America and the Long 19th Century – serie

Honorable Mention for the 2014 MLA Alan Bray Memorial Award Finalist for the 2013 LAMBDA LGBT Studies Book Award In nineteenth-century America—before the scandalous trial of Oscar Wilde, before the public emergence of categories like homo- and heterosexuality—what were the parameters of sex? Did people characterize their sexuality as a set of bodily practices, a form of identification, or a mode of relation? Was it even something an individual could be said to possess? What could be counted as sexuality? Tomorrow's Parties: Sex and the Untimely in Nineteenth-Century America provides a rich new conceptual language to describe the movements of sex in the period before it solidified into the sexuality we know, or think we know. Taking up authors whose places in the American history of sexuality range from the canonical to the improbable—from Whitman, Melville, Thoreau, and James to Dickinson, Sarah Orne Jewett, Harriet Jacobs, Frederick Douglass, and Mormon founder Joseph Smith—Peter Coviello delineates the varied forms sex could take in the lead-up to its captivation by the codings of "modern" sexuality. While telling the story of nineteenth-century American sexuality, he considers what might have been lostin the ascension of these new taxonomies of sex: all the extravagant, untimely ways of imagining the domain of sex that, under the modern regime of sexuality, have sunken into muteness or illegibility. Taking queer theorizations of temporality in challenging new directions, Tomorrow's Parties assembles an archive of broken-off, uncreated futures—futures that would not come to be. Through them, Coviello fundamentally reorients our readings of erotic being and erotic possibility in the literature of nineteenth-century America.

Honorable Mention for the 2014 MLA Alan Bray Memorial Award Finalist for the 2013 LAMBDA LGBT Studies Book Award In nineteenth-century America—before the scandalous trial of Oscar Wilde, before the public emergence of categories like homo- and heterosexuality—what were the parameters of sex? Did people characterize their sexuality as a set of bodily practices, a form of identification, or a mode of relation? Was it even something an individual could be said to possess? What could be counted as sexuality? Tomorrow's Parties: Sex and the Untimely in Nineteenth-Century America provides a rich new conceptual language to describe the movements of sex in the period before it solidified into the sexuality we know, or think we know. Taking up authors whose places in the American history of sexuality range from the canonical to the improbable—from Whitman, Melville, Thoreau, and James to Dickinson, Sarah Orne Jewett, Harriet Jacobs, Frederick Douglass, and Mormon founder Joseph Smith—Peter Coviello delineates the varied forms sex could take in the lead-up to its captivation by the codings of "modern" sexuality. While telling the story of nineteenth-century American sexuality, he considers what might have been lostin the ascension of these new taxonomies of sex: all the extravagant, untimely ways of imagining the domain of sex that, under the modern regime of sexuality, have sunken into muteness or illegibility. Taking queer theorizations of temporality in challenging new directions, Tomorrow's Parties assembles an archive of broken-off, uncreated futures—futures that would not come to be. Through them, Coviello fundamentally reorients our readings of erotic being and erotic possibility in the literature of nineteenth-century America.

Sites Unseen examines the complex intertwining of race and architecture in nineteenth and early-twentieth century American culture, the period not only in which American architecture came of age professionally in the U.S. but also in which ideas about architecture became a prominent part of broader conversations about American culture, history, politics, and—although we have not yet understood this clearly—race relations. This rich and copiously illustrated interdisciplinary study explores the ways that American writing between roughly 1850 and 1930 concerned itself, often intensely, with the racial implications of architectural space primarily, but not exclusively, through domestic architecture.In addition to identifying an archive of provocative primary materials, Sites Unseen draws significantly on important recent scholarship in multiple fields ranging from literature, history, and material culture to architecture, cultural geography, and urban planning. Together the chapters interrogate a variety of expressive American vernacular forms, including the dialect tale, the novel of empire, letters, and pulp stories, along with the plantation cabin, the West Indian cottage, the Latin American plaza, and the "Oriental" parlor. These are some of the overlooked plots and structures that can and should inform a more comprehensive consideration of the literary and cultural meanings of American architecture. Making sense of the relations between architecture, race, and American writing of the long nineteenth century—in their regional, national, and hemispheric contexts—Sites Unseen provides a clearer view not only of this catalytic era but also more broadly of what architectural historian Dell Upton has aptly termed the social experience of the built environment.

Sites Unseen examines the complex intertwining of race and architecture in nineteenth and early-twentieth century American culture, the period not only in which American architecture came of age professionally in the U.S. but also in which ideas about architecture became a prominent part of broader conversations about American culture, history, politics, and—although we have not yet understood this clearly—race relations. This rich and copiously illustrated interdisciplinary study explores the ways that American writing between roughly 1850 and 1930 concerned itself, often intensely, with the racial implications of architectural space primarily, but not exclusively, through domestic architecture.In addition to identifying an archive of provocative primary materials, Sites Unseen draws significantly on important recent scholarship in multiple fields ranging from literature, history, and material culture to architecture, cultural geography, and urban planning. Together the chapters interrogate a variety of expressive American vernacular forms, including the dialect tale, the novel of empire, letters, and pulp stories, along with the plantation cabin, the West Indian cottage, the Latin American plaza, and the "Oriental" parlor. These are some of the overlooked plots and structures that can and should inform a more comprehensive consideration of the literary and cultural meanings of American architecture. Making sense of the relations between architecture, race, and American writing of the long nineteenth century—in their regional, national, and hemispheric contexts—Sites Unseen provides a clearer view not only of this catalytic era but also more broadly of what architectural historian Dell Upton has aptly termed the social experience of the built environment.

In this study of literature and law from the Constitutional founding through the Civil War, Hoang Gia Phan demonstrates how American citizenship and civic culture were profoundly transformed by the racialized material histories of free, enslaved, and indentured labor. Bonds of Citizenship illuminates the historical tensions between the legal paradigms of citizenship and contract, and in the emergence of free labor ideology in American culture. Phan argues that in the age of Emancipation the cultural attributes of free personhood became identified with the legal rights and privileges of the citizen, and that individual freedom thus became identified with the nation-state. He situates the emergence of American citizenship and the American novel within the context of Atlantic slavery and Anglo-American legal culture, placing early American texts by Hector St. John de Crèvecœur, Benjamin Franklin, and Charles Brockden Brown alongside Black Atlantic texts by Ottobah Cugoano and Olaudah Equiano. Beginning with a revisionary reading of the Constitution's "slavery clauses," Phan recovers indentured servitude as a transitional form of labor bondage that helped define the key terms of modern U.S. citizenship: mobility, volition, and contract. Bonds of Citizenship demonstrates how citizenship and civic culture were transformed by antebellum debates over slavery, free labor, and national Union, while analyzing the writings of Frederick Douglass and Herman Melville alongside a wide-ranging archive of lesser-known antebellum legal and literary texts in the context of changing conceptions of constitutionalism, property, and contract. Situated at the nexus of literary criticism, legal studies, and labor history, Bonds of Citizenship challenges the founding fiction of a pro-slavery Constitution central to American letters and legal culture.

Part of the American Literatures Initiative Series From the patricians of the early republic to post-Reconstruction racial scientists, from fin de siècle progressivist social reformers to post-war sociologists, character, that curiously formable yet equally formidable "stuff," has had a long and checkered history giving shape to the American national identity.Bodies of Reform reconceives this pivotal category of nineteenth-century literature and culture by charting the development of the concept of "character" in the fictional genres, social reform movements, and political cultures of the United States from the mid-nineteenth to the early-twentieth century. By reading novelists such as Herman Melville, Mark Twain, Pauline Hopkins, and Charlotte Perkins Gilman alongside a diverse collection of texts concerned with the mission of building character, including child-rearing guides, muscle-building magazines, libel and naturalization law, Scout handbooks, and success manuals, James B. Salazar uncovers how the cultural practices of representing character operated in tandem with the character-building strategies of social reformers. His innovative reading of this archive offers a radical revision of this defining category in U.S. literature and culture, arguing that character was the keystone of a cultural politics of embodiment, a politics that played a critical role in determining-and contesting-the social mobility, political authority, and cultural meaning of the raced and gendered body.

Part of the American Literatures Initiative Series From the patricians of the early republic to post-Reconstruction racial scientists, from fin de siècle progressivist social reformers to post-war sociologists, character, that curiously formable yet equally formidable "stuff," has had a long and checkered history giving shape to the American national identity.Bodies of Reform reconceives this pivotal category of nineteenth-century literature and culture by charting the development of the concept of "character" in the fictional genres, social reform movements, and political cultures of the United States from the mid-nineteenth to the early-twentieth century. By reading novelists such as Herman Melville, Mark Twain, Pauline Hopkins, and Charlotte Perkins Gilman alongside a diverse collection of texts concerned with the mission of building character, including child-rearing guides, muscle-building magazines, libel and naturalization law, Scout handbooks, and success manuals, James B. Salazar uncovers how the cultural practices of representing character operated in tandem with the character-building strategies of social reformers. His innovative reading of this archive offers a radical revision of this defining category in U.S. literature and culture, arguing that character was the keystone of a cultural politics of embodiment, a politics that played a critical role in determining-and contesting-the social mobility, political authority, and cultural meaning of the raced and gendered body.

Part of the American Literatures Initiative Series American Arabesque examines representations of Arabs, Islam and the Near East in nineteenth-century American culture, arguing that these representations play a significant role in the development of American national identity over the century, revealing largely unexplored exchanges between these two cultural traditions that will alter how we understand themtoday.Moving from the period of America's engagement in theBarbary Wars through the Holy Land travel mania in the years of Jacksonian expansion and into the writings of romantics such as Edgar Allen Poe, the book argues that not only were Arabs and Muslims prominently featured in nineteenth-century literature, but that the differences writers established between figures such as Moors, Bedouins, Turks and Orientals provide proof of the transnational scope of domestic racial politics. Drawing on both English and Arabic language sources, Berman contends that the fluidity and instabilityof the term Arab as it appears in captivity narratives, travel narratives,imaginative literature, and ethnic literature simultaneously instantiate and undermine definitions of the American nation and American citizenship.

The 19th century witnessed an explosion of writing about unproductivity, with the exploits of various idlers, loafers, and "gentlemen of refinement" capturing the imagination o fa country that was deeply ambivalent about its work ethic. Idle Threats documents this American obsession with unproductivity and its potentials, while offering an explanation of the profound significance of idle practices for literary and cultural production. While this fascination with unproductivity memorably defined literary characters from Rip Van Winkle to Bartleby to George Hurstwood, it also reverberated deeply through the entire culture, both as a seductive ideal and as a potentially corrosive threat to upright, industrious American men. Drawing on an impressive array of archival material and multifaceted literary and cultural sources, Idle Threats connects the question of unproductivity to other discourses concerning manhood, the value of art, the allure of the frontier, the usefulness of knowledge,the meaning of individuality, and the experience of time, space, and history. Andrew Lyndon Knighton offers a new way of thinking about the largely unacknowledged "productivity of the unproductive," revealing the incalculable and sometimes surprising ways in which American modernity transformed the relationship between subjects and that which is most intimate to them: their own activity.

Winner of the 2013 Lora Romero First Book Publication Prize presented by the American Studies AssociationWinner of the 2013 Association for the Study of Food and Society Book AwardPart of the American Literatures Initiative Series The act of eating is both erotic and violent, as one wholly consumes the object being eaten. At the same time, eating performs a kind of vulnerability to the world, revealing a fundamental interdependence between the eater and that which exists outside her body. Racial Indigestion explores the links between food, visual and literary culture in the nineteenth-century United States to reveal how eating produces political subjects by justifying the social discourses that create bodily meaning. Combing through a visually stunning and rare archive of children's literature, architectural history, domestic manuals, dietetic tracts, novels and advertising, Racial Indigestion tells the story of the consolidation of nationalist mythologies of whiteness via the erotic politics of consumption. Less a history of commodities than a history of eating itself, the book seeks to understand how eating became a political act, linked to appetite, vice, virtue, race and class inequality and, finally, the queer pleasures and pitfalls of a burgeoning commodity culture. In so doing, Racial Indigestion sheds light on contemporary "foodie" culture's vexed relationship to nativism, nationalism and race privilege. For more, visit the author's tumblr page: http://racialindigestion.tumblr.com

Winner of the 2013 Lora Romero First Book Publication Prize presented by the American Studies AssociationWinner of the 2013 Association for the Study of Food and Society Book AwardPart of the American Literatures Initiative Series The act of eating is both erotic and violent, as one wholly consumes the object being eaten. At the same time, eating performs a kind of vulnerability to the world, revealing a fundamental interdependence between the eater and that which exists outside her body. Racial Indigestion explores the links between food, visual and literary culture in the nineteenth-century United States to reveal how eating produces political subjects by justifying the social discourses that create bodily meaning. Combing through a visually stunning and rare archive of children's literature, architectural history, domestic manuals, dietetic tracts, novels and advertising, Racial Indigestion tells the story of the consolidation of nationalist mythologies of whiteness via the erotic politics of consumption. Less a history of commodities than a history of eating itself, the book seeks to understand how eating became a political act, linked to appetite, vice, virtue, race and class inequality and, finally, the queer pleasures and pitfalls of a burgeoning commodity culture. In so doing, Racial Indigestion sheds light on contemporary "foodie" culture's vexed relationship to nativism, nationalism and race privilege. For more, visit the author's tumblr page: http://racialindigestion.tumblr.com

In this study of literature and law from the Constitutional founding through the Civil War, Hoang Gia Phan demonstrates how American citizenship and civic culture were profoundly transformed by the racialized material histories of free, enslaved, and indentured labor. Bonds of Citizenship illuminates the historical tensions between the legal paradigms of citizenship and contract, and in the emergence of free labor ideology in American culture. Phan argues that in the age of Emancipation the cultural attributes of free personhood became identified with the legal rights and privileges of the citizen, and that individual freedom thus became identified with the nation-state. He situates the emergence of American citizenship and the American novel within the context of Atlantic slavery and Anglo-American legal culture, placing early American texts by Hector St. John de Crèvecœur, Benjamin Franklin, and Charles Brockden Brown alongside Black Atlantic texts by Ottobah Cugoano and Olaudah Equiano. Beginning with a revisionary reading of the Constitution's "slavery clauses," Phan recovers indentured servitude as a transitional form of labor bondage that helped define the key terms of modern U.S. citizenship: mobility, volition, and contract. Bonds of Citizenship demonstrates how citizenship and civic culture were transformed by antebellum debates over slavery, free labor, and national Union, while analyzing the writings of Frederick Douglass and Herman Melville alongside a wide-ranging archive of lesser-known antebellum legal and literary texts in the context of changing conceptions of constitutionalism, property, and contract. Situated at the nexus of literary criticism, legal studies, and labor history, Bonds of Citizenship challenges the founding fiction of a pro-slavery Constitution central to American letters and legal culture.

2013 Book Award Winner from the International Research Society in Children's Literature2012 Outstanding Book Award Winner from the Association for Theatre in Higher Education 2012 Winner of the Lois P. Rudnick Book Prize presented by the New England American Studies Association 2012 Runner-Up, John Hope Franklin Publication Prize presented by the American Studies Association2012 Honorable Mention, Distinguished Book Award presented by the Society for the Study of American Women Writers Dissects how "innocence" became the exclusive province of white children, covering slavery to the Civil Rights eraBeginning in the mid nineteenth century in America, childhood became synonymous with innocence—a reversal of the previously-dominant Calvinist belief that children were depraved, sinful creatures. As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects—a dynamic that Robin Bernstein calls "racial innocence." This phenomenon informed racial formation from the mid nineteenth century through the early twentieth. Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as "scriptive things" that invite or prompt historically-located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions from blackface minstrelsy to Uncle Tom's Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how "innocence" gradually became the exclusive province of white children—until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.

2013 Book Award Winner from the International Research Society in Children's Literature2012 Outstanding Book Award Winner from the Association for Theatre in Higher Education 2012 Winner of the Lois P. Rudnick Book Prize presented by the New England American Studies Association 2012 Runner-Up, John Hope Franklin Publication Prize presented by the American Studies Association2012 Honorable Mention, Distinguished Book Award presented by the Society for the Study of American Women Writers Dissects how "innocence" became the exclusive province of white children, covering slavery to the Civil Rights eraBeginning in the mid nineteenth century in America, childhood became synonymous with innocence—a reversal of the previously-dominant Calvinist belief that children were depraved, sinful creatures. As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects—a dynamic that Robin Bernstein calls "racial innocence." This phenomenon informed racial formation from the mid nineteenth century through the early twentieth. Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as "scriptive things" that invite or prompt historically-located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions from blackface minstrelsy to Uncle Tom's Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how "innocence" gradually became the exclusive province of white children—until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.

The 19th century witnessed an explosion of writing about unproductivity, with the exploits of various idlers, loafers, and "gentlemen of refinement" capturing the imagination o fa country that was deeply ambivalent about its work ethic. Idle Threats documents this American obsession with unproductivity and its potentials, while offering an explanation of the profound significance of idle practices for literary and cultural production. While this fascination with unproductivity memorably defined literary characters from Rip Van Winkle to Bartleby to George Hurstwood, it also reverberated deeply through the entire culture, both as a seductive ideal and as a potentially corrosive threat to upright, industrious American men. Drawing on an impressive array of archival material and multifaceted literary and cultural sources, Idle Threats connects the question of unproductivity to other discourses concerning manhood, the value of art, the allure of the frontier, the usefulness of knowledge,the meaning of individuality, and the experience of time, space, and history. Andrew Lyndon Knighton offers a new way of thinking about the largely unacknowledged "productivity of the unproductive," revealing the incalculable and sometimes surprising ways in which American modernity transformed the relationship between subjects and that which is most intimate to them: their own activity.

Part of the American Literatures Initiative Series American Arabesque examines representations of Arabs, Islam and the Near East in nineteenth-century American culture, arguing that these representations play a significant role in the development of American national identity over the century, revealing largely unexplored exchanges between these two cultural traditions that will alter how we understand themtoday.Moving from the period of America's engagement in theBarbary Wars through the Holy Land travel mania in the years of Jacksonian expansion and into the writings of romantics such as Edgar Allen Poe, the book argues that not only were Arabs and Muslims prominently featured in nineteenth-century literature, but that the differences writers established between figures such as Moors, Bedouins, Turks and Orientals provide proof of the transnational scope of domestic racial politics. Drawing on both English and Arabic language sources, Berman contends that the fluidity and instabilityof the term Arab as it appears in captivity narratives, travel narratives,imaginative literature, and ethnic literature simultaneously instantiate and undermine definitions of the American nation and American citizenship.

Part of the American Literatures Initiative Series Neither Fugitive nor Free draws on the freedom suit as recorded in the press and court documents to offer a critically and historically engaged understanding of the freedom celebrated in the literary and cultural histories of transatlantic abolitionism. Freedom suits involved those enslaved valets, nurses, and maids who accompanied slaveholders onto free soil. Once brought into a free jurisdiction, these attendants became informally free, even if they were taken back to a slave jurisdiction—at least according to abolitionists and the enslaved themselves. In order to secure their freedom formally, slave attendants or others on their behalf had to bring suit in a court of law.Edlie Wong critically recuperates these cases in an effort to reexamine and redefine the legal construction of freedom, will, and consent. This study places such historically central anti-slavery figures as Frederick Douglass, Olaudah Equiano, and William Lloyd Garrison alongside such lesser-known slave plaintiffs as Lucy Ann Delaney, Grace, Catharine Linda, Med, and Harriet Robinson Scott. Situated at the confluence of literary criticism, feminism, and legal history, Neither Fugitive nor Free presents the freedom suit as a "new" genre to African American and American literary studies.

Part of the American Literatures Initiative Series Neither Fugitive nor Free draws on the freedom suit as recorded in the press and court documents to offer a critically and historically engaged understanding of the freedom celebrated in the literary and cultural histories of transatlantic abolitionism. Freedom suits involved those enslaved valets, nurses, and maids who accompanied slaveholders onto free soil. Once brought into a free jurisdiction, these attendants became informally free, even if they were taken back to a slave jurisdiction—at least according to abolitionists and the enslaved themselves. In order to secure their freedom formally, slave attendants or others on their behalf had to bring suit in a court of law.Edlie Wong critically recuperates these cases in an effort to reexamine and redefine the legal construction of freedom, will, and consent. This study places such historically central anti-slavery figures as Frederick Douglass, Olaudah Equiano, and William Lloyd Garrison alongside such lesser-known slave plaintiffs as Lucy Ann Delaney, Grace, Catharine Linda, Med, and Harriet Robinson Scott. Situated at the confluence of literary criticism, feminism, and legal history, Neither Fugitive nor Free presents the freedom suit as a "new" genre to African American and American literary studies.

During the height of 19th century imperialism, Rudyard Kipling published his famous poem "The White Man's Burden." While some of his American readers argued that the poem served as justification for imperialist practices, others saw Kipling's satirical talents at work and read it as condemnation. Gretchen Murphy explores this tension embedded in the notion of the white man's burden to create a new historical frame for understanding race and literature in America.Shadowing the White Man's Burden maintains that literature symptomized and channeled anxiety about the racial components of the U.S. world mission, while also providing a potentially powerful medium for multiethnic authors interested in redrawing global color lines. Through a range of archival materials from literary reviews to diplomatic records to ethnological treatises, Murphy identifies a common theme in the writings of African-, Asian- and Native-American authors who exploited anxiety about race and national identity through narratives about a multiracial U.S. empire. Shadowing the White Man's Burden situates American literature in the context of broader race relations, and provides a compelling analysis of the way in which literature came to define and shape racial attitudes for the next century.

During the height of 19th century imperialism, Rudyard Kipling published his famous poem "The White Man's Burden." While some of his American readers argued that the poem served as justification for imperialist practices, others saw Kipling's satirical talents at work and read it as condemnation. Gretchen Murphy explores this tension embedded in the notion of the white man's burden to create a new historical frame for understanding race and literature in America.Shadowing the White Man's Burden maintains that literature symptomized and channeled anxiety about the racial components of the U.S. world mission, while also providing a potentially powerful medium for multiethnic authors interested in redrawing global color lines. Through a range of archival materials from literary reviews to diplomatic records to ethnological treatises, Murphy identifies a common theme in the writings of African-, Asian- and Native-American authors who exploited anxiety about race and national identity through narratives about a multiracial U.S. empire. Shadowing the White Man's Burden situates American literature in the context of broader race relations, and provides a compelling analysis of the way in which literature came to define and shape racial attitudes for the next century.

For all the scholarship devoted to Mary Shelley's English novel Frankenstein, there has been surprisingly little attention paid to its role in American culture, and virtually none to its racial resonances in the United States. In Black Frankenstein, Elizabeth Young identifies and interprets the figure of a black American Frankenstein monster as it appears with surprising frequency throughout nineteenth- and twentieth-century U.S. culture, in fiction, film, essays, oratory, painting, and other media, and in works by both whites and African Americans.Black Frankenstein stories, Young argues, effect four kinds of racial critique: they humanize the slave; they explain, if not justify, black violence; they condemn the slaveowner; and they expose the instability of white power. The black Frankenstein's monster has served as a powerful metaphor for reinforcing racial hierarchy—and as an even more powerful metaphor for shaping anti-racist critique. Illuminating the power of parody and reappropriation, Black Frankenstein tells the story of a metaphor that continues to matter to literature, culture, aesthetics, and politics.

For all the scholarship devoted to Mary Shelley's English novel Frankenstein, there has been surprisingly little attention paid to its role in American culture, and virtually none to its racial resonances in the United States. In Black Frankenstein, Elizabeth Young identifies and interprets the figure of a black American Frankenstein monster as it appears with surprising frequency throughout nineteenth- and twentieth-century U.S. culture, in fiction, film, essays, oratory, painting, and other media, and in works by both whites and African Americans.Black Frankenstein stories, Young argues, effect four kinds of racial critique: they humanize the slave; they explain, if not justify, black violence; they condemn the slaveowner; and they expose the instability of white power. The black Frankenstein's monster has served as a powerful metaphor for reinforcing racial hierarchy—and as an even more powerful metaphor for shaping anti-racist critique. Illuminating the power of parody and reappropriation, Black Frankenstein tells the story of a metaphor that continues to matter to literature, culture, aesthetics, and politics.

2021 Outstanding Academic Title, Choice Magazine Turns to the written record to re-examine the building blocks of a nationPicking up where most historians conclude, Chelsea Stieber explores the critical internal challenge to Haiti's post-independence sovereignty: a civil war between monarchy and republic. What transpired was a war of swords and of pens, waged in newspapers and periodicals, in literature, broadsheets, and fliers. In her analysis of Haitian writing that followed independence, Stieber composes a new literary history of Haiti, that challenges our interpretations of both freedom struggles and the postcolonial. By examining internal dissent during the revolution, Stieber reveals that the very concept of freedom was itself hotly contested in the public sphere, and it was this inherent tension that became the central battleground for the guerre de plume—the paper war—that vied to shape public sentiment and the very idea of Haiti.Stieber's reading of post-independence Haitian writing reveals key insights into the nature of literature, its relation to freedom and politics, and how fraught and politically loaded the concepts of "literature" and "civilization" really are. The competing ideas of liberté, writing, and civilization at work within postcolonial Haiti have consequences for the way we think about Haiti's role—as an idea and a discursive interlocutor—in the elaboration of black radicalism and black Atlantic, anticolonial, and decolonial thought. In so doing, Stieber reorders our previously homogeneous view of Haiti, teasing out warring conceptions of the new nation that continued to play out deep into the twentieth century.

2021 Outstanding Academic Title, Choice Magazine Turns to the written record to re-examine the building blocks of a nationPicking up where most historians conclude, Chelsea Stieber explores the critical internal challenge to Haiti's post-independence sovereignty: a civil war between monarchy and republic. What transpired was a war of swords and of pens, waged in newspapers and periodicals, in literature, broadsheets, and fliers. In her analysis of Haitian writing that followed independence, Stieber composes a new literary history of Haiti, that challenges our interpretations of both freedom struggles and the postcolonial. By examining internal dissent during the revolution, Stieber reveals that the very concept of freedom was itself hotly contested in the public sphere, and it was this inherent tension that became the central battleground for the guerre de plume—the paper war—that vied to shape public sentiment and the very idea of Haiti.Stieber's reading of post-independence Haitian writing reveals key insights into the nature of literature, its relation to freedom and politics, and how fraught and politically loaded the concepts of "literature" and "civilization" really are. The competing ideas of liberté, writing, and civilization at work within postcolonial Haiti have consequences for the way we think about Haiti's role—as an idea and a discursive interlocutor—in the elaboration of black radicalism and black Atlantic, anticolonial, and decolonial thought. In so doing, Stieber reorders our previously homogeneous view of Haiti, teasing out warring conceptions of the new nation that continued to play out deep into the twentieth century.

In the 19th century, personhood was a term of regulation and discipline in which slaves, criminals, and others, could be "made and unmade." Yet it was precisely the fraught, uncontainable nature of personhood that necessitated its constant legislation, wherein its meaning could be both contested and controlled.Examining scientific and literary narratives, Nihad M. Farooq's Undisciplined encourages an alternative consideration of personhood, one that emerges from evolutionary and ethnographic discourse. Moving chronologically from 1830 to 1940, Farooq explores the scientific and cultural entanglements of Atlantic travelers in and beyond the Darwin era, and invites us to attend more closely to the consequences of mobility and contact on disciplines and persons. Bringing together an innovative group of readings—from field journals, diaries, letters, and testimonies to novels, stage plays, and audio recordings—Farooq advocates for a reconsideration of science, personhood, and the priority of race for the field of American studies. Whether expressed as narratives of acculturation, or as acts of resistance against the camera, the pen, or the shackle, these stories of the studied subjects of the Atlantic world add a new chapter to debates about personhood and disciplinarity in this era that actively challenged legal, social, and scientific categorizations.

Reimagines photography through the long history of ideas of expressionThe end of the nineteenth century saw massive developments and innovations in photography at a time when the forces of Western modernity—industrialization, racialization, and capitalism—were quickly reshaping the world. The Unintended slows down the moment in which the technology of photography seemed to speed itself—and so the history of racial capitalism—up. It follows the substantial shifts in the markets, mediums, and forms of photography during a legally murky period at the end of the nineteenth century. Monica Huerta traces the subtle and paradoxical ways legal thinking through photographic lenses reinscribed a particular aesthetics of whiteness in the very conceptions of property ownership. The book pulls together an archive that encompasses the histories of performance and portraiture alongside the legal, pursuing the logics by which property rights involving photographs are affirmed (or denied) in precedent-setting court cases and legal texts. Emphasizing the making of "expression" into property to focus our attention on the failures of control that cameras do not invent, but rather put new emphasis on, this book argues that designations of control's absence are central to the practice and idea of property-making. The Unintended proposes that tracking and analyzing the sensed horizons of intention, control, autonomy, will, and volition offers another way into understanding how white supremacy functions. Ultimately, its unique historical reading practice offers a historically-specific vantage on the everyday workings of racial capitalism and the inheritances of white supremacy that structure so much of our lives.

Reimagines photography through the long history of ideas of expressionThe end of the nineteenth century saw massive developments and innovations in photography at a time when the forces of Western modernity—industrialization, racialization, and capitalism—were quickly reshaping the world. The Unintended slows down the moment in which the technology of photography seemed to speed itself—and so the history of racial capitalism—up. It follows the substantial shifts in the markets, mediums, and forms of photography during a legally murky period at the end of the nineteenth century. Monica Huerta traces the subtle and paradoxical ways legal thinking through photographic lenses reinscribed a particular aesthetics of whiteness in the very conceptions of property ownership. The book pulls together an archive that encompasses the histories of performance and portraiture alongside the legal, pursuing the logics by which property rights involving photographs are affirmed (or denied) in precedent-setting court cases and legal texts. Emphasizing the making of "expression" into property to focus our attention on the failures of control that cameras do not invent, but rather put new emphasis on, this book argues that designations of control's absence are central to the practice and idea of property-making. The Unintended proposes that tracking and analyzing the sensed horizons of intention, control, autonomy, will, and volition offers another way into understanding how white supremacy functions. Ultimately, its unique historical reading practice offers a historically-specific vantage on the everyday workings of racial capitalism and the inheritances of white supremacy that structure so much of our lives.

In the 19th century, personhood was a term of regulation and discipline in which slaves, criminals, and others, could be "made and unmade." Yet it was precisely the fraught, uncontainable nature of personhood that necessitated its constant legislation, wherein its meaning could be both contested and controlled.Examining scientific and literary narratives, Nihad M. Farooq's Undisciplined encourages an alternative consideration of personhood, one that emerges from evolutionary and ethnographic discourse. Moving chronologically from 1830 to 1940, Farooq explores the scientific and cultural entanglements of Atlantic travelers in and beyond the Darwin era, and invites us to attend more closely to the consequences of mobility and contact on disciplines and persons. Bringing together an innovative group of readings—from field journals, diaries, letters, and testimonies to novels, stage plays, and audio recordings—Farooq advocates for a reconsideration of science, personhood, and the priority of race for the field of American studies. Whether expressed as narratives of acculturation, or as acts of resistance against the camera, the pen, or the shackle, these stories of the studied subjects of the Atlantic world add a new chapter to debates about personhood and disciplinarity in this era that actively challenged legal, social, and scientific categorizations.

2017 Nicolás Guillén Outstanding Book Award presented by the Caribbean Philosophical AssociationAs the first successful revolution emanating from a slave rebellion, the Haitian Revolution remains an inspired site of investigation for a remarkable range of artists and activist-intellectuals in the African Diaspora.In The Black Radical Tragic, Jeremy Matthew Glick examines twentieth-century performances engaging the revolution as laboratories for political thinking. Asking readers to consider the revolution less a fixed event than an ongoing and open-ended history resonating across the work of Atlantic world intellectuals, Glick argues that these writers use the Haitian Revolution as a watershed to chart their own radical political paths, animating, enriching, and framing their artistic and scholarly projects. Spanning the disciplines of literature, philosophy, and political thought, The Black Radical Tragic explores work from Lorraine Hansberry, Sergei Eisenstein, Edouard Glissant, Malcolm X, and others, ultimately enacting a speculative encounter between Bertolt Brecht and C.L.R. James to reconsider the relationship between tragedy and revolution. In its grand refusal to forget, The Black Radical Tragic demonstrates how the Haitian Revolution has influenced the ideas of freedom and self-determination that have propelled Black radical struggles throughout the modern era.