Critical Race, Indigeneity, and Relationality – serie

Japanese Americans have long contended with settler colonization and mass criminalization by the state, most notably during the WWII era when they were forced into incarceration camps. In Carceral Entanglements, Wendi Yamashita asks, how do narratives of worth and success that make Japanese Americans legible to the state come to be? What are the consequences of such narratives?Carceral Entanglements features interviews, archival research, and texts to explore racial violence and patriotic masculinity and explain how Japanese American history and identity are publicly memorialized. Yamashita examines museums, digital archives, pilgrimages, and student-run and performed plays to understand how Japanese Americans occupy a “contradictory location” produced by the state. She also addresses historical erasure, race relations and the struggle for redress and reparations.Carceral Entanglements is about the interlocking relationship Japanese American incarceration memories have to the prison industrial complex and the settler colonial logics that at times unknowingly sustain it.

Japanese Americans have long contended with settler colonization and mass criminalization by the state, most notably during the WWII era when they were forced into incarceration camps. In Carceral Entanglements, Wendi Yamashita asks, how do narratives of worth and success that make Japanese Americans legible to the state come to be? What are the consequences of such narratives?Carceral Entanglements features interviews, archival research, and texts to explore racial violence and patriotic masculinity and explain how Japanese American history and identity are publicly memorialized. Yamashita examines museums, digital archives, pilgrimages, and student-run and performed plays to understand how Japanese Americans occupy a “contradictory location” produced by the state. She also addresses historical erasure, race relations and the struggle for redress and reparations.Carceral Entanglements is about the interlocking relationship Japanese American incarceration memories have to the prison industrial complex and the settler colonial logics that at times unknowingly sustain it.

Warring Genealogies examines the elaboration of kinships between Chicano/a and Asian American cultural production, such as the 1954 proxy adoption of a Korean boy by Leavenworth prisoners. Joo Ok Kim considers white supremacist expressions of kinship-in prison magazines, memorials, U.S. military songbooks-as well as critiques of such expressions in Chicana/o and Korean diasporic works to conceptualize racialized formations of kinship emerging from the Korean War.Warring Genealogies unpacks writings by Rolando Hinojosa (Korean Love Songs, The Useless Servants) and Luis Valdez (I Don’t Have to Show You No Stinking Badges, Zoot Suit) to show the counter-representations of the Korean War and the problematic depiction of the United States as a benevolent savior. Kim also analyzes Susan Choi’s The Foreign Student as a novel that proposes alternative temporalities to dominant Korean War narratives. In addition, she examines Chicano military police procedurals, white supremacist women’s organizations, and the politics of funding Korean War archives.Kim’s comparative study Asian American and Latinx Studies makes insightful connections about race, politics, and citizenship to critique the Cold War conception of the “national family.”

Warring Genealogies examines the elaboration of kinships between Chicano/a and Asian American cultural production, such as the 1954 proxy adoption of a Korean boy by Leavenworth prisoners. Joo Ok Kim considers white supremacist expressions of kinship-in prison magazines, memorials, U.S. military songbooks-as well as critiques of such expressions in Chicana/o and Korean diasporic works to conceptualize racialized formations of kinship emerging from the Korean War.Warring Genealogies unpacks writings by Rolando Hinojosa (Korean Love Songs, The Useless Servants) and Luis Valdez (I Don’t Have to Show You No Stinking Badges, Zoot Suit) to show the counter-representations of the Korean War and the problematic depiction of the United States as a benevolent savior. Kim also analyzes Susan Choi’s The Foreign Student as a novel that proposes alternative temporalities to dominant Korean War narratives. In addition, she examines Chicano military police procedurals, white supremacist women’s organizations, and the politics of funding Korean War archives.Kim’s comparative study Asian American and Latinx Studies makes insightful connections about race, politics, and citizenship to critique the Cold War conception of the “national family.”

Examining the border-enclosure strategy Israel uses to impose Palestinian im/mobilization, Maryam Griffin considers the ways public transportation in the Palestinian West Bank is a constant site of social struggle. Her illuminating book, Vehicles of Decolonization, studies collective movement, resistance, and everyday life in the West Bank to show how Palestinians assert a kind of Indigenous self-determination over mobility that Israeli settler colonialism seeks to undermine. Having immersed herself in a year of fieldwork, Griffin maps multiple engagements with the flexible bus, shared van, and private taxi services to demonstrate that the politics of mobility are shaped by ongoing settler colonialism and Indigenous struggle. Griffin uses critical border studies to look at the contested nature of mobility at the sites of transit, where Palestinians practice self-determination through routine participation, spectacular political organizing and demonstration, and artistic renderings. Featuring a variety of street images, Vehicles of Decolonization shows that multiple registers of people power work in concert not only to resist settler colonial logics but to reinhabit the land through the practice and preservation of alternative relations of mobility.

Examining the border-enclosure strategy Israel uses to impose Palestinian im/mobilization, Maryam Griffin considers the ways public transportation in the Palestinian West Bank is a constant site of social struggle. Her illuminating book, Vehicles of Decolonization, studies collective movement, resistance, and everyday life in the West Bank to show how Palestinians assert a kind of Indigenous self-determination over mobility that Israeli settler colonialism seeks to undermine. Having immersed herself in a year of fieldwork, Griffin maps multiple engagements with the flexible bus, shared van, and private taxi services to demonstrate that the politics of mobility are shaped by ongoing settler colonialism and Indigenous struggle. Griffin uses critical border studies to look at the contested nature of mobility at the sites of transit, where Palestinians practice self-determination through routine participation, spectacular political organizing and demonstration, and artistic renderings. Featuring a variety of street images, Vehicles of Decolonization shows that multiple registers of people power work in concert not only to resist settler colonial logics but to reinhabit the land through the practice and preservation of alternative relations of mobility.

In her pathbreaking book, Ocean Passages, Erin Suzuki explores how movement through-and travel across-the ocean mediates the construction of Asian American and Indigenous Pacific subjectivities in the wake of the colonial conflicts that shaped the modern transpacific. Ocean Passages considers how Indigenous Pacific scholars have emphasized the importance of the ocean to Indigenous activism, art, and theories of globalization and how Asian American studies might engage in a deconstructive interrogation of race in conversation with this Indigenous-centered transnationalism. The ocean passages that Suzuki addresses include the U.S. occupation and militarization of ocean space; refugee passage and the history and experiences of peoples displaced from the Pacific Islands; migratory circuits and the labors required to cross the sea; and the different ways that oceans inform postcolonial and settler colonial nationalisms. She juxtaposes work by Indigenous Pacific and Asian American artists and authors including James George, Maxine Hong Kingston, Kathy JetÑil-Kijiner, lÊ thi diếm thÚy, Ruth Ozeki, and Craig Santos Perez. In Ocean Passages, Suzuki explores what new ideas, alliances, and flashpoints might arise when comparing and contrasting Asian and Pacific Islander passages across a shared sea.

In her pathbreaking book, Ocean Passages, Erin Suzuki explores how movement through-and travel across-the ocean mediates the construction of Asian American and Indigenous Pacific subjectivities in the wake of the colonial conflicts that shaped the modern transpacific. Ocean Passages considers how Indigenous Pacific scholars have emphasized the importance of the ocean to Indigenous activism, art, and theories of globalization and how Asian American studies might engage in a deconstructive interrogation of race in conversation with this Indigenous-centered transnationalism. The ocean passages that Suzuki addresses include the U.S. occupation and militarization of ocean space; refugee passage and the history and experiences of peoples displaced from the Pacific Islands; migratory circuits and the labors required to cross the sea; and the different ways that oceans inform postcolonial and settler colonial nationalisms. She juxtaposes work by Indigenous Pacific and Asian American artists and authors including James George, Maxine Hong Kingston, Kathy JetÑil-Kijiner, lÊ thi diếm thÚy, Ruth Ozeki, and Craig Santos Perez. In Ocean Passages, Suzuki explores what new ideas, alliances, and flashpoints might arise when comparing and contrasting Asian and Pacific Islander passages across a shared sea.

Visuality of Violence unpacks the way visual documentations and depictions of the practice of racial violence are used in imperialism, capitalism, and neoliberalism in the United States. Ofelia Ortiz Cuevas traces the continuity of racial value through the shifting narratives of race by examining the long-running TV series, COPS, and the museum exhibition, Without Sanctuary, which features photographs of lynching. These case studies provide an innovative holistic mapping of the policing and incarceration of Black and Brown people.  Addressing the frequently ignored experiences of Asian and Native Americans, among others, in its comparative undertaking, Visuality of Violence exceeds intersectional mapping to uniquely charge the spectacle of racial violence as a foundational practice in its continued presence in contemporary society. Cuevas argues that the visual presentations of the racial body throughout history requires a reckoning and acknowledgement of the material and legal effects of the images, narratives, and practices used to maintain hegemonic racial order and inequality.In holding a theoretical mirror to history, Visuality of Violence reveals liberal mythical reliance on the ideals of western law and its rationalities as the location of justice and freedom, thereby presenting its readers with a new understanding in the quest for peace and liberation.In the series Critical Race, Indigeneity, and Relationality

Visuality of Violence unpacks the way visual documentations and depictions of the practice of racial violence are used in imperialism, capitalism, and neoliberalism in the United States. Ofelia Ortiz Cuevas traces the continuity of racial value through the shifting narratives of race by examining the long-running TV series, COPS, and the museum exhibition, Without Sanctuary, which features photographs of lynching. These case studies provide an innovative holistic mapping of the policing and incarceration of Black and Brown people.  Addressing the frequently ignored experiences of Asian and Native Americans, among others, in its comparative undertaking, Visuality of Violence exceeds intersectional mapping to uniquely charge the spectacle of racial violence as a foundational practice in its continued presence in contemporary society. Cuevas argues that the visual presentations of the racial body throughout history requires a reckoning and acknowledgement of the material and legal effects of the images, narratives, and practices used to maintain hegemonic racial order and inequality.In holding a theoretical mirror to history, Visuality of Violence reveals liberal mythical reliance on the ideals of western law and its rationalities as the location of justice and freedom, thereby presenting its readers with a new understanding in the quest for peace and liberation.In the series Critical Race, Indigeneity, and Relationality

The Turkishness Contract places Critical Race Theory in conversation with literature on Turkey and nation-state making via a historical study enriched by in-depth interviews. In this new English-language edition, Barış Ünlü makes a number of comprehensive changes to his widely read and much discussed 2018 Turkish book, including a new preface and a new sweeping and theoretical introduction.Ünlü uses Critical Race Theory to present a historical–sociological model to examine not only the historical constitution and contemporary functioning of the Turkish nation-state, but also the affective and bodily modalities of being Turkish. He also develops a framework for rethinking the complex relations between the socio-genesis of the Turkish nation and state and the psycho-genesis of the Turkish people, their cognitive habits and emotional orientations, and the structural privileges and unconsciousness strategies of Turkishness.The Turkishness Contract addresses broader theoretical concerns including histories of colonialism, ethnic/racial social contracts, privilege, Armenian Genocide and the Kurdish question, as well as the unraveling of Turkey’s social contract at a moment of contemporary right-wing authoritarianism. In the series Critical Race, Indigeneity, and Relationality

The Turkishness Contract places Critical Race Theory in conversation with literature on Turkey and nation-state making via a historical study enriched by in-depth interviews. In this new English-language edition, Barış Ünlü makes a number of comprehensive changes to his widely read and much discussed 2018 Turkish book, including a new preface and a new sweeping and theoretical introduction.Ünlü uses Critical Race Theory to present a historical–sociological model to examine not only the historical constitution and contemporary functioning of the Turkish nation-state, but also the affective and bodily modalities of being Turkish. He also develops a framework for rethinking the complex relations between the socio-genesis of the Turkish nation and state and the psycho-genesis of the Turkish people, their cognitive habits and emotional orientations, and the structural privileges and unconsciousness strategies of Turkishness.The Turkishness Contract addresses broader theoretical concerns including histories of colonialism, ethnic/racial social contracts, privilege, Armenian Genocide and the Kurdish question, as well as the unraveling of Turkey’s social contract at a moment of contemporary right-wing authoritarianism. In the series Critical Race, Indigeneity, and Relationality

Worlds at the End attends to a body of literature that renders Los Angeles’s infrastructure, or its material foundations, as central to the rise and consolidation of colonial life. Pacharee Sudhinaraset employs a women-of-color feminist methodology to examine Indigenous, Black, Asian American, and Latinx literary works about apocalypse and the end times.Worlds at the End analyzes destruction, rupture, and continuance through texts ranging from Karen Tei Yamashita’s Tropic of Orange, which considers racial colonial infrastructure, to the work of DinÉ poet Esther Belin, which illuminates how the separation between the Indian reservation and LA is part of a broader infrastructural network of termination. And she unpacks Octavia Butler’s post-apocalyptic novel, Parable of the Sower, where LA’s freeways and roadways are routes of forced migration, colonization, and flight.Tearing down existing institutions that marginalize people of color and moving past them, Worlds at the End highlights the imaginaries of those subjugated, racialized, and made other, for whom modernity, freedom, and progress meant violence, brutality, and relegation to the status of devalued surplus populations. As Sudhinaraset deftly shows, the apocalypse marks moments of historical and spatial transition, offering stories of doomsdays that will give rise to resurgence and regeneration.