Fordham University Press

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.

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.

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.

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 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.

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.

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.

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.

An exploration of how contemporary Ethiopian Orthodox Christianity preserves and protects sacred ideas and relationships

“Ethiopia stretches her hand upon God,” the narrative of Sheba and Solomon, the material presence of the Ark of the Covenant in Axum. For Ethiopian Orthodox Christians, these classic understand­ings of the covenant are prized narratives. For historical and scriptural scholarship, a central focus is to explain the characteristics of Ethiopian Orthodox Christianity as retaining key “Old Testament” qualities to demonstrate a wide chasm with post-Enlightenment, secular societies. By widening the lens of analysis to include a body of knowledge best accessed through Orthodox Christian devotional culture, The Covenant’s Veil offers an interpretation that challenges the reader to adopt a novel understanding of these well-established ideas.

The multiple, complex ways that the covenant idea appears as ideas, idioms, customs, symbols, and articulations in the lifeworld of Ethiopian Orthodox are the starting point for The Covenant’s Veil. Ethiopia’s story of the covenant is a domain of nested reference points that inspires celebrants, through their devotional activities, to expand and elaborate upon a network of meanings. Covenant refractions within Ethiopian Orthodox devotional culture not only demonstrate the established pat­tern of magnifying spiritual importance through symbolic similes and analogic pairings, but perform a vital function for keeping traditional knowledge alive and current. Detailed ethnographic material arranges devotional activities such as mahaber rituals of communing and processions of tabots on feast days. It describes habits of making vows, presenting oneself at church, and telling stories of saints and their covenants. Thinking about the covenant concept as refracting—the bending motion of points encountering a common surface—is a way to conceive how these reference points reveal a connective thread, what is theorized as an Ethiopian Orthodox method of elaboration. Identifying when and where elaboration of tradition is happening provides an opportunity to demonstrate how Orthodox Christianity is integral to the lives and actions of its faithful. By reframing covenant as expanding beyond Ethiopian religious and political exceptionalism, The Covenant’s Veil provides us with a timely reappraisal of this concept in light of increased social fragmentation and the urgency for negotiating harmony in a country with many forms of diversity.

Treatments of synesthesia in the arts and humanities generally assume a clear distinction between the neurological condition and the literary device. Synesthetes’ descriptions of colors seen in connection with music, for example, are thought to differ fundamentally from common expressions that rely on transpositions across sensory dimensions (“bright vowels”). This has not always been the case. The distinction emerged over the course of the twentieth century, as scientists sought to constitute “synesthesia” as a legitimate object of modern science.

On the Colors of Vowels investigates the ambiguity of visual descriptions of vowels across a wide range of disciplines, casting several landmark texts in a wholly new light. The book traces the migration of sound-color correspondence from its ancient host (music) to its modern one (vowels), investigating the vocalic Klangfarben of Hermann von Helmholtz’s monumental Sensations of Tone, the vowel colors reported in early psychology surveys into audition colorée (colored hearing), the mis-matched timbres that form poetry’s condition of possibility in Stéphane Mallarmé’s “Crisis of Verse,” and the vowel-color analogy central to both the universal alphabets of the nineteenth century and the phonological universals of the twentieth. The book’s final chapter turns to an intricately detailed account of vowel-color correspondence by Ferdinand de Saussure, suggesting how the linguist’s sensitivity to vowel coloration may have guided his groundbreaking study of Indo-European vocalism.

Bringing out the diverse ways in which visual conceptions of vowels have inflected the arts and sciences of modernity, On the Colors of Vowels makes it possible to see how discourses of the nineteenth and twentieth centuries crafted the enigma we now readily recognize as “synesthesia.”

A richly cinematic and compelling look at priest-politicians in Brazil and their religious and secular entanglements

What does desire have to reveal about the nature of power? Through a detailed focus on the lives and loves of Catholic priests as they enter the profane world of party politics, Maya Mayblin explores the complex intersection of democracy, patriarchy, and religiosity in Brazil. For over a hundred years, Catholic priests have been running for government office, challenging Brazil’s constitutional separation of church and state and its self-image as a modern, secular nation. Priests find themselves walking a tightrope between religious and secular demands in one of Brazil’s poorest regions. Vote of Faith is a beautifully crafted ethnography based upon decades of fieldwork that tells the story of the ambiguous and frequently transgressive relationship between Catholicism and state governance, a relationship ultimately mediated by kinship, gender, and sexuality.

For the protagonists of Vote of Faith, democracy becomes a sphere in which divine will and human ambition compete with one another, a tension embedded in the vernacular concept of faith. In the Brazilian context, faith signifies a complex set of assumptions about the nature of the world, assumptions derived not just from Christianity, but also from Afro-Brazilian and secular ideas about power, causation, and human agency. In combining ethnographic, theological, and feminist perspectives, Vote of Faith places desiring bodies at the very heart of Catholicism’s complex con­nection to multiple forms of power and offers provocative new angles on the question of the secular.

The first work by an anthropologist to explore the unique phenomenon of the mayor-priest, this book offers an essential new angle on emerging debates about secularity as the condition of separation of the religious from the political. Brimming with originality, Vote of Faith is required reading for those interested in the gendered and sexual dimensions of the secular, the plasticity of religion, and the fundamental nature of the world’s largest religious institution.

A richly cinematic and compelling look at priest-politicians in Brazil and their religious and secular entanglements

What does desire have to reveal about the nature of power? Through a detailed focus on the lives and loves of Catholic priests as they enter the profane world of party politics, Maya Mayblin explores the complex intersection of democracy, patriarchy, and religiosity in Brazil. For over a hundred years, Catholic priests have been running for government office, challenging Brazil’s constitutional separation of church and state and its self-image as a modern, secular nation. Priests find themselves walking a tightrope between religious and secular demands in one of Brazil’s poorest regions. Vote of Faith is a beautifully crafted ethnography based upon decades of fieldwork that tells the story of the ambiguous and frequently transgressive relationship between Catholicism and state governance, a relationship ultimately mediated by kinship, gender, and sexuality.

For the protagonists of Vote of Faith, democracy becomes a sphere in which divine will and human ambition compete with one another, a tension embedded in the vernacular concept of faith. In the Brazilian context, faith signifies a complex set of assumptions about the nature of the world, assumptions derived not just from Christianity, but also from Afro-Brazilian and secular ideas about power, causation, and human agency. In combining ethnographic, theological, and feminist perspectives, Vote of Faith places desiring bodies at the very heart of Catholicism’s complex con­nection to multiple forms of power and offers provocative new angles on the question of the secular.

The first work by an anthropologist to explore the unique phenomenon of the mayor-priest, this book offers an essential new angle on emerging debates about secularity as the condition of separation of the religious from the political. Brimming with originality, Vote of Faith is required reading for those interested in the gendered and sexual dimensions of the secular, the plasticity of religion, and the fundamental nature of the world’s largest religious institution.

A Conceptual Interrogation of Capital in a Cybernetic Environment

Cybernetic Capitalism presents a groundbreaking synthesis of Niklas Luhmann's systems theory and critical theory. Overwijk examines how neoliberal capitalism now thrives on the management of incommunicability rather than the pursuit of total communicability, harnessing ecological complexity as its driving force. Contrary to earlier critiques that highlighted capitalism's push to render all social life fully communicable, the current era encourages market incalculability, profits from user unpredictability, and spurs service
workers' creativity.

This ecological logic resonates with the extractivist drive of the Anthropocene, reframing our understanding of capitalism as an adaptive, environment-attuned system. Cybernetic Capitalism also exposes how these dynamics intersect with the cultural rise of conspiracy theories and radical-right irrationalism. By illuminating capitalism's paradoxical reliance on both rationalist and irrationalist currents, Overwijk provides a vital new lens for interpreting the complex politics of our time.

Treatments of synesthesia in the arts and humanities generally assume a clear distinction between the neurological condition and the literary device. Synesthetes’ descriptions of colors seen in connection with music, for example, are thought to differ fundamentally from common expressions that rely on transpositions across sensory dimensions (“bright vowels”). This has not always been the case. The distinction emerged over the course of the twentieth century, as scientists sought to constitute “synesthesia” as a legitimate object of modern science.

On the Colors of Vowels investigates the ambiguity of visual descriptions of vowels across a wide range of disciplines, casting several landmark texts in a wholly new light. The book traces the migration of sound-color correspondence from its ancient host (music) to its modern one (vowels), investigating the vocalic Klangfarben of Hermann von Helmholtz’s monumental Sensations of Tone, the vowel colors reported in early psychology surveys into audition colorée (colored hearing), the mis-matched timbres that form poetry’s condition of possibility in Stéphane Mallarmé’s “Crisis of Verse,” and the vowel-color analogy central to both the universal alphabets of the nineteenth century and the phonological universals of the twentieth. The book’s final chapter turns to an intricately detailed account of vowel-color correspondence by Ferdinand de Saussure, suggesting how the linguist’s sensitivity to vowel coloration may have guided his groundbreaking study of Indo-European vocalism.

Bringing out the diverse ways in which visual conceptions of vowels have inflected the arts and sciences of modernity, On the Colors of Vowels makes it possible to see how discourses of the nineteenth and twentieth centuries crafted the enigma we now readily recognize as “synesthesia.”

An exploration of how contemporary Ethiopian Orthodox Christianity preserves and protects sacred ideas and relationships

“Ethiopia stretches her hand upon God,” the narrative of Sheba and Solomon, the material presence of the Ark of the Covenant in Axum. For Ethiopian Orthodox Christians, these classic understand­ings of the covenant are prized narratives. For historical and scriptural scholarship, a central focus is to explain the characteristics of Ethiopian Orthodox Christianity as retaining key “Old Testament” qualities to demonstrate a wide chasm with post-Enlightenment, secular societies. By widening the lens of analysis to include a body of knowledge best accessed through Orthodox Christian devotional culture, The Covenant’s Veil offers an interpretation that challenges the reader to adopt a novel understanding of these well-established ideas.

The multiple, complex ways that the covenant idea appears as ideas, idioms, customs, symbols, and articulations in the lifeworld of Ethiopian Orthodox are the starting point for The Covenant’s Veil. Ethiopia’s story of the covenant is a domain of nested reference points that inspires celebrants, through their devotional activities, to expand and elaborate upon a network of meanings. Covenant refractions within Ethiopian Orthodox devotional culture not only demonstrate the established pat­tern of magnifying spiritual importance through symbolic similes and analogic pairings, but perform a vital function for keeping traditional knowledge alive and current. Detailed ethnographic material arranges devotional activities such as mahaber rituals of communing and processions of tabots on feast days. It describes habits of making vows, presenting oneself at church, and telling stories of saints and their covenants. Thinking about the covenant concept as refracting—the bending motion of points encountering a common surface—is a way to conceive how these reference points reveal a connective thread, what is theorized as an Ethiopian Orthodox method of elaboration. Identifying when and where elaboration of tradition is happening provides an opportunity to demonstrate how Orthodox Christianity is integral to the lives and actions of its faithful. By reframing covenant as expanding beyond Ethiopian religious and political exceptionalism, The Covenant’s Veil provides us with a timely reappraisal of this concept in light of increased social fragmentation and the urgency for negotiating harmony in a country with many forms of diversity.

Within contemporary theory, the concepts of translation and universality have frequently been associated with different and even opposed philosophical and political projects: watchwords of either domination or liberation, the erasure of difference or the defense of difference. The universalizing drives of capitalism, colonialism, and other systems of oppression have precipitated widespread suspicion of any appeal to universality. This has led some, in turn, to champion the very notion of universality as antithetical to these systems of oppression. Similarly, recent scholarship has begun to grapple with the fundamental role of translation not only in forging inclusive democratic politics but also, by contrast, in violence, including imperial expansion and global war.

The present volume advocates neither for nor against translation or universality as such. Instead, it attends to their insurmountable ambiguity and equivocity, the tensions and contradictions that are internal to both concepts and that exist between them. Indeed, the wager of this volume is that translation, universality, and their relationship name irreducible yet overlapping sites of struggle for a diverse array of struggles on the Left.

Drawing from multiple intellectual traditions and orientations, with a special emphasis on deconstruction and Marxism, this volume both reveals and participates in a subterranean current of thought committed to theorizing the dynamic, plural, and ultimately inextricable relationship between translation and universality. Its contributors approach this problem in ways that challenge and unsettle dominant trends within translation studies and critical and postcolonial theory, thereby opening new lines of inquiry within and beyond these fields.

A Conceptual Interrogation of Capital in a Cybernetic Environment

Cybernetic Capitalism presents a groundbreaking synthesis of Niklas Luhmann's systems theory and critical theory. Overwijk examines how neoliberal capitalism now thrives on the management of incommunicability rather than the pursuit of total communicability, harnessing ecological complexity as its driving force. Contrary to earlier critiques that highlighted capitalism's push to render all social life fully communicable, the current era encourages market incalculability, profits from user unpredictability, and spurs service
workers' creativity.

This ecological logic resonates with the extractivist drive of the Anthropocene, reframing our understanding of capitalism as an adaptive, environment-attuned system. Cybernetic Capitalism also exposes how these dynamics intersect with the cultural rise of conspiracy theories and radical-right irrationalism. By illuminating capitalism's paradoxical reliance on both rationalist and irrationalist currents, Overwijk provides a vital new lens for interpreting the complex politics of our time.

QSpirit Top 24 LGBTQ Christian Books of 2024

A novel approach to understanding the work of James Baldwin and its transformative potential

The relationship of James Baldwin’s life and work to Black religion is in many ways complex and confounding. What is he doing through his literary deployment of religious language and symbols?

Despite Baldwin’s disavowal of Christianity in his youth, he continued to engage the symbols and theology of Christianity in works such as The Amen Corner, Just Above My Head, and others. With Jimmy’s Faith, author Christopher W. Hunt shows how Baldwin’s usage of those religious symbols both shifted their meaning and served as a way for him to build his own religious and spiritual vision. Engaging José Esteban Muñoz’s theory of disidentification as a queer practice of imagination and survival, Hunt demonstrates the ways in which James Baldwin disidentifies with and queers Black Christian language and theology throughout his literary corpus.

Baldwin’s vision is one in which queer sexuality signifies the depth of love’s transforming pos­sibilities, the arts serve as the (religious) medium of knitting Black community together, an agnostic and affective mysticism undermines Christian theological discourse, “androgyny” troubles the gender binary, and the Black child signifies the hope for a world made new. In disidentifying with Christian symbols, Jimmy’s Faith reveals how Baldwin imagines both religion and the world “oth­erwise,” offering a model of how we might do the same for our own communities and ourselves.

Within contemporary theory, the concepts of translation and universality have frequently been associated with different and even opposed philosophical and political projects: watchwords of either domination or liberation, the erasure of difference or the defense of difference. The universalizing drives of capitalism, colonialism, and other systems of oppression have precipitated widespread suspicion of any appeal to universality. This has led some, in turn, to champion the very notion of universality as antithetical to these systems of oppression. Similarly, recent scholarship has begun to grapple with the fundamental role of translation not only in forging inclusive democratic politics but also, by contrast, in violence, including imperial expansion and global war.

The present volume advocates neither for nor against translation or universality as such. Instead, it attends to their insurmountable ambiguity and equivocity, the tensions and contradictions that are internal to both concepts and that exist between them. Indeed, the wager of this volume is that translation, universality, and their relationship name irreducible yet overlapping sites of struggle for a diverse array of struggles on the Left.

Drawing from multiple intellectual traditions and orientations, with a special emphasis on deconstruction and Marxism, this volume both reveals and participates in a subterranean current of thought committed to theorizing the dynamic, plural, and ultimately inextricable relationship between translation and universality. Its contributors approach this problem in ways that challenge and unsettle dominant trends within translation studies and critical and postcolonial theory, thereby opening new lines of inquiry within and beyond these fields.

Rediscover the Civil War through the voices that refused to be silenced

Unforgettable Sacrifice offers a groundbreaking exploration into the heart of African American memory of the Civil War, challenging conventional narratives and revealing a rich history preserved through oral traditions and communal efforts. Through extensive archival research and stories shared on the porches of African American families, Hilary Green provides a detailed examination of how diverse Black communities across the United States have actively preserved and contested the memory of the Civil War, from the nineteenth century to the present.

By rejecting the reduction of their experiences to mere footnotes in history, African Americans have established a vibrant commemorative culture that respects the complexity of their ancestors’ sacrifices and struggles. From the rural landscapes of Black Pennsylvanians to the heart of eman­cipated communities in the South, Green connects the narratives of those who not only fought on battlefields but also in the realms of memory and heritage, ensuring their stories of resilience, courage, and patriotism are remembered.

Unforgettable Sacrifice brings to light the untold stories of ordinary African Americans who took extraordinary steps in remembrance and resistance. By refusing to accept diluted narratives and lies, they have ensured the legacy of the Civil War includes the end of slavery, the valor of Black soldiers and civilians, and the ongoing struggle for democracy and full citizenship.

This book is a testament to the enduring power of memory and the steadfast spirit of the African American community. It is an indispensable addition to the libraries of scholars, general readers, and descendant communities alike, offering new perspectives on the lasting impact of the Civil War on American identity and the persistent pursuit of justice and equality.

How America’s greatest marketing triumph in World War II shaped race, ethnicity, and class in modern America

The World War II Bond Campaign is a history of the World War II bond drive led by the federal government, an effort called the most successful marketing operation in history. By the war’s end, some 85 million Americans had spent $186 billion in an unprecedented outpouring of patriotism that contributed to the military victory and the prosperity of the following decades. The FDR administration used bonds to raise capital to support the war and promote national unity within the context of the nation’s increasingly pluralistic society as the “melting pot” theory was retired. African Americans, Euro-Americans, and labor union members enthusiastically bought bonds to express national loyalty but also to demonstrate racial, ethnic, or class pride, a reflection of their dualistic or “hyphenated” identities.

Drawing on various primary sources, The World War II Bond Campaign illustrates how the Trea­sury Department’s multicultural marketing strategies tapped into Americans’ aspirations alongside their patriotic impulses. Citizens of all social and economic backgrounds eagerly responded to what can be seen as the selling of America, making the subject an ideal lens to view national identity at a critical moment in the country’s history. The author contends that the drive’s success helped pave the way for the emergence of both the civil rights movement and the vigorous consumer culture of the postwar years.

QSpirit Top 24 LGBTQ Christian Books of 2024

A novel approach to understanding the work of James Baldwin and its transformative potential

The relationship of James Baldwin’s life and work to Black religion is in many ways complex and confounding. What is he doing through his literary deployment of religious language and symbols?

Despite Baldwin’s disavowal of Christianity in his youth, he continued to engage the symbols and theology of Christianity in works such as The Amen Corner, Just Above My Head, and others. With Jimmy’s Faith, author Christopher W. Hunt shows how Baldwin’s usage of those religious symbols both shifted their meaning and served as a way for him to build his own religious and spiritual vision. Engaging José Esteban Muñoz’s theory of disidentification as a queer practice of imagination and survival, Hunt demonstrates the ways in which James Baldwin disidentifies with and queers Black Christian language and theology throughout his literary corpus.

Baldwin’s vision is one in which queer sexuality signifies the depth of love’s transforming pos­sibilities, the arts serve as the (religious) medium of knitting Black community together, an agnostic and affective mysticism undermines Christian theological discourse, “androgyny” troubles the gender binary, and the Black child signifies the hope for a world made new. In disidentifying with Christian symbols, Jimmy’s Faith reveals how Baldwin imagines both religion and the world “oth­erwise,” offering a model of how we might do the same for our own communities and ourselves.

Rediscover the Civil War through the voices that refused to be silenced

Unforgettable Sacrifice offers a groundbreaking exploration into the heart of African American memory of the Civil War, challenging conventional narratives and revealing a rich history preserved through oral traditions and communal efforts. Through extensive archival research and stories shared on the porches of African American families, Hilary Green provides a detailed examination of how diverse Black communities across the United States have actively preserved and contested the memory of the Civil War, from the nineteenth century to the present.

By rejecting the reduction of their experiences to mere footnotes in history, African Americans have established a vibrant commemorative culture that respects the complexity of their ancestors’ sacrifices and struggles. From the rural landscapes of Black Pennsylvanians to the heart of eman­cipated communities in the South, Green connects the narratives of those who not only fought on battlefields but also in the realms of memory and heritage, ensuring their stories of resilience, courage, and patriotism are remembered.

Unforgettable Sacrifice brings to light the untold stories of ordinary African Americans who took extraordinary steps in remembrance and resistance. By refusing to accept diluted narratives and lies, they have ensured the legacy of the Civil War includes the end of slavery, the valor of Black soldiers and civilians, and the ongoing struggle for democracy and full citizenship.

This book is a testament to the enduring power of memory and the steadfast spirit of the African American community. It is an indispensable addition to the libraries of scholars, general readers, and descendant communities alike, offering new perspectives on the lasting impact of the Civil War on American identity and the persistent pursuit of justice and equality.

How America’s greatest marketing triumph in World War II shaped race, ethnicity, and class in modern America

The World War II Bond Campaign is a history of the World War II bond drive led by the federal government, an effort called the most successful marketing operation in history. By the war’s end, some 85 million Americans had spent $186 billion in an unprecedented outpouring of patriotism that contributed to the military victory and the prosperity of the following decades. The FDR administration used bonds to raise capital to support the war and promote national unity within the context of the nation’s increasingly pluralistic society as the “melting pot” theory was retired. African Americans, Euro-Americans, and labor union members enthusiastically bought bonds to express national loyalty but also to demonstrate racial, ethnic, or class pride, a reflection of their dualistic or “hyphenated” identities.

Drawing on various primary sources, The World War II Bond Campaign illustrates how the Trea­sury Department’s multicultural marketing strategies tapped into Americans’ aspirations alongside their patriotic impulses. Citizens of all social and economic backgrounds eagerly responded to what can be seen as the selling of America, making the subject an ideal lens to view national identity at a critical moment in the country’s history. The author contends that the drive’s success helped pave the way for the emergence of both the civil rights movement and the vigorous consumer culture of the postwar years.

An innovative and much-needed critical work on music and memorialization in relation to AIDS, 9/11, and anti-Black violence in America

Music has long served as a powerful medium for communal mourning and remembrance in times of crisis. Audible Loss examines musical responses to three major crises in US society at the turn of the twenty-first century: the AIDS epidemic, the terrorist attacks of September 11, 2001, and the ongoing conditions of anti-Black violence.

Analyzing a range of works written to commemorate these losses, Andrea Zarafshon Moore explores how contemporary classical music (aka “new music”) frames and narrates these crises, gives voice to grief, imagines other possibilities, and makes loss audible. These crises are read alongside one another to reveal the ways they are mutually imbricated, while also recognizing the sheer commemorative dominance of 9/11 in this century. Attending to broader debates and discourses through which commemoration is always filtered and the ways interpretive consensus has been sought and articulated in both musical and other memorial forms, Moore probes the conventional claims of commemoration, particularly those for the necessity of remembrance to “healing” and the prevention of future crises.

Audible Loss concludes by reflecting on the limits of existing commemorative forms and the possibility, even necessity, of new ones. Taking the COVID-19 pandemic as a case study, it proposes that while memorials of all kinds may provide outlets for collective remembrance and even mourning, their power to forge a sense of collectivity is diminished as public discourse grows more fragmented. Deeply informed yet highly approachable, Audible Loss is a major contribution to the fields of music and memory studies and essential reading for anyone interested in memory culture in the United States today.

An innovative and much-needed critical work on music and memorialization in relation to AIDS, 9/11, and anti-Black violence in America

Music has long served as a powerful medium for communal mourning and remembrance in times of crisis. Audible Loss examines musical responses to three major crises in US society at the turn of the twenty-first century: the AIDS epidemic, the terrorist attacks of September 11, 2001, and the ongoing conditions of anti-Black violence.

Analyzing a range of works written to commemorate these losses, Andrea Zarafshon Moore explores how contemporary classical music (aka “new music”) frames and narrates these crises, gives voice to grief, imagines other possibilities, and makes loss audible. These crises are read alongside one another to reveal the ways they are mutually imbricated, while also recognizing the sheer commemorative dominance of 9/11 in this century. Attending to broader debates and discourses through which commemoration is always filtered and the ways interpretive consensus has been sought and articulated in both musical and other memorial forms, Moore probes the conventional claims of commemoration, particularly those for the necessity of remembrance to “healing” and the prevention of future crises.

Audible Loss concludes by reflecting on the limits of existing commemorative forms and the possibility, even necessity, of new ones. Taking the COVID-19 pandemic as a case study, it proposes that while memorials of all kinds may provide outlets for collective remembrance and even mourning, their power to forge a sense of collectivity is diminished as public discourse grows more fragmented. Deeply informed yet highly approachable, Audible Loss is a major contribution to the fields of music and memory studies and essential reading for anyone interested in memory culture in the United States today.

Provides vital new evidence that Union veterans remained stubbornly opposed to the nation’s reconciliationist tendencies and unwilling to surrender the causes for which they fought

Union soldiers’ service to the nation did not end in 1865. Instead, it persisted well into the twentieth century as hundreds of thousands of veterans joined the Grand Army of the Republic (GAR) and directed the reform and improvement of their communities through their fraternal membership in thousands of local posts around the country.

In Our Onward March, Jonathan D. Neu shows how Union veterans of the GAR drew on lessons they learned in the Civil War—lessons about broad principles like democracy, freedom, and loyalty—to undertake grassroots civic projects designed to address the rampant social ills and challenging foreign policy issues associated with US modernization. Armed this time with sage wisdom and unwavering principles, they mobilized again to consummate their wartime victory with reform-minded activism on behalf of establishing an even more perfect Union.

Extending the boundaries of America’s post–Civil War era, Neu investigates the GAR during the Progressive era, a period in the organization’s history that scholars have overlooked. Counter­ing stubborn notions that the GAR was merely a pension advocacy group or an insular bastion of sentimental nostalgia, he reveals instead that the organization reached a turning point in 1890, after which it became an active and decentralized civic association whose members worked to instill a commitment to public life, engagement with community issues, and pride in the democracy they had defended as young men.

Anchored by illuminating new source material, including post-minute books and fraternal records, Our Onward March places aging GAR members squarely among the diverse constel­lation of turn-of-the-century social reformers, using their memory of the Civil War to promote robust, veteran-led civic engagement. By situating Union veterans in this context, we see a more accurate portrait of the GAR post in American culture—as a local center of progressive activism.

Winner, Grand Prize, French Voices Award

In Too Black to Be French, Isabelle Boni-Claverie navigates the complexities of identity, race, and family in a world that constantly questions her belonging. Boni-Claverie's singular account interweaves the extraordinary life experiences of three generations of her family: her grandfather from Ivory Coast, who married a middle-class white woman from southern France in the 1930s; her biological parents, and her mixed-race aunt and white upper-class uncle who adopted her; as well as her own life as a successful film director and writer faced with abiding stereotypes and discrimination.

Written with humor and aplomb, Boni-Claverie’s narrative examines the enduring effects of France’s colonial past and the deep-seated structural prejudices affecting Black people in a country that prides itself on stories of its hospitality toward African Americans fleeing segregation. Updating this picture to reveal the complexities and challenges of being Black in France where discussion of race is often taboo, Boni-Claverie offers an American readership rare insights into racial dynamics on both sides of the Atlantic.

Too Black to Be French is at once a sociological portrait of France, a multicultural family album, and a transatlantic coming-of-age story. It will appeal to readers eager for a passionate fresh voice devoted to better understanding the challenges of today’s world and the courage it takes to overcome them. Through vivid storytelling, Boni-Claverie invites readers to traverse a path filled with emotional depth, cultural introspection, and a quest for acceptance.

Provides vital new evidence that Union veterans remained stubbornly opposed to the nation’s reconciliationist tendencies and unwilling to surrender the causes for which they fought

Union soldiers’ service to the nation did not end in 1865. Instead, it persisted well into the twentieth century as hundreds of thousands of veterans joined the Grand Army of the Republic (GAR) and directed the reform and improvement of their communities through their fraternal membership in thousands of local posts around the country.

In Our Onward March, Jonathan D. Neu shows how Union veterans of the GAR drew on lessons they learned in the Civil War—lessons about broad principles like democracy, freedom, and loyalty—to undertake grassroots civic projects designed to address the rampant social ills and challenging foreign policy issues associated with US modernization. Armed this time with sage wisdom and unwavering principles, they mobilized again to consummate their wartime victory with reform-minded activism on behalf of establishing an even more perfect Union.

Extending the boundaries of America’s post–Civil War era, Neu investigates the GAR during the Progressive era, a period in the organization’s history that scholars have overlooked. Counter­ing stubborn notions that the GAR was merely a pension advocacy group or an insular bastion of sentimental nostalgia, he reveals instead that the organization reached a turning point in 1890, after which it became an active and decentralized civic association whose members worked to instill a commitment to public life, engagement with community issues, and pride in the democracy they had defended as young men.

Anchored by illuminating new source material, including post-minute books and fraternal records, Our Onward March places aging GAR members squarely among the diverse constel­lation of turn-of-the-century social reformers, using their memory of the Civil War to promote robust, veteran-led civic engagement. By situating Union veterans in this context, we see a more accurate portrait of the GAR post in American culture—as a local center of progressive activism.

Celebrating the diverse contributions of Catholic lay women in 20th century America

Recovering Their Stories focuses on the many contributions made by Catholic lay women in the 20th century in their faith communities across different regions of the United States. Each essay explores the lives and contributions of Catholic lay women across diverse racial, ethnic, and socio-economic backgrounds, addressing themes related to these women’s creative agency in their spirituality and devotional practices, their commitment to racial and economic justice, and their leadership and authority in sacred and public spaces

Taken together, this volume brings together scholars working in what otherwise may be discreet areas of academic study to look for patterns, areas of convergence and areas of divergence, in order to present in one place the depth and breadth of Catholic lay women’s experience and contribu­tions to church, culture, and society in the United States. Telling these stories together provides a valuable resource for scholars in a number of disciplines, including American Catholic Studies, American Studies, Women and Gender Studies, Feminist Studies, and US History. Additionally, scholars in the areas of Latinx studies, Black Studies, Liturgical Studies, and application of Catholic social teaching will find the book to be a valuable resource with respect to articles on specific topics.

The first comprehensive treatment in seventy years of the American Art-Union’s remarkable rise and fall

For over a decade, the New York–based American Art-Union shaped art creation, display, and patronage nationwide. Boasting as many as 19,000 members from almost every state, its meteoric rise and its sudden and spectacular collapse still raise a crucial question: Why did such a successful and influential institution fail? The American Art-Union reveals a sprawling and fascinating account of the country’s first nationwide artistic phenomenon, creating a shared experience of visual culture, art news and criticism, and a direct experience with original works.

For an annual fee of five dollars, members of the American Art-Union received an engraving after a painting by a notable US artist and the annual publication Transactions (1839–49) and later the monthly Bulletin (1848–53). Most importantly, members’ names were entered in a drawing for hundreds of original paintings and sculptures by most of the era’s best-known artists. Those artworks were displayed in its immensely popular Free Gallery. Unfortunately, the experiment was short-lived. Opposition grew, and a cascade of events led to an 1852 court case that proved to be the Art-Union’s downfall. Illuminating the workings of the American art market, this study fills a gaping lacuna in the history of nineteenth-century US art. Kimberly A. Orcutt draws from the American Art-Union’s records as well as in-depth contextual research to track the organization’s decisive impact that set the direction of the country’s paintings, sculpture, and engravings for well over a decade.

Forged in cultural crosscurrents of utopianism and skepticism, the American Art-Union’s demise can be traced to its nature as an attempt to create and control the complex system that the early nineteenth-century art world represented. This study breaks the organization’s activities into their major components to offer a structural rather than chronological narrative that follows mounting tensions to their inevitable end. The institution was undone not by dramatic outward events or the character of its leadership but by the character of its utopianist plan.

A dramatic and necessary rethinking of the meaning of Democracy

Democratic Anarchy grapples with an uncomfortable but obvious truth inimical to democracy: both aesthetics and politics depend on the structuring antagonism of inclusion and exclusion. Yet in Democratic Anarchy, Matthew Scully asks, how can “the people” be represented in a way that acknowledges what remains unrepresentable? What would it mean to face up to the constitutive exclusions that haunt U.S. democracy and its anxious fantasies of equality?

Synthesizing a broad range of theoretical traditions and interlocutors—including Lacan, Rancière, Edelman, and Hartman—Democratic Anarchy polemically declares that there has never been, nor can there ever be, a realized democracy in the U.S. because democracy always depends on the hierarchical institution of a formal order by one part of the population over another. Engaging with an expansive corpus of American literature and art (Harriet Jacobs, Nathaniel Hawthorne, Louis Zukofsky, Thomas Pynchon, Toni Morrison, Theresa Hak Kyung Cha, Nari Ward, Ocean Vuong, and Safiya Sinclair), Democratic Anarchy argues that many liberal concepts and institutions are in fact structurally opposed to democratic equality because they depend on regulating what can appear and in what form.

By focusing on works that disrupt this regulatory impulse, Scully shows how rhetorical strate­gies of interruption, excess, and disorder figure the anarchic equality that inegalitarian fantasies of democracy disavow. Democratic Anarchy develops a rigorous theory of equality that refuses to repeat the inequalities against which it positions itself, and it does so by turning to moments of resistance—both aesthetic and political—inaugurated by the equality that inheres in and antago­nizes the order of things.

A dramatic and necessary rethinking of the meaning of Democracy

Democratic Anarchy grapples with an uncomfortable but obvious truth inimical to democracy: both aesthetics and politics depend on the structuring antagonism of inclusion and exclusion. Yet in Democratic Anarchy, Matthew Scully asks, how can “the people” be represented in a way that acknowledges what remains unrepresentable? What would it mean to face up to the constitutive exclusions that haunt U.S. democracy and its anxious fantasies of equality?

Synthesizing a broad range of theoretical traditions and interlocutors—including Lacan, Rancière, Edelman, and Hartman—Democratic Anarchy polemically declares that there has never been, nor can there ever be, a realized democracy in the U.S. because democracy always depends on the hierarchical institution of a formal order by one part of the population over another. Engaging with an expansive corpus of American literature and art (Harriet Jacobs, Nathaniel Hawthorne, Louis Zukofsky, Thomas Pynchon, Toni Morrison, Theresa Hak Kyung Cha, Nari Ward, Ocean Vuong, and Safiya Sinclair), Democratic Anarchy argues that many liberal concepts and institutions are in fact structurally opposed to democratic equality because they depend on regulating what can appear and in what form.

By focusing on works that disrupt this regulatory impulse, Scully shows how rhetorical strate­gies of interruption, excess, and disorder figure the anarchic equality that inegalitarian fantasies of democracy disavow. Democratic Anarchy develops a rigorous theory of equality that refuses to repeat the inequalities against which it positions itself, and it does so by turning to moments of resistance—both aesthetic and political—inaugurated by the equality that inheres in and antago­nizes the order of things.

One of SLATE Magazine's 15 Best Literary Rediscoveries of 2024

A captivating collection unveiling the intricacies of love, life, and legacy

These twelve stories, told from the viewpoint of young women in life’s mid-passage, explore the splendors and miseries of love, both carnal and spiritual, and cast back through sickness and health to the engraving experiences of childhood and forward to the rituals and release of death and its occasion for recall.

They tell us of a dutiful but not guiltless daughter faced with the wreckage a father has made of his life, of the pain of trying to steer steadily through a doomed affair with a dearly loved married man, and of the ironies attending the funeral of a priest uncle and the birthday of an aged mother.

From the outwardly unremarkable frame of a single day—on Fire Island or in New York—an entire life and an encompassment of humanity are movingly conveyed. Then, with inverted telescope, the most subjective of inner realms is explored—through a hospital stay, a sudden name change, or the surprising end of all those dreaded piano lessons.

Taken together, these stories are a far greater whole than the sum of their remarkable parts, an unfor­gettable exploration of the paradoxical toughness and vulnerability that define the mortal condition.

Celebrating the diverse contributions of Catholic lay women in 20th century America

Recovering Their Stories focuses on the many contributions made by Catholic lay women in the 20th century in their faith communities across different regions of the United States. Each essay explores the lives and contributions of Catholic lay women across diverse racial, ethnic, and socio-economic backgrounds, addressing themes related to these women’s creative agency in their spirituality and devotional practices, their commitment to racial and economic justice, and their leadership and authority in sacred and public spaces

Taken together, this volume brings together scholars working in what otherwise may be discreet areas of academic study to look for patterns, areas of convergence and areas of divergence, in order to present in one place the depth and breadth of Catholic lay women’s experience and contribu­tions to church, culture, and society in the United States. Telling these stories together provides a valuable resource for scholars in a number of disciplines, including American Catholic Studies, American Studies, Women and Gender Studies, Feminist Studies, and US History. Additionally, scholars in the areas of Latinx studies, Black Studies, Liturgical Studies, and application of Catholic social teaching will find the book to be a valuable resource with respect to articles on specific topics.

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.

It is well known that Renaissance culture gave an empowering role to the individual and thereby to agency. But how does race factor into this culture of empowerment? Canonical French authors like Rabelais and Montaigne have been celebrated for their flexible worldviews and interest in the difference of non-French cultures both inside and outside of Europe. As a result, this period in French cultural history has come to be valued as an exceptional era of cultural opening toward others. Agents without Empire shows that such a celebration is, at the very least, problematic.

Szabari argues that before the rise of the French colonial empire, medieval categories of race based on the redemption story were recast through accounts of the Ottoman Empire that were made accessible, in a sudden and unprecedented manner, to agents of the French crown. Spying performed by Frenchmen in the Ottoman Empire in the sixteenth century permeated French culture in large part because those who spied also worked as knowledge producers, propagandists, and artists. The practice changed what it meant to be cultured and elite by creating new avenues of race- and gender-specific consumption for French and European men that affected all areas of sophisticated culture including literature, politics, prints, dressing, personal hygiene, and leisure.

Agents without Empire explores race making in this period of European history in the context of diplomatic reposts, travel accounts, natural history, propaganda, religious literature, poetry, theater, fiction, and cheap print. It intervenes in conversations in whiteness studies, race theory, theories of agency and matter, and the history of diplomacy and spying to offer a new account of race making in early modern Europe.

UNTAPPED NEW YORK: THE BEST NYC BOOKS OF ALL TIME

The neglected histories of 19th-century NYC’s maligned working-class fortune tellers and the man who set out to discredit them

Under the pseudonym Q. K. Philander Doesticks, P. B., humor writer Mortimer Thomson went undercover to investigate and report on the fortune tellers of New York City’s tenements and slums. When his articles were published in book form in 1858, they catalyzed a series of arrests that both scandalized and delighted the public. But Mortimer was guarding some secrets of his own, and in many ways, his own life paralleled the lives of the women he both visited and vilified. In Mortimer and the Witches, author Marie Carter examines the lives of these marginalized fortune tellers while also detailing Mortimer Thomson’s peculiar and complicated biography.

Living primarily in the poor section of the Lower East Side, nineteenth-century fortune tellers offered their clients answers to all questions in astrology, love, and law matters. They promised to cure ailments. They spoke of loved ones from beyond the grave. Yet Doesticks saw them as the worst of the worst evil-doers. His investigative reporting aimed to stop unsuspecting young women from seeking the corrupt soothsaying advice of these so-called clairvoyants and to expose the absurd and woefully inaccurate predictions of these “witches.”

Marie Carter views these stories of working-class, immigrant women with more depth than Doesticks’s mocking articles would allow. In her analysis and discussion, she presents them as three-dimensional figures rather than the caricatures Doesticks made them out to be. What other professions at that time allowed women the kind of autonomy afforded by fortune-telling? Their eager customers, many of whom were newly arrived immigrants trying to navigate life in a new country, weren’t as naive and gullible as Doesticks made them out to be. They were often in need of guidance, seeking out the advice of someone who had life experience to offer or simply enjoying the entertainment and attention.

Mortimer and the Witches offers new insight into the neglected histories of working-class fortune tellers and the creative ways that they tried to make a living when options were limited for them.

Experience the powerful legacy of Philip Berrigan’s nonviolent resistance to war and empire

From the battlefields of World War II to the front lines of peace activism, Philip Berrigan evolved from soldier to scholar, priest to political prisoner. Confronting the fundamental nature of America’s military-focused culture, Berrigan took an unyielding stance against societal evils—war, systemic racism, unchecked materialism, and the baleful presence of nuclear weapons. Imprisoned by his government and ostracized by his Church, Berrigan’s life is a courageous example of nonviolent resistance and liberation in the face of overwhelming odds.

A Ministry of Risk is the definitive collection of Philip Berrigan’s writings. Authorized by the Berrigan family and arranged chronologically, these writings depict the transformation of one revolu­tionary soul while also providing a firsthand account of a nation grappling with its martial obsessions.

Threading the vibrant fabric of history with autobiographical insights, introspective theology, and a clarion call to activism, A Ministry of Risk offers both a living manifesto of nonviolent resistance and a journal of spiritual reflection by one of the 20th century’s most prophetic voices.

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.

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.

Defective Institutions overturns the basis of institutionalism. Faith in classic institutions—exposed as clamorously inadequate by the failure of governance under neoliberalism--does not result in greater democracy, greater horizontality, or more equitable living. Nor does trust in the standing of decisions, in the authority of antecedent cases, in the coherence, strength, continuity, or solidity of the institutions that frame and render legitimate these decisions and the rules they buttress. To the contrary: the classically-imagined institution and our faith in it lie at the heart of neoliberal unfreedom and racialized violence.

Working at the point of contact and conflict between socialist and anarcho-philosophical traditions, Defective Institutions offers an alternative, which is also an alternative to the figures of governance associated with the liberal conception of the state: an aberrant republicanism comprised of defective institutions, run through with the necessity of their abolition. Lezra’s book moves from the primitive scenes of Western political institution—the city; the family; the university; the first person; “race”—through recent work in the philosophy of translation, decolonial studies, abolitionism, Afropessimism and its critiques, psvchoanalysis, and musicology.

To offer an original wedding of abolition and institution, Lezra brings together genealogies of contemporary institutionalism (from Durkheim and Hauriou to Searle); post-Marxist accounts of the state (Balibar, Abensour); philosophical and anthropological anarchism (Wolff, Malabou, Graeber, Scott); critical legal theory (analyses of Marbury v. Madison as well as Dobbs v. Jackson); continental and analytic versions and critiques of foundationalism (Heidegger, Lyotard and Butler; Quine, Searle and Fine); and political and sociological abolitionism (Lewis, O’Brien).

At a time when some call for strengthening institutions and for defending liberties ostensibly protected by such institutions, and others long for the destruction of institutions that have long been oppressive, Lezra’s book offers today’s Left a new framework for confronting institutions’ necessity and their necessary abolition.

It is well known that Renaissance culture gave an empowering role to the individual and thereby to agency. But how does race factor into this culture of empowerment? Canonical French authors like Rabelais and Montaigne have been celebrated for their flexible worldviews and interest in the difference of non-French cultures both inside and outside of Europe. As a result, this period in French cultural history has come to be valued as an exceptional era of cultural opening toward others. Agents without Empire shows that such a celebration is, at the very least, problematic.

Szabari argues that before the rise of the French colonial empire, medieval categories of race based on the redemption story were recast through accounts of the Ottoman Empire that were made accessible, in a sudden and unprecedented manner, to agents of the French crown. Spying performed by Frenchmen in the Ottoman Empire in the sixteenth century permeated French culture in large part because those who spied also worked as knowledge producers, propagandists, and artists. The practice changed what it meant to be cultured and elite by creating new avenues of race- and gender-specific consumption for French and European men that affected all areas of sophisticated culture including literature, politics, prints, dressing, personal hygiene, and leisure.

Agents without Empire explores race making in this period of European history in the context of diplomatic reposts, travel accounts, natural history, propaganda, religious literature, poetry, theater, fiction, and cheap print. It intervenes in conversations in whiteness studies, race theory, theories of agency and matter, and the history of diplomacy and spying to offer a new account of race making in early modern Europe.

Defective Institutions overturns the basis of institutionalism. Faith in classic institutions—exposed as clamorously inadequate by the failure of governance under neoliberalism--does not result in greater democracy, greater horizontality, or more equitable living. Nor does trust in the standing of decisions, in the authority of antecedent cases, in the coherence, strength, continuity, or solidity of the institutions that frame and render legitimate these decisions and the rules they buttress. To the contrary: the classically-imagined institution and our faith in it lie at the heart of neoliberal unfreedom and racialized violence.

Working at the point of contact and conflict between socialist and anarcho-philosophical traditions, Defective Institutions offers an alternative, which is also an alternative to the figures of governance associated with the liberal conception of the state: an aberrant republicanism comprised of defective institutions, run through with the necessity of their abolition. Lezra’s book moves from the primitive scenes of Western political institution—the city; the family; the university; the first person; “race”—through recent work in the philosophy of translation, decolonial studies, abolitionism, Afropessimism and its critiques, psvchoanalysis, and musicology.

To offer an original wedding of abolition and institution, Lezra brings together genealogies of contemporary institutionalism (from Durkheim and Hauriou to Searle); post-Marxist accounts of the state (Balibar, Abensour); philosophical and anthropological anarchism (Wolff, Malabou, Graeber, Scott); critical legal theory (analyses of Marbury v. Madison as well as Dobbs v. Jackson); continental and analytic versions and critiques of foundationalism (Heidegger, Lyotard and Butler; Quine, Searle and Fine); and political and sociological abolitionism (Lewis, O’Brien).

At a time when some call for strengthening institutions and for defending liberties ostensibly protected by such institutions, and others long for the destruction of institutions that have long been oppressive, Lezra’s book offers today’s Left a new framework for confronting institutions’ necessity and their necessary abolition.

Journey through uncharted literary waters and explore Melville’s epic in bold new light

Come sail with I.

We’re not taking the same trip, though you might recognize the familiar course. This time, the Pequod’s American voyage steers its course across the curvature of the Word Ocean without anyone at the helm. We are leaving one man and his madness on shore. Our ship overflows with glorious plurality—multiracial, visionary, queer, conflicted, polyphonic, playful, violent. But on this voyage something is different. Today we sail headless without any Captain. Instead of binding ourselves to the dismasted tyrant’s rage, the ship’s crew seeks only what we will find: currents teeming with life, a blue-watered alien globe, toothy cetacean smiles from vasty deeps. Treasures await those who sail without.

This cycle of one hundred thirty-eight poems—one for each chapter in Moby-Dick, plus the Etymology, Extracts, and Epilogue—launches into oceanic chaos without the stabilizing mad focus of the Nantucket captain. Guided by waywardness and curiosity, these poems seek an alien ecopoetics of marine depths, the refraction of light, the taste of salt on skin. Directionless, these poems reach out to touch oceanic expanse and depth. It’s not an easy voyage, and not a certain one. It lures you forward. It has fixed its barbed hook in I.

Sailing without means relinquishing goals, sleeping at the masthead, forgetting obsessions. I welcome you to trace wayward ways through these poems. Read them any way you can—back to front, at random, sideways, following the obscure promptings of your heart. It’s the turning that matters. It’s a blue wonder world that beckons.

Empires and their aftermaths were massive planning institutions; in the past two hundred years, the natural and social sciences emerged—at least in part—as modes of knowledge production for imperial planning. Yet these connections are frequently under-emphasized in the history of science and its corollary fields.

The Planning Moment explores the myriad ways plans and planning practices pervade recent global history. The book is built around twenty-seven brief case studies that explore the centrality of planning in colonial and postcolonial environments, relationships, and contexts, through a range of disciplines: the history of science, science and technology studies, colonial and postcolonial studies, urban studies, and the history of knowledge.

If colonialism made certain landscapes, populations, and institutions legible while obscuring others, The Planning Moment reveals the frequently disruptive and violent processes of erasure in imperial planning by examining how “common sense” was produced and how the intransigence of planning persists long after decolonization. In recognizing the resistance and subversion that often met colonial plans, the book makes visible a range of strategies and techniques by which planning was modified and reappropriated, and by which decolonial futures might be imagined.

Contributors: Itty Abraham, Benjamin Allen, Sarah Blacker, Emily Brownell, Lino Camprubí, John DiMoia, Mona Fawaz, Lilly Irani, Chihyung Jeon, Robert Kett, Monika Kirloskar-Steinbach, Karen McAllister, Laura Mitchell, Gregg Mitman, Aaron Moore (†), Nada Moumtaz, Tahani Nadim, Anindita Nag, Raúl Necochea López, Tamar Novick, Benjamin Peters, Juno Salazar Parreñas, Martina Schlünder, Sarah Van Beurden, Helen Verran, Ana Carolina Vimieiro Gomes, Alexandra Widmer, and Alden Young

A necessary reconceptualization of Latinx identity, literature, and politics

In Latinx Revolutionary Horizons, Renee Hudson theorizes a liberatory latinidad that is not yet here and conceptualizes a hemispheric project in which contemporary Latinx authors return to earlier moments of revolution. Rather than viewing Latinx as solely a category of identification, she argues for an expansive, historicized sense of the term that illuminates its political potential.

Claiming the “x” in Latinx as marking the suspension and tension between how Latin American descended people identify and the future politics the “x” points us toward, Hudson contends that latinidad can signal a politics grounded in shared struggles and histories rather than merely a mode of identification. In this way, Latinx Revolutionary Horizons reads against current calls for cancelling latinidad based on its presumed anti-Black and anti-Indigenous framework. Instead, she examines the not-yet-here of latinidad to investigate the connection between the revolutionary history of the Americas and the creation of new genres in the hemisphere, from conversion narratives and dictator novels to neoslave narratives and testimonios.

By comparing colonialisms, she charts a revolutionary genealogy across a range of movements such as the Mexican Revolution, the Filipino People Power Revolution, resistance to Trujillo in the Dominican Republic, and the Cuban Revolution. In pairing nineteenth-century authors along­side contemporary Latinx ones, Hudson examines a longer genealogy of Latinx resistance while expanding its literary canon, from the works of José Rizal and Martin Delany to those of Julia Alvarez, Jessica Hagedorn, and Leslie Marmon Silko. In imagining a truly transnational latinidad, Latinx Revolutionary Horizons thus rewrites our understanding of the nationalist formations that continue to characterize Latinx Studies.

Experience the powerful legacy of Philip Berrigan’s nonviolent resistance to war and empire

From the battlefields of World War II to the front lines of peace activism, Philip Berrigan evolved from soldier to scholar, priest to political prisoner. Confronting the fundamental nature of America’s military-focused culture, Berrigan took an unyielding stance against societal evils—war, systemic racism, unchecked materialism, and the baleful presence of nuclear weapons. Imprisoned by his government and ostracized by his Church, Berrigan’s life is a courageous example of nonviolent resistance and liberation in the face of overwhelming odds.

A Ministry of Risk is the definitive collection of Philip Berrigan’s writings. Authorized by the Berrigan family and arranged chronologically, these writings depict the transformation of one revolu­tionary soul while also providing a firsthand account of a nation grappling with its martial obsessions.

Threading the vibrant fabric of history with autobiographical insights, introspective theology, and a clarion call to activism, A Ministry of Risk offers both a living manifesto of nonviolent resistance and a journal of spiritual reflection by one of the 20th century’s most prophetic voices.

Empires and their aftermaths were massive planning institutions; in the past two hundred years, the natural and social sciences emerged—at least in part—as modes of knowledge production for imperial planning. Yet these connections are frequently under-emphasized in the history of science and its corollary fields.

The Planning Moment explores the myriad ways plans and planning practices pervade recent global history. The book is built around twenty-seven brief case studies that explore the centrality of planning in colonial and postcolonial environments, relationships, and contexts, through a range of disciplines: the history of science, science and technology studies, colonial and postcolonial studies, urban studies, and the history of knowledge.

If colonialism made certain landscapes, populations, and institutions legible while obscuring others, The Planning Moment reveals the frequently disruptive and violent processes of erasure in imperial planning by examining how “common sense” was produced and how the intransigence of planning persists long after decolonization. In recognizing the resistance and subversion that often met colonial plans, the book makes visible a range of strategies and techniques by which planning was modified and reappropriated, and by which decolonial futures might be imagined.

Contributors: Itty Abraham, Benjamin Allen, Sarah Blacker, Emily Brownell, Lino Camprubí, John DiMoia, Mona Fawaz, Lilly Irani, Chihyung Jeon, Robert Kett, Monika Kirloskar-Steinbach, Karen McAllister, Laura Mitchell, Gregg Mitman, Aaron Moore (†), Nada Moumtaz, Tahani Nadim, Anindita Nag, Raúl Necochea López, Tamar Novick, Benjamin Peters, Juno Salazar Parreñas, Martina Schlünder, Sarah Van Beurden, Helen Verran, Ana Carolina Vimieiro Gomes, Alexandra Widmer, and Alden Young

The stories of 18 immigrant families from East Harlem and their experiences with one of New York’s deeply-rooted organizations

On any given weekday, people stream in and out of Little Sisters of the Assumption Family Health Service’s bright, airy building on 115th Street. They are mostly mothers who find their way to LSA, sometimes only weeks after crossing the border from Mexico, having heard of the support that las hermanitas (“the little sisters”) offer. Opening a window into the world of New York’s Spanish-speaking newcomers, Mutuality in El Barrio combines oral histories with archival research of the history, spirituality, and ministry of LSA to present how this well-established organization serves vulnerable populations with a unique approach they call “mutuality.”

LSA is part of a network of East Harlem’s powerful grassroots organizations that draws from the remarkable strengths of local families in its community. It is a place of healing and empowerment focused on the overall holistic health of resident families. Long-term relationships are cultivated here rather than quick fixes, and it is a place that nurtures people’s full potential as leaders, parents, and advocates for themselves. In Mutuality in El Barrio, eighteen mothers share how, through the help of LSA, they managed to navigate a strange city and an unfamiliar language in a neighbor­hood that has long been a site of incredible challenges and extraordinary strength, creativity, and cultural vitality.

These personal accounts of mothers, long-time LSA staff, and nuns reveal how these women found solidarity, accompaniment, care, neighborhood transformation, and binding connections through mutuality that helped them grow and connect in East Harlem. Their stories shine a light on an organization that began as a small community of vowed nuns who, like these mothers, also trace their origins abroad.

The story of the origin of Vatican Radio provides a unique look at the history of World War II

The book offers the first wide-ranging study on the history of Vatican Radio from its origins (1931) to the end of Pius XII’s pontificate (1958) based on unpublished sources. The opening of the Secret Vatican Archives on the records regarding Pius XII will shed light on the most controversial pontificate of the 20th century. Moreover, the recent rearrangement of the Vatican media provided the creation of a multimedia archive that is still in Fieri.

This research is an original point of view on the most relevant questions concerning these decades: the relation of the Catholic Church with the Fascist regimes and Western democracies; the attitude toward anti-Semitism and the Shoah in Europe, and in general toward the total war; the relationship of the Holy See with the new media in the mass society; the questions arisen in the after-war period such as the Christian Democratic Party in Italy; the new role of women; and anti-communism and the competition for the consensus in the social and moral order in a secularized society.

Journey through uncharted literary waters and explore Melville’s epic in bold new light

Come sail with I.

We’re not taking the same trip, though you might recognize the familiar course. This time, the Pequod’s American voyage steers its course across the curvature of the Word Ocean without anyone at the helm. We are leaving one man and his madness on shore. Our ship overflows with glorious plurality—multiracial, visionary, queer, conflicted, polyphonic, playful, violent. But on this voyage something is different. Today we sail headless without any Captain. Instead of binding ourselves to the dismasted tyrant’s rage, the ship’s crew seeks only what we will find: currents teeming with life, a blue-watered alien globe, toothy cetacean smiles from vasty deeps. Treasures await those who sail without.

This cycle of one hundred thirty-eight poems—one for each chapter in Moby-Dick, plus the Etymology, Extracts, and Epilogue—launches into oceanic chaos without the stabilizing mad focus of the Nantucket captain. Guided by waywardness and curiosity, these poems seek an alien ecopoetics of marine depths, the refraction of light, the taste of salt on skin. Directionless, these poems reach out to touch oceanic expanse and depth. It’s not an easy voyage, and not a certain one. It lures you forward. It has fixed its barbed hook in I.

Sailing without means relinquishing goals, sleeping at the masthead, forgetting obsessions. I welcome you to trace wayward ways through these poems. Read them any way you can—back to front, at random, sideways, following the obscure promptings of your heart. It’s the turning that matters. It’s a blue wonder world that beckons.

Breaking the Bronze Ceiling uncovers a glaring omission in our global memorial landscape—the conspicuous absence of women. Exploring this neglected narrative, the book emerges as the foremost guide to women's memorialization across diverse cultures and ages. As global memorials come under intense examination, with metropolises vying for a more inclusive recognition of female contributions, this book stands at the forefront of contemporary discussion.

The book’s thought-provoking essays artfully traverse the complex terrains of gender portrayal, urban tales, ancestral practices, and grassroots activism—all anchored in the bedrock of cultural remembrance. Rich in the range of cases discussed, the book sifts through multifaceted representations of women, from Marians to Liberties, to handmaidens, to particular historical women.

Breaking the Bronze Ceiling offers a panoramic view of worldwide memorials, critically analyzing grandiose tributes while also honoring subtle gestures—be it evocative plaques, inspiring namesakes, or dynamic demonstrations. The book will be of interest to historians of art and architecture, as well as to activists, governmental bodies, urban planners, and NGOs committed to regional history and memory.

More than a mere compilation, Breaking the Bronze Ceiling epitomizes a movement. The book comprehensively assesses the portrayal of women in public art and offers a fervent plea to address the severe underrepresentation of women in memorials.

Contributors: Carolina Aguilera, Manuela Badilla, Daniel E. Coslett, Erika Doss, Tania Gutiérrez-Monroy, Daniel Herwitz, Katherine Hite, Lauren Kroiz, Ana María León, Fernando Luis Martínez Nespral, Pía Montealegre, Sierra Rooney, Daniela Sandler, Kirk Savage, Susan Slyomovics, Marita Sturken, Amanda Su, Dell Upton, Nathaniel Robert Walker, and Mechtild Widrich

The story of the origin of Vatican Radio provides a unique look at the history of World War II

The book offers the first wide-ranging study on the history of Vatican Radio from its origins (1931) to the end of Pius XII’s pontificate (1958) based on unpublished sources. The opening of the Secret Vatican Archives on the records regarding Pius XII will shed light on the most controversial pontificate of the 20th century. Moreover, the recent rearrangement of the Vatican media provided the creation of a multimedia archive that is still in Fieri.

This research is an original point of view on the most relevant questions concerning these decades: the relation of the Catholic Church with the Fascist regimes and Western democracies; the attitude toward anti-Semitism and the Shoah in Europe, and in general toward the total war; the relationship of the Holy See with the new media in the mass society; the questions arisen in the after-war period such as the Christian Democratic Party in Italy; the new role of women; and anti-communism and the competition for the consensus in the social and moral order in a secularized society.

The first book to seriously identify how artistic activism works and how to make it work better

The past decade has seen an explosion in the hybrid practice of “artistic activism,” as artists have turned toward activism to make their work more socially impactful and activists have adopted techniques and perspectives from the arts to make their interventions more creative. Yet questions haunt the practice: Does artistic activism work aesthetically? Does it work politically? And what does “working” even mean when one combines art and activism? In Æffect, author Stephen Duncombe sets out to address these questions at the heart of the field of artistic activism.

Written by the co-founder and current Research Director of the internationally recognized Center for Artistic Activism, Æffect draws on Duncombe’s more than twenty-five years of experi­ence in the field and one hundred in-depth interviews with artistic activists worldwide. More than a mere academic exercise, the theory, research, and tools in this book lay the groundwork for artistic activists to evaluate and strengthen their practice and to create better projects. The exploration of good artistic activism is grounded in three sets of concerns. 1) Change: Upon what theories of change is artistic activism based? 2) Intention: What do we hope and expect artistic activism to do, and how does it do this? 3) Evaluation: What actually happens as the result of an artistic activist intervention? Can it be measured?

Æffect is rich with examples that demonstrate successful artistic activism, including Undo­cubus, an old bus painted “No Fear” across its side that was driven cross-country by a group of undocumented immigrant activists; Journal Rappé, a video show created by Senegalese rappers who created long-form investigative reports by rapping the current news in French and Wolof; and War on Smog, a staged a public performance piece by artistic activists in the city of Chongqing in Southwest China. Scannable QR codes are included to provide tools that help readers assess the æffect of their artistic activism.

A necessary reconceptualization of Latinx identity, literature, and politics

In Latinx Revolutionary Horizons, Renee Hudson theorizes a liberatory latinidad that is not yet here and conceptualizes a hemispheric project in which contemporary Latinx authors return to earlier moments of revolution. Rather than viewing Latinx as solely a category of identification, she argues for an expansive, historicized sense of the term that illuminates its political potential.

Claiming the “x” in Latinx as marking the suspension and tension between how Latin American descended people identify and the future politics the “x” points us toward, Hudson contends that latinidad can signal a politics grounded in shared struggles and histories rather than merely a mode of identification. In this way, Latinx Revolutionary Horizons reads against current calls for cancelling latinidad based on its presumed anti-Black and anti-Indigenous framework. Instead, she examines the not-yet-here of latinidad to investigate the connection between the revolutionary history of the Americas and the creation of new genres in the hemisphere, from conversion narratives and dictator novels to neoslave narratives and testimonios.

By comparing colonialisms, she charts a revolutionary genealogy across a range of movements such as the Mexican Revolution, the Filipino People Power Revolution, resistance to Trujillo in the Dominican Republic, and the Cuban Revolution. In pairing nineteenth-century authors along­side contemporary Latinx ones, Hudson examines a longer genealogy of Latinx resistance while expanding its literary canon, from the works of José Rizal and Martin Delany to those of Julia Alvarez, Jessica Hagedorn, and Leslie Marmon Silko. In imagining a truly transnational latinidad, Latinx Revolutionary Horizons thus rewrites our understanding of the nationalist formations that continue to characterize Latinx Studies.

Reading the impossible has never seemed less possible. A few decades ago, critical readings could view the collapse of foundationalism optimistically. With meaning no longer soldered onto being, there was hope for all those beings whose meaning had been forever ordained by Nature or the Divine. Critical reading thus became a way of exploring the devious workings of knowledge and power. But as non-foundational systems of meaning have proven to be so perfectly suited to the transactional logics of the market, reading for the impasses of meaning has come to be seen as quixotic, impractical, and dated.

To concur with that view, Elizabeth Weed argues, is to embrace the fantasy told by the neoliberal order. To read the impossible is to disrupt that fantasy, with its return to stable categories of marketable identity, in order to contest the inexorable workings of misogyny and racism. This book seeks to disturb the positivity of identity in the hope of retrieving the impossibility of sexual difference, an impossibility that has its effects in the Real of misogyny.

A return to the famous debate between Derrida and Lacan on the impossibility of sexual difference yields two different readings of the impossible. In reconsidering these questions, Weed shows how the practice of reading can powerfully stage the wiles of language and the unconscious. In returning to that earlier moment in the context of current debates on the role of reading and interpretation, Weed offers a fresh perspective on what is at stake for critical reading in the neoliberal university.

In 1991, Jean-Luc Nancy's heart gave out. In one of the first such procedures in France, a stranger's heart was grafted into his body. Numerous complications followed, including more surgeries and lymphatic cancer. The procedure and illnesses he endured revealed to him, in a more visceral way than most of us ever experience, the strangeness of bodily existence itself and surviving the stranger within him.

During this same period, Europe began closing its borders to those seeking refuge from war and poverty. Alarmed at this trend and drawn to a highly intimate form of strangeness with which he had been living for years, Nancy set out in The Intruder to articulate how intrusion—whether of a body or a border—is not antithetical to one’s identity but constitutive of it.

In 2004, Claire Denis adapted The Intruder into a film already hailed among the most important of our century. This edition includes Nancy’s and Denis’s accounts of turning philosophy into film and the text of a shorter collaboration between the two of them. Throughout, Nancy and Denis push us to recognize that to truly welcome strangers means a constant struggle against exoticism, enforced assimilation, and confidence in our own self-identity.

Reading the impossible has never seemed less possible. A few decades ago, critical readings could view the collapse of foundationalism optimistically. With meaning no longer soldered onto being, there was hope for all those beings whose meaning had been forever ordained by Nature or the Divine. Critical reading thus became a way of exploring the devious workings of knowledge and power. But as non-foundational systems of meaning have proven to be so perfectly suited to the transactional logics of the market, reading for the impasses of meaning has come to be seen as quixotic, impractical, and dated.

To concur with that view, Elizabeth Weed argues, is to embrace the fantasy told by the neoliberal order. To read the impossible is to disrupt that fantasy, with its return to stable categories of marketable identity, in order to contest the inexorable workings of misogyny and racism. This book seeks to disturb the positivity of identity in the hope of retrieving the impossibility of sexual difference, an impossibility that has its effects in the Real of misogyny.

A return to the famous debate between Derrida and Lacan on the impossibility of sexual difference yields two different readings of the impossible. In reconsidering these questions, Weed shows how the practice of reading can powerfully stage the wiles of language and the unconscious. In returning to that earlier moment in the context of current debates on the role of reading and interpretation, Weed offers a fresh perspective on what is at stake for critical reading in the neoliberal university.

Breaking the Bronze Ceiling uncovers a glaring omission in our global memorial landscape—the conspicuous absence of women. Exploring this neglected narrative, the book emerges as the foremost guide to women's memorialization across diverse cultures and ages. As global memorials come under intense examination, with metropolises vying for a more inclusive recognition of female contributions, this book stands at the forefront of contemporary discussion.

The book’s thought-provoking essays artfully traverse the complex terrains of gender portrayal, urban tales, ancestral practices, and grassroots activism—all anchored in the bedrock of cultural remembrance. Rich in the range of cases discussed, the book sifts through multifaceted representations of women, from Marians to Liberties, to handmaidens, to particular historical women.

Breaking the Bronze Ceiling offers a panoramic view of worldwide memorials, critically analyzing grandiose tributes while also honoring subtle gestures—be it evocative plaques, inspiring namesakes, or dynamic demonstrations. The book will be of interest to historians of art and architecture, as well as to activists, governmental bodies, urban planners, and NGOs committed to regional history and memory.

More than a mere compilation, Breaking the Bronze Ceiling epitomizes a movement. The book comprehensively assesses the portrayal of women in public art and offers a fervent plea to address the severe underrepresentation of women in memorials.

Contributors: Carolina Aguilera, Manuela Badilla, Daniel E. Coslett, Erika Doss, Tania Gutiérrez-Monroy, Daniel Herwitz, Katherine Hite, Lauren Kroiz, Ana María León, Fernando Luis Martínez Nespral, Pía Montealegre, Sierra Rooney, Daniela Sandler, Kirk Savage, Susan Slyomovics, Marita Sturken, Amanda Su, Dell Upton, Nathaniel Robert Walker, and Mechtild Widrich

The first book to seriously identify how artistic activism works and how to make it work better

The past decade has seen an explosion in the hybrid practice of “artistic activism,” as artists have turned toward activism to make their work more socially impactful and activists have adopted techniques and perspectives from the arts to make their interventions more creative. Yet questions haunt the practice: Does artistic activism work aesthetically? Does it work politically? And what does “working” even mean when one combines art and activism? In Æffect, author Stephen Duncombe sets out to address these questions at the heart of the field of artistic activism.

Written by the co-founder and current Research Director of the internationally recognized Center for Artistic Activism, Æffect draws on Duncombe’s more than twenty-five years of experi­ence in the field and one hundred in-depth interviews with artistic activists worldwide. More than a mere academic exercise, the theory, research, and tools in this book lay the groundwork for artistic activists to evaluate and strengthen their practice and to create better projects. The exploration of good artistic activism is grounded in three sets of concerns. 1) Change: Upon what theories of change is artistic activism based? 2) Intention: What do we hope and expect artistic activism to do, and how does it do this? 3) Evaluation: What actually happens as the result of an artistic activist intervention? Can it be measured?

Æffect is rich with examples that demonstrate successful artistic activism, including Undo­cubus, an old bus painted “No Fear” across its side that was driven cross-country by a group of undocumented immigrant activists; Journal Rappé, a video show created by Senegalese rappers who created long-form investigative reports by rapping the current news in French and Wolof; and War on Smog, a staged a public performance piece by artistic activists in the city of Chongqing in Southwest China. Scannable QR codes are included to provide tools that help readers assess the æffect of their artistic activism.

Challenges conventional narratives of the Civil War era that emphasize Irish Americans’ unceasing opposition to Black freedom

Embracing Emancipation tackles a perennial question in scholarship on the Civil War era: Why did Irish Americans, who claimed to have been oppressed in Ireland, so vehemently opposed the antislavery movement in the United States? Challenging conventional answers to this question that focus on the cultural, political, and economic circumstances of the Irish in America, Embracing Emancipation locates the origins of Irish American opposition to antislavery in famine-era Ireland. There, a distinctively Irish critique of abolitionism emerged during the 1840s, one that was adopted and adapted by Irish Americans during the sectional crisis. The Irish critique of abolitionism meshed with Irish Americans’ belief that the American Union would uplift Irish people on both sides of the Atlantic—if only it could be saved from the forces of disunion.

Whereas conventional accounts of the Civil War itself emphasize Irish immigrants’ involvement in the New York City draft riots as a brutal coda to their unflinching opposition to emancipation, Delahanty uncovers a history of Irish Americans who embraced emancipation. Irish American soldiers realized that aiding Black southerners’ attempts at self-liberation would help to subdue the Confederate rebellion. Wartime developments in the United States and Ireland affirmed Irish American Unionists’ belief that the perpetuity of their adopted country was vital to the economic and political prospects of current and future immigrants and to their hopes for Ireland’s inde­pendence. Even as some Irish immigrants evinced their disdain for emancipation by lashing out against Union authorities and African Americans in northern cities, many others argued that their transatlantic interests in restoring the Union now aligned with slavery’s demise. While myriad Irish Americans ultimately abandoned their hostility to antislavery, their backgrounds in and continuously renewed connections with Ireland remained consistent influences on how the Irish in America took part in debate over the future of American slavery.

The stories of 18 immigrant families from East Harlem and their experiences with one of New York’s deeply-rooted organizations

On any given weekday, people stream in and out of Little Sisters of the Assumption Family Health Service’s bright, airy building on 115th Street. They are mostly mothers who find their way to LSA, sometimes only weeks after crossing the border from Mexico, having heard of the support that las hermanitas (“the little sisters”) offer. Opening a window into the world of New York’s Spanish-speaking newcomers, Mutuality in El Barrio combines oral histories with archival research of the history, spirituality, and ministry of LSA to present how this well-established organization serves vulnerable populations with a unique approach they call “mutuality.”

LSA is part of a network of East Harlem’s powerful grassroots organizations that draws from the remarkable strengths of local families in its community. It is a place of healing and empowerment focused on the overall holistic health of resident families. Long-term relationships are cultivated here rather than quick fixes, and it is a place that nurtures people’s full potential as leaders, parents, and advocates for themselves. In Mutuality in El Barrio, eighteen mothers share how, through the help of LSA, they managed to navigate a strange city and an unfamiliar language in a neighbor­hood that has long been a site of incredible challenges and extraordinary strength, creativity, and cultural vitality.

These personal accounts of mothers, long-time LSA staff, and nuns reveal how these women found solidarity, accompaniment, care, neighborhood transformation, and binding connections through mutuality that helped them grow and connect in East Harlem. Their stories shine a light on an organization that began as a small community of vowed nuns who, like these mothers, also trace their origins abroad.

Explores the ambiguities and contradictions that disrupt the assumed boundaries of battle zones

Against the fabric of suffering that unfolds around more spectacular injuries and deaths, The War In-Between studies visual depictions of banal, routine, or inscrutable aspects of militarized violence. Spaces of the in-between are both broader and much less visible than battlefields, even though struggles for survival arise out of the same conditions of structural violence. Visual artifacts includ­ing photographs, video, data visualizations, fabric art, and craft projects provide different vantage points on the quotidian impacts of militarism, whether it is the banality of everyday violence for non-combatants or the daily struggles of soldiers living with physical and emotional trauma.

Three interrelated concepts frame the book’s attempt to “stay” in the moment of looking at visual cultures of survival. First, the concept of the war in-between captures those interstitial spaces of war where violence and survival persist side-by-side. Second, this book expands the concept of indexicality to consider how images of the in-between rely on a range of indexical traces to produce alternative visualities about survival and endurance. Third, the book introduces an asymptotic analysis to explore the value in getting close to the diverse experiences that comprise the war in-between, even if the horizon line of experience is always just out of reach.

Exploring the capaciousness of survival reveals that there is more to feel and engage in war images than just mangled bodies, collapsing buildings, and industrialized death. The War In-Between, Kozol argues, offers not a better truth about war but an accounting of visualities that arise at the otherwise unthinkable junction of conflict and survival.

Sentimental Empiricism reconsiders the legacy of eighteenth and nineteenth century empiricism and moral sentimentalism for the intellectual formation of the generation of postwar French thinkers whose work came to dominate Anglophone conversations across the humanities under the guise of “French theory.” Panagia’s book first shows what was missed in the reception of this literature in the Anglophone academy by attending to how France’s pedagogical milieu plays out church and state relations in the form of educational debates around reading practices, the aesthetics of mimesis, French imperialism, and republican universalism. Panagia then shows how such thinkers as Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault develop a sentimental empiricist critical philosophy that distances itself from dialectical critique and challenges the metaphysical premise of inherent relations, especially as it had been articulated in the tradition of Aristotelian scholasticism.

Panagia develops the long disputed political legacy of French theory through an exploration of how these thinkers came to understand an aesthetic of mimesis as a credentialing standard for selection to political participation. Since, in France, the ability to imitate well is a state qualification necessary to access offices of elite power, the political, aesthetic, and philosophical critique of mimesis became one of the defining features of sentimental empiricist thought. By exploring the historical, intellectual, cultural, and philosophical complexities of this political aesthetic, Panagia shows how and why postwar French thinkers turned to a tradition of sentimental empiricism in order to develop a new form of criticism attentive to the dispositional powers of domination.

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

In 1991, Jean-Luc Nancy's heart gave out. In one of the first such procedures in France, a stranger's heart was grafted into his body. Numerous complications followed, including more surgeries and lymphatic cancer. The procedure and illnesses he endured revealed to him, in a more visceral way than most of us ever experience, the strangeness of bodily existence itself and surviving the stranger within him.

During this same period, Europe began closing its borders to those seeking refuge from war and poverty. Alarmed at this trend and drawn to a highly intimate form of strangeness with which he had been living for years, Nancy set out in The Intruder to articulate how intrusion—whether of a body or a border—is not antithetical to one’s identity but constitutive of it.

In 2004, Claire Denis adapted The Intruder into a film already hailed among the most important of our century. This edition includes Nancy’s and Denis’s accounts of turning philosophy into film and the text of a shorter collaboration between the two of them. Throughout, Nancy and Denis push us to recognize that to truly welcome strangers means a constant struggle against exoticism, enforced assimilation, and confidence in our own self-identity.

From the 1811 German Coast Slave Rebellion to the 1971 Attica Prison Uprising, from the truancy of enslaved women to the extreme self-discipline exercised by prisoners in solitary confinement, Black Americans have, through time, resisted racial regimes in extraordinary and everyday ways. Though these acts of large and small-scale resistance to slavery and incarceration are radical and transformative, they have often gone unnoticed. This book is about Black rebellion in captivity and the ways that many of the conventional well-worn constructs of academic political theory render its political dimensions obscure and indiscernible. While Hannah Arendt is an unlikely theorist to figure prominently in any discussion of Black politics, her concepts of world and worldlessness offer an indispensable framework for articulating a theory of resistance to chattel and carceral captivity.

Politics in Captivity begins by taking seriously the ways in which slavery and incarceration share important commonalities, including historical continuity. In Zuckerwise’s account of this commonality, the point of connection between enslaved and incarcerated people is not exploited labor, but rather resistance. The relations between the rebellions of both groups appear in the writings of Muhammed Ahmad, Angela Davis, George Jackson, Ruchell Magee, and Assata Shakur, a genre Zuckerwise calls Black carceral political thought. The insights of these thinkers and activists figure into Zuckerwise’s analyses of largescale uprisings and quotidian practices of resistance, which she conceives as acts of world-building, against conditions of forced worldlessness. In a moment when a collective racial reckoning is underway; when Critical Race Theory is a target of the Right; when prison abolition has become more prominent in mainstream political discourse, it is now more important than ever to look to historical and contemporary practices of resistance to white domination.

Explores the ambiguities and contradictions that disrupt the assumed boundaries of battle zones

Against the fabric of suffering that unfolds around more spectacular injuries and deaths, The War In-Between studies visual depictions of banal, routine, or inscrutable aspects of militarized violence. Spaces of the in-between are both broader and much less visible than battlefields, even though struggles for survival arise out of the same conditions of structural violence. Visual artifacts includ­ing photographs, video, data visualizations, fabric art, and craft projects provide different vantage points on the quotidian impacts of militarism, whether it is the banality of everyday violence for non-combatants or the daily struggles of soldiers living with physical and emotional trauma.

Three interrelated concepts frame the book’s attempt to “stay” in the moment of looking at visual cultures of survival. First, the concept of the war in-between captures those interstitial spaces of war where violence and survival persist side-by-side. Second, this book expands the concept of indexicality to consider how images of the in-between rely on a range of indexical traces to produce alternative visualities about survival and endurance. Third, the book introduces an asymptotic analysis to explore the value in getting close to the diverse experiences that comprise the war in-between, even if the horizon line of experience is always just out of reach.

Exploring the capaciousness of survival reveals that there is more to feel and engage in war images than just mangled bodies, collapsing buildings, and industrialized death. The War In-Between, Kozol argues, offers not a better truth about war but an accounting of visualities that arise at the otherwise unthinkable junction of conflict and survival.

Sentimental Empiricism reconsiders the legacy of eighteenth and nineteenth century empiricism and moral sentimentalism for the intellectual formation of the generation of postwar French thinkers whose work came to dominate Anglophone conversations across the humanities under the guise of “French theory.” Panagia’s book first shows what was missed in the reception of this literature in the Anglophone academy by attending to how France’s pedagogical milieu plays out church and state relations in the form of educational debates around reading practices, the aesthetics of mimesis, French imperialism, and republican universalism. Panagia then shows how such thinkers as Jean Wahl, Simone de Beauvoir, Gilbert Simondon, Gilles Deleuze, and Michel Foucault develop a sentimental empiricist critical philosophy that distances itself from dialectical critique and challenges the metaphysical premise of inherent relations, especially as it had been articulated in the tradition of Aristotelian scholasticism.

Panagia develops the long disputed political legacy of French theory through an exploration of how these thinkers came to understand an aesthetic of mimesis as a credentialing standard for selection to political participation. Since, in France, the ability to imitate well is a state qualification necessary to access offices of elite power, the political, aesthetic, and philosophical critique of mimesis became one of the defining features of sentimental empiricist thought. By exploring the historical, intellectual, cultural, and philosophical complexities of this political aesthetic, Panagia shows how and why postwar French thinkers turned to a tradition of sentimental empiricism in order to develop a new form of criticism attentive to the dispositional powers of domination.

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

The most comprehensive, up-to-date, and acclaimed guide to the High Line by the leading expert on the history of the park—now in a fully revised edition

Built atop a former freight railroad, the “park in the sky” is regularly cited as one of the premiere examples of adaptive reuse and quickly became one of New York’s most popular destinations, attracting more than 8 million visitors a year. This updated Third Edition of On the High Line— published to coincide with the fifteenth anniversary of the park’s opening—remains the definitive guide to the park that transformed an entire neighborhood and became an inspiration to cities around the globe.

In short entries organized by roughly two city block sections, the guide provides rich details about everything in view on both sides of the park. Illustrated with more than 110 black & white photographs, it covers historic and modern architecture; plants and horticulture; and important industries and technological innovations that developed in the neighborhoods the park traverses, from book publishing and food distribution to the introduction of cold storage and the development of radar, the elevator, and talking movies. Updated to include newly opened sections of the park, this edition also features a new conversation pertaining to the more controversial side of the High Line’s story and how it became a poster child for the most grievous manifestations of gentrification and inequity in public spaces. Author Annik LaFarge provides a frank discussion on how the park’s leadership created a platform for discussing these issues and for advising other projects on how to work more inclusively and from a social justice and equity perspective.

On the High Line serves as an educated travel companion, someone invisibly perched on a visitor’s shoulder who can answer every question, including what was here before, moving back in time through the early 20th century, the Industrial Revolution, and the colonial and pre-European times when this stretch of what we call Manhattan was home to the Lenape people and much of it was covered by the waters of the Hudson River. A companion website with more than 650 photos—historic, contemporary, rooftop and aerial—can be viewed at HighLineBook.com.

Devil’s Mile tells the rip-roaring story of New York’s oldest and most unique street

The Bowery was a synonym for despair throughout most of the 20th century. The very name evoked visuals of drunken bums passed out on the sidewalk, and New Yorkers nicknamed it “Satan’s Highway,” “The Mile of Hell,” and “The Street of Forgotten Men.” For years the little businesses along the Bowery—stationers, dry goods sellers, jewelers, hatters—periodically asked the city to change the street’s name. To have a Bowery address, they claimed, was hurting them; people did not want to venture there.

But when New York exploded into real estate frenzy in the 1990s, developers discovered the Bowery. They rushed in and began tearing down. Today, Whole Foods, hipster night spots, and expensive lofts have replaced the old flophouses and dive bars, and the bad old Bowery no longer exists.

In Devil’s Mile, Alice Sparberg Alexiou tells the story of the Bowery, starting with its origins, when forests covered the surrounding area, and through the pre–Civil War years, when country estates of wealthy New Yorkers lined this thoroughfare. She then describes the Bowery’s deterioration in stunning detail, starting in the post-bellum years. She ends her historical exploration of this famed street in the present, bearing witness as the old Bowery buildings, and the memories associated with them, are disappearing.

Winner, Prix Pierre Lafue
Winner, Prix lycéen du livre d’histoire des Rendez-vous de l’histoire de Blois

In the archives of the main institution in charge of the history and memory of the genocide in Rwanda, several bundles of fragile little school notebooks contain, in the silence of accumulated dust, the stories of around a hundred surviving children. Written in 2006 at the initiative of a Rwandan survivors’ association, as a testimonial and psychological catharsis, these accounts by children who have since become young men and women tell the story of their experience of the genocide, as well as of “life before” and “life after.”

The words of these children, the cruel realism of the scenes they describe, the power of the emotions they express, provide the historian with an unparalleled insight into the subjectivities of the survivors, and also enable us to take on board the murderous discourse and gestures of those who eradicated their world of childhood forever. Far from abstract postulates on the “unspeakable,” Beyond Despair offers a reflection on the conditions that make audible such an experience of dereliction in the twilight of the twentieth century.

This work received support for excellence in publication and translation from Albertine Translation, a program created by Villa Albertine and funded by FACE Foundation.

Challenges conventional narratives of the Civil War era that emphasize Irish Americans’ unceasing opposition to Black freedom

Embracing Emancipation tackles a perennial question in scholarship on the Civil War era: Why did Irish Americans, who claimed to have been oppressed in Ireland, so vehemently opposed the antislavery movement in the United States? Challenging conventional answers to this question that focus on the cultural, political, and economic circumstances of the Irish in America, Embracing Emancipation locates the origins of Irish American opposition to antislavery in famine-era Ireland. There, a distinctively Irish critique of abolitionism emerged during the 1840s, one that was adopted and adapted by Irish Americans during the sectional crisis. The Irish critique of abolitionism meshed with Irish Americans’ belief that the American Union would uplift Irish people on both sides of the Atlantic—if only it could be saved from the forces of disunion.

Whereas conventional accounts of the Civil War itself emphasize Irish immigrants’ involvement in the New York City draft riots as a brutal coda to their unflinching opposition to emancipation, Delahanty uncovers a history of Irish Americans who embraced emancipation. Irish American soldiers realized that aiding Black southerners’ attempts at self-liberation would help to subdue the Confederate rebellion. Wartime developments in the United States and Ireland affirmed Irish American Unionists’ belief that the perpetuity of their adopted country was vital to the economic and political prospects of current and future immigrants and to their hopes for Ireland’s inde­pendence. Even as some Irish immigrants evinced their disdain for emancipation by lashing out against Union authorities and African Americans in northern cities, many others argued that their transatlantic interests in restoring the Union now aligned with slavery’s demise. While myriad Irish Americans ultimately abandoned their hostility to antislavery, their backgrounds in and continuously renewed connections with Ireland remained consistent influences on how the Irish in America took part in debate over the future of American slavery.

The first comprehensive treatment in seventy years of the American Art-Union's remarkable rise and fall

For over a decade, the New York-based American Art-Union shaped art creation, display, and patronage nationwide. Boasting as many as 19,000 members from almost every state, its meteoric rise and its sudden and spectacular collapse still raise a crucial question: Why did such a successful and influential institution fail? The American Art-Union reveals a sprawling and fascinating account of the country's first nationwide artistic phenomenon, creating a shared experience of visual culture, art news and criticism, and a direct experience with original works.

For an annual fee of five dollars, members of the American Art-Union received an engraving after a painting by a notable U.S. artist and the annual publication Transactions (1839–49) and later the monthly Bulletin (1848–53). Most importantly, members' names were entered in a drawing for hundreds of original paintings and sculptures by most of the era's best-known artists. Those artworks were displayed in its immensely popular Free Gallery. Unfortunately, the experiment was short-lived. Opposition grew, and a cascade of events led to an 1852 court case that proved to be the Art-Union's downfall. Illuminating the workings of the American art market, this study fills a gaping lacuna in the history of nineteenth-century U.S. art. Dr. Kimberly A. Orcutt draws from the American Art-Union's records as well as in-depth contextual research to track the organization's decisive impact that set the direction of the country's paintings, sculpture, and engravings for well over a decade.

​​Forged in cultural crosscurrents of utopianism and skepticism, the American Art-Union's demise can be traced to its nature as an attempt to create and control the complex system that the early nineteenth-century art world represented. This study breaks the organization's activities into their major components to offer a structural rather than chronological narrative that follows mounting tensions to their inevitable end. The institution was undone not by dramatic outward events or the character of its leadership but by the character of its utopianist plan.

Threshold Phenomena reexamines Jacques Derrida’s thinking of hospitality, from his well-known writings of the 1990s to his recently-published seminars on the same topic. The book follows Derrida’s rereading of several central figures and texts on hospitality (Sophocles’ Oedipus at Colonus, Kant’s Perpetual Peace, Levinas’s Totality and Infinity) and his attempt to rethink questions surrounding not only private but also public hospitality in the form of immigration law, the contemporary treatment of migrants or stateless peoples, and the establishment of cities of asylum.

Naas develops many of the central themes of Derrida’s seminar—the relationship between hospitality and teletechnology (telephone, internet, cyberspace, etc.), the role of fatherlands and mother tongues in hospitality, questions of purity, immunity, and xenophobia, and the possibility of extending hospitality beyond the human—to animals, plants, gods, and clones. Reframing Derrida’s approach to ethics, Naas reconsiders the relationship between hospitality and deconstruction, concluding that hospitality is not merely a theme to be treated by deconstruction but one of the best ways of describing its work.

Naas’s book turns around a figure that Derrida himself returns to several times throughout the seminar: the threshold—a figure of hospitality par excellence, but also, in his seminars, another name for what Derrida in the 1960s began calling différance. Threshold Phenomena concludes that Derrida’s seminar on hospitality is one of the best introductions we have to Derrida’s work in general and one of the surest signs of its continuing relevance, a seminar that is at once fascinating and engaging in its own right and necessary for analyzing today’s increasingly nationalistic and xenophobic political climate.

Winner, Prix Pierre Lafue
Winner, Prix lycéen du livre d’histoire des Rendez-vous de l’histoire de Blois

In the archives of the main institution in charge of the history and memory of the genocide in Rwanda, several bundles of fragile little school notebooks contain, in the silence of accumulated dust, the stories of around a hundred surviving children. Written in 2006 at the initiative of a Rwandan survivors’ association, as a testimonial and psychological catharsis, these accounts by children who have since become young men and women tell the story of their experience of the genocide, as well as of “life before” and “life after.”

The words of these children, the cruel realism of the scenes they describe, the power of the emotions they express, provide the historian with an unparalleled insight into the subjectivities of the survivors, and also enable us to take on board the murderous discourse and gestures of those who eradicated their world of childhood forever. Far from abstract postulates on the “unspeakable,” Beyond Despair offers a reflection on the conditions that make audible such an experience of dereliction in the twilight of the twentieth century.

This work received support for excellence in publication and translation from Albertine Translation, a program created by Villa Albertine and funded by FACE Foundation.

In a breathtaking blend of lyrical memoir, photographs, and textual artifacts, Mother of Stories examines the complex legacy of a mother who was a gifted teacher, a passionate reader, and a pathological liar.

While Alice Dailey was immersed in an academic study of death in Shakespeare’s history plays, her mother died from toxic exposure to mold. Composed in a fugue of grief, Mother of Stories is Dailey’s uncompromising account of the months before and after her mother’s death. Through varied forms of episodic and visual recreation, Mother of Stories confronts what it means to inherit violent family narratives and, in their wake, to have to reconceive the borders between lived, imaginary, and literary experience.

A hybrid, richly imaginative work that synthesizes past and present, counterfeit and real, Mother of Stories oscillates between the inescapable weight of history and the cathartic liberation of art and storytelling. In constructing a poetic assemblage reminiscent at once of medieval miscellanies and contemporary experimental autotheory, Dailey’s acts of rehearsing, cutting, and folding history generate forms of radical critique that puncture and reconstitute the limits of literary nonfiction.

From the 1811 German Coast Slave Rebellion to the 1971 Attica Prison Uprising, from the truancy of enslaved women to the extreme self-discipline exercised by prisoners in solitary confinement, Black Americans have, through time, resisted racial regimes in extraordinary and everyday ways. Though these acts of large and small-scale resistance to slavery and incarceration are radical and transformative, they have often gone unnoticed. This book is about Black rebellion in captivity and the ways that many of the conventional well-worn constructs of academic political theory render its political dimensions obscure and indiscernible. While Hannah Arendt is an unlikely theorist to figure prominently in any discussion of Black politics, her concepts of world and worldlessness offer an indispensable framework for articulating a theory of resistance to chattel and carceral captivity.

Politics in Captivity begins by taking seriously the ways in which slavery and incarceration share important commonalities, including historical continuity. In Zuckerwise’s account of this commonality, the point of connection between enslaved and incarcerated people is not exploited labor, but rather resistance. The relations between the rebellions of both groups appear in the writings of Muhammed Ahmad, Angela Davis, George Jackson, Ruchell Magee, and Assata Shakur, a genre Zuckerwise calls Black carceral political thought. The insights of these thinkers and activists figure into Zuckerwise’s analyses of largescale uprisings and quotidian practices of resistance, which she conceives as acts of world-building, against conditions of forced worldlessness. In a moment when a collective racial reckoning is underway; when Critical Race Theory is a target of the Right; when prison abolition has become more prominent in mainstream political discourse, it is now more important than ever to look to historical and contemporary practices of resistance to white domination.

Exploring the silence of prayer in Post-Kantian philosophy and traditional spirituality

A Philosophy of Prayer explores prayer within the perspective of post-Kantian philosophy. Against a background of traditional sources, including Augustine, The Cloud of Unknowing, and the seventeenth-century French school of spirituality, the book uses Schleiermacher, Kierkegaard, Dostoevsky, Heidegger, Berdyaev, Tillich, Marcel, Simone Weil, Emmanuel Levinas, and Jean- Louis Chrétien to provide an interpretation of what is meant by the passivity and self-annihilation of the praying self, suggesting an “apophatics of the personality.”

Pattison pays particular attention to the question of language and the implications of the role given to silence in traditional texts, arguing that language remains a defining element of the human–God relationship and that silence is not to be construed as the negation of language but as the revelation of the depth of language itself. The basic structure of prayer is shown to be implicitly eschatological, oriented toward a coming kingdom of justice and peace while, at the same time, expressing a deep desire for ontological homecoming, a tension manifest in, respectively, Levinas and Heidegger. On Pattison’s reading, prayer calls for and develops a particular orientation of the self toward existence, corresponding to the virtue of humility, long understood as the basic Christian virtue. This is shown to be in tension with modernity’s commitment to strong versions of autonomy. However, the choice of humility is not presented as the reinstatement of religious heteronomy but as a free choice of the praying self.

The Ruse of Techne offers a reappraisal of Heidegger’s entire work by focusing on the forms of activity he regards as separate from instrumentality. Non-instrumental activities like authenticity, poetry, and thinking—in short, the ineffectual—are critical for Heidegger as they offer the only path to the truth of being throughout his work.

By unearthing the source of the conception of non-instrumental action in Heidegger’s reading of Aristotle, Vardoulakis elaborates how it forms part of Heidegger’s response to an old problem, namely, how to account for difference after positing a single and unified being that is not amenable to change. He further demonstrates that an action without ends and effects leads to an ethics and politics rife with difficulties and contradictions that only become starker when compared to other responses to the same problem that we find in the philosophical tradition and which rely on instrumentality.

Heidegger’s conception of an action without ends or effect forgets the role of instrumentality in the tradition that posits a single, unified being. And yet, the ineffectual has had a profound influence in how continental philosophy determines the ethical and the political since World War II. The critique of the ineffectual in Heidegger is thus effectively a critique of the conception of praxis in continental philosophy. Vardoulakis proposes that it is urgent to undo the forgetting of instrumentality if we are to conceive of a democratic politics and an ethics fit to respond to the challenges of high capitalism.

In a breathtaking blend of lyrical memoir, photographs, and textual artifacts, Mother of Stories examines the complex legacy of a mother who was a gifted teacher, a passionate reader, and a pathological liar.

While Alice Dailey was immersed in an academic study of death in Shakespeare’s history plays, her mother died from toxic exposure to mold. Composed in a fugue of grief, Mother of Stories is Dailey’s uncompromising account of the months before and after her mother’s death. Through varied forms of episodic and visual recreation, Mother of Stories confronts what it means to inherit violent family narratives and, in their wake, to have to reconceive the borders between lived, imaginary, and literary experience.

A hybrid, richly imaginative work that synthesizes past and present, counterfeit and real, Mother of Stories oscillates between the inescapable weight of history and the cathartic liberation of art and storytelling. In constructing a poetic assemblage reminiscent at once of medieval miscellanies and contemporary experimental autotheory, Dailey’s acts of rehearsing, cutting, and folding history generate forms of radical critique that puncture and reconstitute the limits of literary nonfiction.

Exploring the silence of prayer in Post-Kantian philosophy and traditional spirituality

A Philosophy of Prayer explores prayer within the perspective of post-Kantian philosophy. Against a background of traditional sources, including Augustine, The Cloud of Unknowing, and the seventeenth-century French school of spirituality, the book uses Schleiermacher, Kierkegaard, Dostoevsky, Heidegger, Berdyaev, Tillich, Marcel, Simone Weil, Emmanuel Levinas, and Jean- Louis Chrétien to provide an interpretation of what is meant by the passivity and self-annihilation of the praying self, suggesting an “apophatics of the personality.”

Pattison pays particular attention to the question of language and the implications of the role given to silence in traditional texts, arguing that language remains a defining element of the human–God relationship and that silence is not to be construed as the negation of language but as the revelation of the depth of language itself. The basic structure of prayer is shown to be implicitly eschatological, oriented toward a coming kingdom of justice and peace while, at the same time, expressing a deep desire for ontological homecoming, a tension manifest in, respectively, Levinas and Heidegger. On Pattison’s reading, prayer calls for and develops a particular orientation of the self toward existence, corresponding to the virtue of humility, long understood as the basic Christian virtue. This is shown to be in tension with modernity’s commitment to strong versions of autonomy. However, the choice of humility is not presented as the reinstatement of religious heteronomy but as a free choice of the praying self.

Transdisciplinary insights at the intersection of religion, democracy, ecology, and economy

What is the relationship of religion to economy, ecology, and democracy? In our fraught moment, what critical questions of religion may help to assembly democratic processes, ecosystems, and economic structures differently? What possible futures might emerge from transdisciplinary work across these traditionally siloed scholarly areas of interest?

The essays in Assembling Futures reflect scholarly conversations among historians, political scientists, theologians, biblical studies scholars, and scholars of religion that transgress disciplinary boundaries to consider urgent matters expressive of the values, practices, and questions that shape human existence. Each essay recognizes urgent imbrications of the global economy, multinational politics, and the materiality of ecological entanglements in assembling still possible futures for the earth. Precisely in their diversity of disciplinary starting points and ethical styles, the essays that follow enact their intersectional forcefield even more vibrantly.

Transdisciplinary insights at the intersection of religion, democracy, ecology, and economy

What is the relationship of religion to economy, ecology, and democracy? In our fraught moment, what critical questions of religion may help to assembly democratic processes, ecosystems, and economic structures differently? What possible futures might emerge from transdisciplinary work across these traditionally siloed scholarly areas of interest?

The essays in Assembling Futures reflect scholarly conversations among historians, political scientists, theologians, biblical studies scholars, and scholars of religion that transgress disciplinary boundaries to consider urgent matters expressive of the values, practices, and questions that shape human existence. Each essay recognizes urgent imbrications of the global economy, multinational politics, and the materiality of ecological entanglements in assembling still possible futures for the earth. Precisely in their diversity of disciplinary starting points and ethical styles, the essays that follow enact their intersectional forcefield even more vibrantly.

An archive of personal trauma that addresses how a culture still toxic to queer people can reshape a body

In the summer of 2019, Jonathan Alexander had a minor stroke, what his doctors called an “eye stroke.” A small bit of cholesterol came loose from a vein in his neck and instead of shooting into his brain and causing damage, it lodged itself in a branch artery of his retina, resulting in a permanent blindspot in his right eye. In Stroke Book, Alexander recounts both the immediate aftermath of his health crisis, which marked deeper health concerns, as well as his experiences as a queer person subject to medical intervention.

A pressure that the queer ill contend with is feeling at fault for their condition, of having somehow chosen illness as punishment for their queerness, however subconsciously. Queer people often experience psychic and somatic pressures that not only decrease their overall quality of life but can also lead to shorter lifespans. Emerging out of a medical emergency and a need to think and feel that crisis through the author’s sexuality, changing sense of dis/ability, and experience of time, Stroke Book invites readers on a personal journey of facing a health crisis while trying to understand how one’s sexual identity affects and is affected by that crisis. Pieceing and stitching together his experience in a queered diary form, Alexander’s lyrical prose documents his ongoing, unfolding experience in the aftermath of the stroke. Through the fracturing of his text, which almost mirrors his fractured sight post-stroke, the author grapples with his shifted experience of time, weaving in and out, while he tracks the aftermath of what he comes to call his “incident” and meditates on how a history of homophobic encounters can manifest in embodied forms.

The book situates itself within a larger queer tradition of writing—first, about the body, then about the body unbecoming, and then, yet further, about the body ongoing, even in the shadow of death. Stroke Book also documents the complexities of critique and imagination while holding open a space for dreaming, pleasure, intimacy, and the unexpected.

The Ruse of Techne offers a reappraisal of Heidegger’s entire work by focusing on the forms of activity he regards as separate from instrumentality. Non-instrumental activities like authenticity, poetry, and thinking—in short, the ineffectual—are critical for Heidegger as they offer the only path to the truth of being throughout his work.

By unearthing the source of the conception of non-instrumental action in Heidegger’s reading of Aristotle, Vardoulakis elaborates how it forms part of Heidegger’s response to an old problem, namely, how to account for difference after positing a single and unified being that is not amenable to change. He further demonstrates that an action without ends and effects leads to an ethics and politics rife with difficulties and contradictions that only become starker when compared to other responses to the same problem that we find in the philosophical tradition and which rely on instrumentality.

Heidegger’s conception of an action without ends or effect forgets the role of instrumentality in the tradition that posits a single, unified being. And yet, the ineffectual has had a profound influence in how continental philosophy determines the ethical and the political since World War II. The critique of the ineffectual in Heidegger is thus effectively a critique of the conception of praxis in continental philosophy. Vardoulakis proposes that it is urgent to undo the forgetting of instrumentality if we are to conceive of a democratic politics and an ethics fit to respond to the challenges of high capitalism.

Threshold Phenomena reexamines Jacques Derrida’s thinking of hospitality, from his well-known writings of the 1990s to his recently-published seminars on the same topic. The book follows Derrida’s rereading of several central figures and texts on hospitality (Sophocles’ Oedipus at Colonus, Kant’s Perpetual Peace, Levinas’s Totality and Infinity) and his attempt to rethink questions surrounding not only private but also public hospitality in the form of immigration law, the contemporary treatment of migrants or stateless peoples, and the establishment of cities of asylum.

Naas develops many of the central themes of Derrida’s seminar—the relationship between hospitality and teletechnology (telephone, internet, cyberspace, etc.), the role of fatherlands and mother tongues in hospitality, questions of purity, immunity, and xenophobia, and the possibility of extending hospitality beyond the human—to animals, plants, gods, and clones. Reframing Derrida’s approach to ethics, Naas reconsiders the relationship between hospitality and deconstruction, concluding that hospitality is not merely a theme to be treated by deconstruction but one of the best ways of describing its work.

Naas’s book turns around a figure that Derrida himself returns to several times throughout the seminar: the threshold—a figure of hospitality par excellence, but also, in his seminars, another name for what Derrida in the 1960s began calling différance. Threshold Phenomena concludes that Derrida’s seminar on hospitality is one of the best introductions we have to Derrida’s work in general and one of the surest signs of its continuing relevance, a seminar that is at once fascinating and engaging in its own right and necessary for analyzing today’s increasingly nationalistic and xenophobic political climate.

A gripping, funny, joyful account of how the books you read shape your own life in surprising and profound ways.

Bookworms know what scholars of literature are trained to forget: that when they devour a work of literary fiction, whatever else they may be doing, they are reading about themselves. Read Shakespeare, and you become Cleopatra, Hamlet, or Bottom. Or at the very least, you experience the plays as if you are in a small room alone with them, and they are speaking to your life, your sensibility.

Drawing on fifty years as a Shakespearean, Leonard Barkan has produced a captivating book that asks us to reconsider what it means to read. Barkan violates the rule of distance he was taught and has always taught his students. He asks: Where does this brilliantly contrived fiction actually touch me? Where is Shakespeare in effect telling the story of my life?

King Lear, for Barkan, raises unanswerable questions about what exactly a father does after planting the seed. Mothers from Gertrude to Lady Macbeth are reconsidered in the light of the author’s experience as a son of a former flapper. The sonnets and comedies are seen through the eyes of a gay man who nevertheless weeps with joy when all the heterosexual couples are united at the end. A Midsummer Night’s Dream is interpreted through the author’s joyous experience of performing the role of Bottom and finding his aesthetic faith in the pantheon of antiquity. And the exquisitely poetical history play Richard II intersects with, of all things, Ru Paul’s Drag Race.

Full of engrossing stories, from family secrets to the world of the theater, and written with humor and genuine excitement about literary experiences worthy of our attention and our love, Reading Shakespeare Reading Me makes Shakespeare’s plays come alive in new ways.

This book offers a unique twist to the Who’s Who of midcentury writers, editors, and artists

Much is made of Flannery O’Connor’s life on the Georgia dairy farm, Andalusia—a rural setting that clearly influenced her writing. But before she lived on that farm, before she showed signs of having lupus, before she became dependent on her mother and then succumbed to the disease at thirty-nine, O’Connor lived in the northeast. She stayed at the artists’ colony Yaddo in 1948 and early 1949 and lived in Connecticut with good friends from fall of 1949 through all of 1950. But in between those experiences, and perhaps more importantly, O’Connor lived in Manhattan.

In her biographies, little is said of her time in Gotham; in some sources, this period gets no more than one sentence. But little is said because little has been known. In Flannery O’Connor’s Manhattan, the author’s goal is to explore New York City from O’Connor’s point of view. To do this, the author consults not just letters (both unpublished and published) and biography, but five personal address books housed in Emory’s Stuart A. Rose Manuscript, Archives and, Rare Book Library. The result is a book of interest to both the O’Connor fan and the O’Connor scholar, not to mention those interested in midcentury Manhattan.

Flannery O’Connor’s Manhattan is part guide to the who-was-who and who-lived-where of New York from roughly 1948 to 1964, at least those as they mattered to O’Connor. It also acts as a window to the writer’s experiences in the city, whether she was coming into town for a series of meetings or strolling down Broadway on her way to lunch. In the end, it is the combination of the who-she-knew and the what-she-did that formed O’Connor’s personal view of what is arguably the most famous of American cities.

The incredible story of the man and legend who has come to symbolize the continuing pursuit of justice for Blacks in the United States

Through the 1980s, the mainstream press portrayed the Reverend Al Sharpton as a buffoon, a fake minister, a hustler, an opportunist, a demagogue, a race traitor, and an anti-Semite. Today, Sharpton occupies a throne that would have shocked the white newspaper reporters who covered him forty years ago. A mesmerizing story of astounding transformation, craftiness, and survival, King Al follows Reverend Sharpton’s life trajectory, from his early life as a boy preacher to his present moment as the most popular Black American activist/minister/cable news host.

In the 1980s, Rev. Al created controversies that would have doomed a lesser man to the dustbin of history. Among these controversies were his work with the FBI as the agency attempted to locate Black Liberation Army leader Assata Shakur; and his involvement in the 1987 Tawana Brawley episode. Regarding the Brawley matter, a white prosecutor sued Sharpton, successfully, for falsely accusing him of having raped the then-fifteen-year-old Brawley.

It was the white press, in its glory days, that created the podium from which Sharpton became both famous and infamous. Those reporters would joke that the most dangerous place in New York was between Al Sharpton and a television camera. But it was those reporters who made Sharpton the media figure he is today.

Today, as host of MSNBC’s PoliticsNation news program, Sharpton has more news viewers than those reporters ever had readers.

The Reverend Al’s rise to respectability is a testament to an endurance and boldness steeped in Black American history. Born in Brooklyn to parents from the old slave-holding South, he transformed himself into one of the most respected and politically influential Blacks in the United States.

In his in-depth coverage, author Ron Howell tells the stories of Sharpton’s ascendance to the throne. He tells us about the glory years of American newspapers, when Sharpton began his rise. And he tells us about the politicians who intersected with Sharpton as he climbed the ladder.

King Al is an engaging read about the late-twentieth-century history of New York City politics and race relations, as well as about the remarkable staying power of the colorful, politically skillful, and enigmatic Sharpton.

This book offers a unique twist to the Who’s Who of midcentury writers, editors, and artists

Much is made of Flannery O’Connor’s life on the Georgia dairy farm, Andalusia—a rural setting that clearly influenced her writing. But before she lived on that farm, before she showed signs of having lupus, before she became dependent on her mother and then succumbed to the disease at thirty-nine, O’Connor lived in the northeast. She stayed at the artists’ colony Yaddo in 1948 and early 1949 and lived in Connecticut with good friends from fall of 1949 through all of 1950. But in between those experiences, and perhaps more importantly, O’Connor lived in Manhattan.

In her biographies, little is said of her time in Gotham; in some sources, this period gets no more than one sentence. But little is said because little has been known. In Flannery O’Connor’s Manhattan, the author’s goal is to explore New York City from O’Connor’s point of view. To do this, the author consults not just letters (both unpublished and published) and biography, but five personal address books housed in Emory’s Stuart A. Rose Manuscript, Archives and, Rare Book Library. The result is a book of interest to both the O’Connor fan and the O’Connor scholar, not to mention those interested in midcentury Manhattan.

Flannery O’Connor’s Manhattan is part guide to the who-was-who and who-lived-where of New York from roughly 1948 to 1964, at least those as they mattered to O’Connor. It also acts as a window to the writer’s experiences in the city, whether she was coming into town for a series of meetings or strolling down Broadway on her way to lunch. In the end, it is the combination of the who-she-knew and the what-she-did that formed O’Connor’s personal view of what is arguably the most famous of American cities.

Association of Catholic Publishers 2022 Excellence in Publishing Awards: First Place, Theology
Catholic Media Association, Honorable Mention in Theology: Morality, Ethics, Christology, Mariology, and Redemption

Unveiling divine mysteries across continents and centuries.

Revelation in the Vernacular retrieves a hermeneutics of the vernacular that is rooted en lo cotidi­ano, in everyday life and experience. Traversing time and geography, Ruiz remaps a theology of revelation done latinamente, beginning with sixteenth-century encounters of Spanish colonizers with Indigenous peoples in the Caribbean. Drawing on the theology of the Incarnation articulated by Fray Luis de León (1527–91), he offers rich resources for interreligious engagement by believers in today’s religiously diverse world. Through an analysis of the documents of the 2019 Amazonian Synod, including Querida Amazonia, the Postsynodal Exhortation by Pope Francis, he explores a culture of encounter and dialogue that has been a hallmark of this pontificate. From the inscriptions in the caves of la Isla de Mona through the writings of the Latin American Bishops (CELAM), this book establishes a solid basis on which to discern the “Seeds of the Word” in our times.

Exploring Latin@ theologies and the power of revelation.

The Word Became Culture enacts a preferential option for culture, retrieving experiences and expressions from across latinidad as sources of theologizing and acts of resistance to marginaliza­tion. Each author in this edited volume demonstrates the many ways in which Latin@ theologies are disruptive, generative, and creative spaces rooted in the richness, struggles, texts, and rituals found at the intersections of faith and culture. With a foreword by Cardinal Gianfranco Ravasi, president emeritus of the Pontifical Council for Culture, this book situates Latin@ theologies in the ongoing search for and recognition of the “Word becoming” within the particularities of diverse cultural experiences.

An innovative analysis of Indigenous strategies for overcoming the settler state.

How do bureaucratic documents create and reproduce a state’s capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused?

Settler Colonial Ways of Seeing investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Danielle Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialize identity categories in the service of colonial governance. Her analysis of bureaucratic artifacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L’Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined.

By integrating art-led inquiry with media theory and settler colonial studies approaches, Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorizing decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada’s complex and violent relationship with Indigenous peoples.

An innovative analysis of Indigenous strategies for overcoming the settler state.

How do bureaucratic documents create and reproduce a state’s capacity to see? What kinds of worlds do documents help create? Further, how might such documentary practices and settler colonial ways of seeing be refused?

Settler Colonial Ways of Seeing investigates how the Canadian state has used documents, lists, and databases to generate, make visible—and invisible—Indigenous identity. With an archive of legislative documents, registration forms, identity cards, and reports, Danielle Taschereau Mamers traces the political and media history of Indian status in Canada, demonstrating how paperwork has been used by the state to materialize identity categories in the service of colonial governance. Her analysis of bureaucratic artifacts is led by the interventions of Indigenous artists, including Robert Houle, Nadia Myre, Cheryl L’Hirondelle, and Rebecca Belmore. Bringing together media theories of documentation and the strategies of these artists, Settler Colonial Ways of Seeing develops a method for identifying how bureaucratic documents mediate power relations as well as how those relations may be disobeyed and re-imagined.

By integrating art-led inquiry with media theory and settler colonial studies approaches, Taschereau Mamers offers a political and media history of the documents that have reproduced Indian status. More importantly, she provides us with an innovative guide for using art as a method of theorizing decolonial political relations. This is a crucial book for any reader interested in the intersection of state archives, settler colonial studies, and visual culture in the context of Canada’s complex and violent relationship with Indigenous peoples.

Exploring Latin@ theologies and the power of revelation.

The Word Became Culture enacts a preferential option for culture, retrieving experiences and expressions from across latinidad as sources of theologizing and acts of resistance to marginaliza­tion. Each author in this edited volume demonstrates the many ways in which Latin@ theologies are disruptive, generative, and creative spaces rooted in the richness, struggles, texts, and rituals found at the intersections of faith and culture. With a foreword by Cardinal Gianfranco Ravasi, president emeritus of the Pontifical Council for Culture, this book situates Latin@ theologies in the ongoing search for and recognition of the “Word becoming” within the particularities of diverse cultural experiences.