WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD SHORTLISTED FOR THE JAMES TAIT BLACK PRIZE 2020 At the dawn of the twentieth century, black women in the US were carving out new ways of living. The first generations born after emancipation, their struggle was to live as if they really were free. These women refused to labour like slaves. Wrestling with the question of freedom, they invented forms of love and solidarity outside convention and law. These were the pioneers of free love, common-law and transient marriages, queer identities, and single motherhood - all deemed scandalous, even pathological, at the dawn of the twentieth century, though they set the pattern for the world to come. In Wayward Lives, Beautiful Experiments, Saidiya Hartman deploys both radical scholarship and profound literary intelligence to examine the transformation of intimate life that they instigated. With visionary intensity, she conjures their worlds, their dilemmas, their defiant brilliance.

This volume explores the changing place of Islam in contemporary Central Asia, understanding religion as a "societal shaper" - a roadmap for navigating quickly evolving social and cultural values. Islam can take on multiple colors and identities, from a purely transcendental faith in God to a cauldron of ideological ferment for political ideology, via diverse culture-, community-, and history-based phenomena. The volumes discusses what it means to be a Muslim in today's Central Asia by looking at both historical and sociological features, investigates the relationship between Islam, politics and the state, the changing role of Islam in terms of societal values, and the issue of female attire as a public debate. Contributors include: Aurelie Biard, Tim Epkenhans, Nurgul Esenamanova, Azamat Junisbai, Barbara Junisbai, Marlene Laruelle, Marintha Miles, Emil Nasritdinov, Shahnoza Nozimova, Yaacov Ro'i, Wendell Schwab, Manja Stephan-Emmrich, Rano Turaeva, Alon Wainer, Alexander Wolters, Galina M. Yemelianova, Baurzhan Zhussupov

Born in 1922, Kenny Thomas Sr. has been a trapper, firefighter, road builder, river-freight hauler, and soldier. Today he is a respected elder and member of a northern Athabaskan tribal group residing in Tanacross, Alaska. As a song and dance leader for the Tanacross community, Thomas has been teaching village traditions at an annual culture camp for more than twenty years. Over a three-year period, folklorist Craig Mishler conducted a series of interviews with Thomas about his life experiences. Crow Is My Boss is the fascinating result of this collaboration. Written in a style that reflects the dialogue between Thomas and Mishler, Crow Is My Boss retains the authenticity of Thomas's voice, capturing his honesty and humor. Thomas reveals biographical details, performs and explains traditional folktales and the potlatch tradition, and discusses ghosts and medicine people. One folktale is presented in both English and Tanacross, Thomas's native language. A compelling personal story, Crow Is My Boss provides insight into the traditional and contemporary culture of Tanacross Athabaskans in Alaska.

This historical account of the transatlantic slave trade between Africa and the United States is filled with a wealth of records, details and analyses of its attempted suppression. The various moral, economic and religious arguments against slavery were clear from the outset of the practice in the early 16th century. The ownership of a human life as an economic commodity was decried from religious circles from the earliest days as an immoral affront to basic human dignity. However the practice of gaining lifelong labor in exchange only for a basic degree of care meant slavery persisted for centuries across the New World as a lucrative endeavor. The colonial United States would, from the early 17th century, receive many thousands of slaves from Africa. Many of the slaves transported were sent to work on plantations and farms which steadily spread across the warmer southern states of the nation. Others would do manual work on the docks, for instance moving goods in the fledgling trading colonies.

In this book, Yelena Bailey examines the creation of ""the streets"" not just as a physical, racialized space produced by segregationist policies but also as a sociocultural entity that has influenced our understanding of blackness in America for decades. Drawing from fields such as media studies, literary studies, history, sociology, film studies, and music studies, this book engages in an interdisciplinary analysis of the how the streets have shaped contemporary perceptions of black identity, community, violence, spending habits, and belonging. Where historical and sociological research has examined these realities regarding economic and social disparities, this book analyzes the streets through the lens of marketing campaigns, literature, hip-hop, film, and television in order to better understand the cultural meanings associated with the streets. Because these media represent a terrain of cultural contestation, they illustrate the way the meaning of the streets has been shaped by both the white and black imaginaries as well as how they have served as a site of self-assertion and determination for black communities.

In 1948, journalist Ray Sprigle traded his whiteness to live as a black man for four weeks. A little over a decade later, John Howard Griffin famously ""became"" black as well, traveling the American South in search of a certain kind of racial understanding. Contemporary history is littered with the surprisingly complex stories of white people passing as black, and here Alisha Gaines constructs a unique genealogy of ""empathetic racial impersonation--white liberals walking in the fantasy of black skin under the alibi of cross-racial empathy. At the end of their experiments in ""blackness,"" Gaines argues, these debatably well-meaning white impersonators arrived at little more than false consciousness. Complicating the histories of black-to-white passing and blackface minstrelsy, Gaines uses an interdisciplinary approach rooted in literary studies, race theory, and cultural studies to reveal these sometimes maddening, and often absurd, experiments of racial impersonation. By examining this history of modern racial impersonation, Gaines shows that there was, and still is, a faulty cultural logic that places enormous faith in the idea that empathy is all that white Americans need to make a significant difference in how to racially navigate our society.

Jewish Contiguities and the Soundtrack of Israeli History revolutionizes the study of modern Israeli art music by tracking the surprising itineraries of Jewish art music in the move from Europe to Mandatory Palestine and Israel. Leaving behind cliches about East and West, Arab and Jew, this book provocatively exposes the legacies of European antisemitism and religious Judaism in the making of Israeli art music.
Shelleg introduces the reader to various aesthetic dilemmas involved in the emergence of modern Jewish art music, ranging from auto-exoticism through the hues of self-hatred to the disarticulation of Jewish musical markers. He then considers part of this musics' translocation to Mandatory Palestine, studying its discourse with Hebrew culture, and composers' grappling with modern and Zionist images of the self. Unlike previous efforts in the field, Shelleg unearths the mechanism of what he calls "Zionist musical onomatopoeias," but more importantly their dilution by the non-western Arab Jewish oral musical traditions (the same traditions Hebrew culture sought to westernize and secularize).
And what had begun with composers' movement towards the musical properties of non-western Jewish musical traditions grew in the 60s and 70s to a dialectical return to exilic Jewish cultures. In the aftermath of the Six-Day War, which reaffirmed Zionism's redemptive and expansionist messages, Israeli composers (re)embraced precisely the exilic Jewish music that emphasized Judaism's syncretic qualities rather than its territorial characteristics. In the 70s, therefore, while religious Zionist circles translated theology into politics and territorial maximalism, Israeli composers deterritorialized the national discourse by a growing return to the spaces shared by Jews and non-Jews, devoid of Zionist appropriations."

At a time in which many in the United States see Spanish America as a distinct and, for some, threatening culture clearly differentiated from that of Europe and the US, it may be of use to look at the works of some of the most representative and celebrated writers from the region to see how they imagined their relationship to Western culture and literature. In fact, while authors across stylistic and political divides-like Gabriela Mistral, Jorge Luis Borges, or Gabriel Garcia Marquez-see their work as being framed within the confines of a globalized Western literary tradition, their relationship, rather than epigonal, is often subversive. Borges and Kafka, Bolano and Bloom is a parsing not simply of these authors' reactions to a canon, but of the notion of canon writ large and the inequities and erasures therein. It concludes with a look at the testimonial and autobiographical writings of Rigoberta Menchu and Lurgio Gavilan, who arguably represent the trajectory of Indigenous testimonial and autobiographical writing during the last forty years, noting how their texts represent alternative ways of relating to national and, on occasion, Western cultures. This study is a new attempt to map writers' diverse ways of thinking about locality and universality from within and without what is known as the canon.