS activist organization that confronted politicians, scientists, drug companies, religious leaders, the media, and an often uncaring public to successfully change the course of the AIDS epidemic.

Diligently sourced and researched, Boy with the Bullhorn provides both an intimate look into how activist strategies are developed and deployed and a snapshot of life in New York City during the darkest days of the AIDS epidemic. On the occasions where Goldberg writes outside his personal experience, he relies on his extensive archive of original ACT UP documents, news articles, and other published material, as well as activist videos and oral histories, to help flesh out actions, events, and the background stories of key activists. Writing with great candor, Goldberg examines the group’s triumphs and failures, as well as the pressures and bad behaviors that eventually tore ACT UP apart.

A story of ordinary people doing extraordinary things, from engaging in outrageous, media-savvy demonstrations, to navigating the intricacies of drug research and the byzantine bureaucracies of the FDA, NIH, and CDC, Boy with the Bullhorn captures the passion, smarts, and evanescent spirit of ACT UP—the anger, grief, and desperation, but also the joy, camaraderie, and sexy, campy playfulness—and the exhilarating adrenaline rush of activism.

The tale of New York’s Young Reds—a riveting journey through the YPA’s rise and influence

Young Reds in the Big Apple: The New York YPA, 1923–1934 by Jack Hodgson is a compelling historical account that delves into the heart of American communism through the lens of New York City’s Young Pioneers of America (YPA). This meticulously researched book sheds light on a neglected aspect of American history, revealing the intricate details of the YPA’s formation, ideologies, and activities from 1923 to 1934.

Hodgson illustrates the YPA’s journey, from its early days as a branch of the Communist Party USA, intended for youth aged 8–16, to its eventual disbandment. The book explores the organization’s unique structure, ethos, and activities, showcasing how it became a formidable force in New York’s political landscape. He vividly portrays the YPA members’ involvement in public protests, education reform, and their bold stance against prevailing social norms, including racial and gender issues.

The narrative goes beyond mere historical recounting, offering deep insights into the internal dynamics of the YPA, its relationship with the adult Communist Party, and its interactions with other political entities. Hodgson’s analysis of the YPA’s impact on its young members and the broader community is both insightful and thought-provoking.

Young Reds in the Big Apple stands out for its rigorous approach to a controversial subject, avoiding partisanship to provide a balanced view of the YPA’s legacy. This book is not just a histori­cal account; it’s an exploration of youthful activism, political movements, and the complexities of American communism during a pivotal era.

A testament to the resilience and determination of Black North Carolinians to achieve educational equality

This book examines the educational experiences of Black North Carolinians during the American Civil War and Reconstruction period, 1861–1877. By highlighting the collaborative efforts that led to the growing network of schools for the formerly enslaved people, it argues that schooling the Freedpeople was a contested terrain, fraught with conflicting visions of Black freedom and the role education should play. Although Black men and women emerged as the driving force behind the educational endeavors of this period, their work was facilitated by Northern aid and mission­ary societies, the federally-mandated Freedmen’s Bureau, and over 1,400 teachers from various regional and racial backgrounds. Yet the educational landscape was far from uniform, and the individuals and organizations involved had their distinct visions regarding the nature and purpose of Freedpeople’s education.

Through the use of qualitative and quantitative research methods, this book offers new insights into the reasons why Black and white Northerners and Southerners elected to become teachers. By examining their diverse motivations and experiences, it argues that attitudes toward Freedpeople’s education were complex and fluid, defying neat characterization.

Despite mounting obstacles and opposition to their work, Black North Carolinians’ unrelenting quest for education ultimately gave rise to free public schooling for both races, the professionaliza­tion of Black teachers, and an extensive network of Historically Black Colleges and Universities.

Explores how heritage discourses and local publics interact at Catholic mission sites in the southwestern United States, northern Mexico, and the Southern Cone

Interdisciplinary in scope and classed under the name “critical heritage studies,” Heritage and Its Missions makes extensive use of ethnographic perspectives to examine heritage not as a collection of inert things upon which a general historical interest is centered, but as a series of active meanings that have consequences in the social, political, and economic arenas. This approach considers the places of interaction between heritage discourses and local publics as constructed spaces where the very materiality of the social and the political unfolds.

Heritage and Its Missions brings together researchers from several countries interested in the pre-republican Catholic missions in the Americas as heritage. Each essay discusses the past and current heritage meanings applied to a specific mission by national and multicultural states, local Indigenous and non-Indigenous communities, international heritage institutions, and scholars. They then address how heritage actors produce knowledge from their positioned perspectives; how dif­ferent actors, collectives, communities, and publics relate to them; how heritage representations are deployed and contested as social facts; and how different conceptions of “heritage” collide, collaborate, and intersperse to produce the meanings around which heritage struggles unfold.

Embracing hospitality and inclusion in Abrahamic traditions

One of the signal moments in the narrative of the biblical Abraham is his insistent and enthusiastic reception of three strangers, a starting point of inspiration for all three Abrahamic traditions as they evolve and develop the details of their respective teachings. On the one hand, welcoming the stranger by remembering “that you were strangers in the land of Egypt” is enjoined upon the ancient Israelites, and on the other, oppressing the stranger is condemned by their prophets throughout the Hebrew Bible.

These sentiments are repeated in the New Testament and the Qur’an and elaborated in the interpretive literatures of Judaism, Christianity, and Islam. Such notions resonate obliquely within the history of India and its Dharmic traditions. On the other hand, they have been seriously challenged throughout history. In the 1830s, America’s “Nativists” sought to emphatically reduce immigra­tion to these shores. A century later, the Holocaust began by the decision of the Nazi German government to turn specific groups of German citizens into strangers. Deliberate marginalization leading to genocide flourished in the next half century from Bosnia and Cambodia to Rwanda. In the aftermath of September 11, 2001, the United States renewed a decisive twist toward closing the door on those seeking refuge, ushering in an era where marginalized religious and ethnic groups around the globe are deemed unwelcome and unwanted.

The essays in Welcoming the Stranger explore these issues from historical, theoretical, theo­logical, and practical perspectives, offering an enlightening and compelling discussion of what the Abrahamic traditions teach us regarding welcoming people we don’t know.

Welcoming the Stranger: Abrahamic Hospitality and Its Contemporary Implications is available from the publisher on an open-access basis.

Published by The Fritz Ascher Society for Persecuted, Ostracized and Banned Art and the Fordham University Institute on Religion, Law and Lawyer’s Work

A new perspective on spirituality and social change as seen through the work of six visionary thinkers

In Liberating Spiritualities, Christopher D. Tirres offers an in-depth exploration of spirituality as a catalyst for social transformation, showcasing the profound insights of six distinguished twentieth-century liberation thinkers from across the Américas. This thought-provoking work examines the contributions of Marxist philosopher José Carlos Mariátegui, renowned educator and philosopher Paulo Freire, innovative constructive theologian Virgilio Elizondo, influential cultural and feminist theorist Gloria Anzaldúa, activist mujerista theologian and social ethicist Ada María Isasi-Díaz, and groundbreaking ecofeminist theologian Ivone Gebara.

Tirres examines the distinct yet interconnected philosophies of these figures, showcasing their unified critique of colonial Christendom and their deep commitment to the marginalized. He adeptly articulates how their diverse religious and philosophical backgrounds come together in a shared vision of spirituality as a fundamental aspect of human life and intelligence. He further illuminates how these thinkers advocate for spirituality as a non-reductive, life-affirming practice, transcending traditional boundaries and offering an integrated approach to faith, culture, and social justice. Their collective insights form a persuasive case for re-envisioning spirituality as a crucial element in the quest for a more just and compassionate world.

Liberating Spiritualities is not only a tribute to these six influential figures but also a critical reflection on the relevance of their ideas in today’s global context. Tirres’s transdisciplinary study bridges liberationist and pragmatic insights, offering readers a fresh, highly original interpretation of socially engaged spirituality, making this book an essential resource for those seeking to understand the transformative power of spirituality in the pursuit of social justice and human dignity.

A fictional manual to help disrupt today’s all-too-real energy and climate emergencies

The Energy Emergency Repair Kit (E.E.R.K.) is a collaboratively-authored research-creation inter­vention that explores myriad ecological, cultural, and political resonances of the three concepts named in its title: energy, emergency, and repair. The E.E.R.K combines image, text, and sound to riff on the idea of a repair manual—that staple genre of self-help and self-making—while exploring energy emergency and energy emergence in several entangled registers.

Created collectively by artists, designers, and scholars working and living at various places on Turtle Island, the E.E.R.K. offers a host of situated activities and speculative probes designed to respond to today and tomorrow’s energy emergencies. The kit intermingles diagrammatic designs with instructional convolutions and perplexing protocols that supply non-programmatic yet highly pragmatic means for navigating, communicating, operating, and undoing the investments that have come to overdetermine energetic relations in the past, present, and future. Triggered most immediately by the pandemic moment circa 2020, with its strangely intermittent and inscrutable convolutions of fossil-fueled business-as-usual, the E.E.R.K. reflects and reckons the long-roiling and fully chronic energy emergency orchestrated over several centuries by racial-fossil capitalism’s mass production of injustices.

The E.E.R.K. positions energy as more than just a resource to be exploited and managed, more than an infrastructural obstacle to overcome, more than fuel for the nightmares that lie ahead (or that are, in too many cases, already here). As a generative, multitudinous fabulation, the E.E.R.K. probes energetic networks—the bonds of endeavor; the glow of affection; the pulse of attunement; the drive of subtraction; the charge of uncertainty; the resilience of exhaustion; the obstinacy of making do; the shadow of fossils; the pull of futurity; the zeroes and ones; the force of an other­wise—that, together, seem to compose the circuits of energy emergency now.

Composed as a counter-history of western philosophical and political thought, Stormy Weather explores the role western cosmologies have played in the conquests of paganism in Europe and the Americas, the production of climate wreckage, and the concealment of that wreckage from western humanists and earth scientists until late in the day. A lived cosmology, Connolly says, contains embedded understandings about the beginnings of the earth and the way time unfolds. The text engages the major western cosmologies of Augustine, Descartes, Kant, Tocqueville, together with pagan and minor western orientations that posed challenges to them or could have. Hesiod, Ovid, William Apess, Amazonian and Aztec cosmologies, Catherine Keller’s minor Christianity, James Baldwin, and Michel Serres instigate key responses, often challenging binary logics and the subject/object dichotomy with a world of multiple human and nonhuman subjectivities.

Connolly pursues a conception of time as a multiplicity of intersecting temporalities to come to terms with the vicissitudes of climate destruction and the grandeur of an earth neither highly susceptible to mastery nor designed to harmonize smoothly with humans. The book revisits the “improbable necessity” of a politics of swarming to respond to the ongoing wreckage and potential fascist responses to vast infusions of climate refugees from the south into temperate-zone capitalist states.

Stormy Weather draws on the work of earth scientists, indigenous thinkers, naturalists, humanists, and students of nonwestern cosmologies. Ultimately, Connolly contends that critical intellectuals today must not remain enclosed in disciplinary silos, or even in “the humanities” as currently defined, to do justice to our moment of climate wreckage.

A revealing exploration of domestic fascism in the United States from the 1930s to the January 6th insurrection in Washington, D.C.

In 1951, the Civil Rights Congress presented to the United Nations We Charge Genocide, a more than two-hundred-page petition that held the United States accountable for genocide against African Americans. This landmark text represented the dawn of Black Lives Matter and is as relevant today as it was then, as evidenced by the rise of white supremacist groups across the nation and the January 6th Capitol riot which disclosed the specter of a fascist revival in the US Tracing this specter to its roots, We Charge Genocide! provides an original interpretation of American fascism as a permanent and longstanding current in US politics dating to the origins of US settler-colonialism.

Picking up where Angela Davis’s 1971 essay, “Political Prisoners, Prisons, and Black Liberation,” left off, We Charge Genocide! reveals how the United States legal system has contributed to the growth of fascist states and fascist movements domestically and internationally. American Studies scholar Bill V. Mullen contends that the preservation of a white supremacist world order—and the prevention of revolutionary threats to that order—structure the discourse and practice of US fascism. He names this fascist modality the “counterrevolution of law” in tribute to the radicals on the American Left, such as George Jackson, Angela Davis, Herbert Marcuse, and the Black Panther Party, who perceived the American state’s destruction of revolutionary groups and ideas as a distinctive form of American fascism. Mullen argues that US law, particularly US “race law,” has been an enabling mechanism for modalities of fascist rule that have locked historic blocs of non-white populations into an iron cage of legal and extralegal violence.

To this end We Charge Genocide! offers a legal historiography of US fascism rooted in law’s capacity to legitimate and sustain racial domination. By recovering the legacy of important orga­nizations, such as the Civil Rights Congress and Black Panther Party, which have both theorized and resisted American legal fascism, Mullen demonstrates how their work and critical theorists like Davis, Marcuse, Jackson, Walter Benjamin, and Ernst Fraenkel illuminate the threat of American legal fascism to its most vulnerable racialized victims of state violence in our time, including gender and transgender violence.

Gentleman Jigger stands as a landmark novel, celebrated for its candid exploration of Black sexuality set against the dynamic backdrop of the Harlem Renaissance. The story follows Stuartt, a defiantly queer artist, who navigates the complexities of racial and sexual identity in a period of profound cultural upheaval. Originating from a distinguished light-skinned Black family in Washington D.C., Stuartt immerses himself into the burgeoning arts scene of Harlem, where he aligns with the "Niggeratti," a group of young, rebellious artists and writers. This collective boldly challenges their elders’ conviction that their creative endeavors should be dedicated solely to the advancement of racial equality.

When their rebellion fizzles and they go their separate ways, Stuartt moves downtown to Greenwich Village where, where he fully indulges in his desires, intertwines with underworld figures, and achieves unexpected fame and fortune. It is also a world that, until his Hollywood debut, assumes that he is white.

Part fictionalized autobiography, part social satire, Gentleman Jigger opens up a whole new dimension not only of the Harlem Renaissance but also of the racial and sexual politics of the Jazz Age.

We tend to feel that works of fiction give us special access to lived experience. But how do novels cultivate that feeling? Where exactly does experience reside?

The Location of Experience argues that, paradoxically, novels create experience for us not by bringing reality up close, but by engineering environments in which we feel constrained from acting. By excavating the history of the rise of experience as an important category of Victorian intellectual life, this book reveals how experience was surprisingly tied to emotions of remorse and regret for some of the era’s great women novelists: the Brontës, George Eliot, Margaret Oliphant, and Elizabeth Gaskell. It shows how these writers passed ideas about experience—and experiences themselves—among each other.

Drawing on intellectual history, psychology, and moral philosophy, The Location of Experience shows that, through manipulating the psychological dimensions of fiction’s formal features, Victorian women novelists produced a philosophical account of experience that rivaled and complemented that of the male philosophers of the period.

One of the enduring claims in the Christian tradition is that creation is good. Given the diversity of experience and the abundance of suffering in the world, however, such an affirmation is not always straightforward. The Play of Goodness provides a phenomenology of creation’s goodness that clarifies the ongoing relevance of the doctrine today. It argues that what is “good” about creation is not synonymous with a confession of faith and does not require an overly optimistic disposition, but instead appears within diverse and often surprising circumstances.

Alongside original contributions to French phenomenology and creation theology, The Play of Goodness counterbalances a tendency in continental philosophy to focus on negative phenomena. By developing the philosophical concept of a prelinguistic experience of goodness, the book identifies a quality of goodness that is integral to the place in which we find ourselves. It also articulates shared points of contact among people in an increasingly polarized world, while demonstrating that distinctly theological concepts do not need to be presented in opposition to secular, agnostic, or atheist perspectives in order to be relevant.

Benjamins develops an account of creation’s goodness that has the potential to animate an abiding affection for one’s place, accentuate our reasons to care for it, and confirm that what happens in our lives is of genuine significance.

A profound exploration into the spiritual beliefs and practices of Seattle’s unhoused youth

Soul Woundedness is an intimate, piercing book about everyday life for young adults living on the streets of Seattle. Based on over five years of research and as a participant-observer, Paul Houston Blankenship-Lai presents the personal experiences of “street kids,” highlighting how their spiritual beliefs and practices offer them comfort, a sense of community, and a feeling of belonging amidst their struggles. They also demonstrate how spirituality on the streets can alienate people from themselves and the world.

The stories Blankenship-Lai tells here are about how social wounds go soul deep, and how seemingly antireligious spiritual practices, fashioned in an almost unlivable local world, help people create a life still worth living. By paying deep, sustained attention to what spirituality is like on the streets and what difference it makes, Blankenship-Lai uncovers an important, overlooked dimension in the experience and study of homelessness. They invite us to enter these stories and to question how our own spiritual and otherwise practices can help create “a more loving love.”

Aimed at a diverse audience, Soul Woundedness is a book not merely to educate but to transform. It is particularly relevant for those interested in spirituality’s role in addressing social inequities and underscores the importance of spiritual practices in overcoming adversity and promoting social change, making a compelling case for a world where everyone has a place to call home.

FINALIST, ASSOCIATION FOR THEATRE IN HIGHER EDUCATION (ATHE) OUTSTANDING BOOK AWARD

A moving journey through the shadows of queer suicide and a tribute to lives marked by struggle and beauty

The Lamentations explores the struggles and resilience within the queer community, offering a unique blend of historical analysis and emotional tribute to those affected. Author Patrick Ander­son examines the phenomenon of queer suicide across various art forms such as film, theatre, and literature, tracing its evolution from the twentieth century to today.

Anderson brings to light the personal stories of individuals in the queer community who have ended their lives, compiling narratives from sources like newspaper articles, obituaries, and case studies. The book confronts the harsh realities of loneliness, shame, and oppression faced by many LGBTQ+ individuals, providing a poignant reflection on the societal challenges they face.

The Lamentations is more than a meditation on death; it’s a narrative of survival, mourning, and healing. Sharing personal accounts, including the losses of loved ones and friends, Anderson highlights the importance of memory and storytelling in celebrating the vibrancy of queer life amidst the sorrow of loss.

Accessible to a broad readership, the book transcends academic boundaries to address themes of love, loss, and the human spirit. It’s a compelling read for anyone interested in queer studies or anyone seeking to understand human experience through the lens of loss and legacy.

A vivid, artfully crafted, and deeply hopeful account of one community’s struggle to rediscover and reinvent itself after a century of genocidal loss, dispossession, and displacement

To the extent that Middle Eastern Christians register in Euro-American political imaginaries, they are usually invoked to justify Western military intervention into countries like Iraq or Syria, or as an exemption to anti-Islamic immigration policies because of an assumption that their Christianity makes them easily assimilable in the so-called “Judeo-Christian” West.

Using the tools of multisensory ethnography, Sonic Icons uncovers how these views work against the very communities they are meant to benefit. Through long term fieldwork in the Netherlands among Syriac Orthodox Christians—also known as Assyrians, Aramaeans, and Syriacs—Bakker Kel­logg reveals how they intertwine religious practice with political activism to save Syriac Christianity from the twin threats of political violence in the Middle East and cultural assimilation in Europe.

In a historical moment when much of their tradition has been forgotten or destroyed, their story of self-discovery is one of survival and reinvention. By reviving the late antique Syriac litur­gical tradition known as the Daughters and Sons of the Covenant, they seek a complex form of recognition for what they understand to be the ethical core of Christian kinship in an ethnic as well as in a religious sense, despite living in societies that do not recognize this unhyphenated form of ethnoreligiosity as a politically legitimate mode of public identity.

Drawing on both theological and linguistic understandings of the icon, Sonic Icons rethinks foundational theoretical accounts of ethnicization, racialization, and secularization by examining how kinship gets made, claimed, and named in the global politics of minority recognition. The icon, as a site of communicative and reproductive power, illuminates how these processes are shaped by religious histories of struggle for sovereignty over the reproductive future.

A Taytsh Manifesto calls for a translational paradigm for Yiddish studies and for the study of modern Jewish culture. Saul Noam Zaritt calls for a shift in vocabulary, from Yiddish to taytsh, in order to promote reading strategies that account for the ways texts named as Jewish move between languages and cultures.

Yiddish, a moniker that became dominant only in the early twentieth century, means “Jewish” and thus marks the language with a single identity: of and for a Jewish collective. In contrast, this book calls attention to an earlier and, at one time, more common name for the language: taytsh, which initially means “German.” By using the term taytsh, speakers indicated that they were indeed speaking a Germanic language, a language that was not entirely their own. In time, when the word shifted to a verb, taytshn, it came to mean the act of translation. To write or speak in Yiddish is thus to render into taytsh and inhabit the gap between languages.

A Taytsh Manifesto highlights the cultural porousness that inheres in taytsh and deploys the term as a paradigm that can be applied to a host of modern Jewish cultural formations. The book reads three corpora in modern Yiddish culture through the lens of translation: Yiddish pulp fiction, also known as shund (trash); the genre of the Yiddish monologue as authored by Sholem Aleichem and other prominent Yiddish writers; and the persistence of Yiddish as a language of vulgarity in contemporary U.S. culture. Together these examples help revise current histories of Yiddish while demonstrating the need for new vocabularies to account for the multidirectionality of Jewish culture. A Taytsh Manifesto develops a model for identifying, in Yiddish and beyond, how cultures intertwine, how they become implicated in world systems and empire, and how they might escape such limiting and oppressive structures.

Examines the need to recenter the category of sex–theorizing sex itself as nonbinary–in contemporary studies of gender and sexuality

Gender has largely replaced sex as a category in critical theory, in progressive cultural circles, and in everyday bureaucratic language. Much of this development has been salutary. Gender has become a crucial site for theorizing trans identifications and embodiments. Yet, without a concomi­tant theory of sex, gender’s contemporary uses also intersect with late neoliberalism’s emphasis on micro-identities, flexibility, avatar culture, and human capital. Contemporary culture has also grown more ambivalent about sexual desire and its expression. Sex is seen as both ubiquitous and ubiquitously a problem.

In Defense of Sex theorizes sex as both a nonbinary form of embodiment (one that can comple­ment recent trans conceptions of gender as multiple and nonbinary) and a crucial form of social desire. Drawing on intersex and trans theory as well as Marxist theory, feminist new materialism, psychoanalysis, and accounts of the flesh in Black studies, author Christopher Breu argues for a materialist understanding of embodiment and the workings of desire as they structure contemporary culture. Moving from critique to theorizing embodiment, desire, and forms of bioaccumulation, In Defense of Sex concludes by proposing the unabashedly utopian project of building a sexual and embodied commons.

In Defense of Sex: Nonbinary Embodiment and Desire is available from Knowledge Unlatched on an open-access basis.

Exploring the ever-changing philosophy of city life with Jean-Luc Nancy

In The City in the Distance, Jean-Luc Nancy embarks on nothing less than a philosophy of the city. Drawing on his widely discussed accounts of sense and of the fraught question of community, Nancy views the city as the site of a disposition that is constantly undergoing metamorphoses.

Far from an abstract account, Nancy attends in the most concrete way possible to the workings of a city not typically taken as paradigmatic, Los Angeles. As Jean-Christophe Bailly suggests in his foreword, Nancy joins Walter Benjamin in thinking the city not from an external vantage point, but on its own terms.

A collection of essays that outline the recent work on ecology, political theology, religion, and philosophy by one of the leading theologians of our age

As we face relentless ecological destruction spiraling around a planet of unconstrained capitalism and democratic failure, what matters most? How do we get our bearings and direct our priorities in such a terrestrial scenario? Species, race, sex, politics, and economics will increasingly come tangled in the catastrophic trajectory of climate change. With a sense of urgency and of possibility, Catherine Keller’s No Matter What reflects multiple trajectories of planetary crisis. They converge from a point of view formed of the political ecologies of a transdisciplinary theological pluralism. In its work an ancient symbolism of apocalypse deconstructs end-of-the-world narratives, Christian and secular, even as any notion of an all-controlling and good God collapses under the force of internal contradiction. In the place of a once-for-all incarnation, the materiality of unbounded intercarnation, of fragile yet animating relations of mattering earth-bodies, comes into focus.

The essays of No Matter What share the preoccupation with matter characteristic of the so-called new materialism. They also root in an older ecotheological tradition, one that has long struggled against the undead legacy of an earth-betraying theology that, with the aid of its white Christian right wing, invests the denigration of matter, its spirit of “no matter,” in limitless commodi­fication. The fragile alternative Keller outlines here embraces—no matter what—the mattering of the life of the Earth and of all its spirited bodies. These essays, struggling against Christian and secular betrayals of the spirited matter of Earth, work to materialize the still possible planetary healing.

In 2009, the body of a former president of the Republic of Cyprus, Tassos Papadopoulos, was stolen from his grave. The Time of the Cannibals reconsiders this history and the public discourse on it to reconsider how we think about conspiracy theory, and specifically, what it means to understand conspiracy theories “in context.”

The months after Papadopoulos’s body was stolen saw intense public speculation in Cyprus, including widespread expressions of sacrilege, along with many false accusations against Cypriots and foreigners positioned as his political antagonists. Davis delves into the public discourse on conspiracy theory in Cyprus that flourished in the aftermath, tracing theories about the grave robbery to theories about the division of Cyprus some thirty-five years earlier, and both to longer histories of imperial and colonial violence.

Along the way, Davis explores cross-contextual connections among Cyprus and other locales, in the form of conspiracy theories as well as political theologies regarding the dead bodies of political leaders. Through critical close readings of academic and journalistic approaches to conspiracy theory, Davis shows that conspiracy theory as an analytic object fails to sustain comparative analysis, and defies any general theory of conspiracy theory. What these approaches accomplish instead, she argues, is the perpetuation of ethnocentrism in the guise of contextualization.

The Time of the Cannibals asks what better kind of contextualization this and any “case” call for, and proposes the concept of conspiracy attunement: a means of grasping the dialogic contexts in which conspiracy theories work recursively as matters of political and cultural significance in the long durée.

In a bid to wean himself off Facebook and Twitter, media scholar and cultural theorist Dominic Pettman decided to revive an ancient custom. He decided to tell the local bees of his thoughts, theories, musings, and meditations. The result was an apian journal that parses the daily news and the routines of modern life in a more sustained and reflective way than the Pavlovian posts to which we are so addicted.

The account that emerges from Pettman’s regular discussion with the bees forms a compelling portrait of the tumultuous period running from the Fall of 2019 to New Year’s Eve, 2022. What began as a reflection on the traumatic effects of an “unprecedented” presidency soon evolved into a real-time response to the equally extraordinary events of the pandemic and its aftermath.

One key concern that emerges from Pettman’s ongoing discussion with the bees is the extent to which, thanks to the alienating effects of neoliberalism, we were already engaged in an advanced form of social distancing long before anyone had heard of COVID. Other key themes include education, human-animal relations, climate change, mediated intimacy, attention ecologies, collective memory, slow violence, the self-fulfilling prophecy that is New York City, the never-ending end of history, and the mundane strategies we share in a bid to forge on, despite the accumulating challenges of the twenty-first century.

Telling the Bees is an invitation to rediscover the art of reflection and a profound meditation on human connection, alienation, and our collective yearning for intimacy in an age of distance. Through what Pettman describes as an "interspecies monologue," readers are treated to a unique perspective on navigating the complexities of the twenty-first century, inspired by the ingenuity and resilience of our natural cohabitants.