Unravels how US visa laws fail Indian professional workers and their legally dependent spouses and families The Opportunity Trap is the first book to look at the impact of the H-4 dependent visa programs on women and men visa holders in Indian families in America. Comparing two distinct groups of Indian immigrant families -families of male high-tech workers and female nurses-Pallavi Banerjee reveals how visa policies that are legally gender and race neutral in fact have gendered and racialized ramifications for visa holders and their spouses. Drawing on interviews with fifty-five Indian couples, Banerjee highlights the experiences of high-skilled immigrants as they struggle to cope with visa laws, which forbid their spouses from working paid jobs. She examines how these unfair restrictions destabilize-if not completely dismantle-families, who often break under this marital, financial, and emotional stress. Banerjee shows us, through the eyes of immigrants themselves, how the visa process strips them of their rights, forcing them to depend on their spouses and the government in fundamentally challenging ways. The Opportunity Trap provides a critical look at our visa system, underscoring how it fails immigrant families.

From lesser-known state figures to the ancestors of Oprah Winfrey, Morgan Freeman, and James Meredith, Mississippi Zion: The Struggle for Liberation in Attala County, 1865-1915 brings the voices and experiences of everyday people to the forefront and reveals a history dictated by people rather than eras. Author Evan Howard Ashford, a native of the county, examines how African Americans in Attala County, after the Civil War, shaped economic, social, and political politics as a nonmajority racial group. At the same time, Ashford provides a broader view of Black life occurring throughout the state during the same period. By examining southern African American life mainly through Reconstruction and the civil rights movement, historians have long mischaracterized African Americans in Mississippi by linking their empowerment and progression solely to periods of federal assistance. This book shatters that model and reframes the postslavery era as a Liberation Era to examine how African Americans pursued land, labor, education, politics, community building, and progressive race relations to position themselves as societal equals. Ashford salvages Attala County from this historical misconception to give Mississippi a new history. He examines African Americans as autonomous citizens whose liberation agenda paralleled and intersected the vicious redemption agenda, and he shows the struggle between Black and white citizens for societal control. Mississippi Zion provides a fresh examination into the impact of Black politics on creating the anti-Black apparatuses that grounded the state's infamous Jim Crow society. The use of photographs provides an accurate aesthetic of rural African Americans and their connection to the historical moment. This in-depth perspective captures the spectrum of African American experiences that contradict and nuance how historians write, analyze, and interpret southern African American life in the postslavery era.

In and out of the Maasai Steppe looks at the Maasai women in the Maasai Steppe of Tanzania. The book explores their current plight - threatened by climate change - in the light of colonial history and post-independence history of land seizures. The book documents the struggles of a group of women to develop new livelihood income through their traditional beadwork. Voices of the women are shared as they talk about how it feels to share their husband with many co-wives, and the book examines gender, their beliefs, social hierarchy, social changes and in particular the interface between the Maasai and colonials.

In contrast to other literary genres, drama has received little attention in southern studies, and women playwrights in general receive less recognition than their male counterparts. In Marginalized: Southern Women Playwrights Confront Race, Region, and Gender, author Casey Kayser addresses these gaps by examining the work of southern women playwrights, making the argument that representations of the American South on stage are complicated by difficulties of identity, genre, and region. Through analysis of the dramatic texts, the rhetoric of reviews of productions, as well as what the playwrights themselves have said about their plays and productions, Kayser delineates these challenges and argues that playwrights draw on various conscious strategies in response. These strategies, evident in the work of such playwrights as Pearl Cleage, Sandra Deer, Lillian Hellman, Beth Henley, Marsha Norman, and Shay Youngblood, provide them with the opportunity to lead audiences to reconsider monolithic understandings of northern and southern regions and, ultimately, create new visions of the South.

In Black to Nature: Pastoral Return and African American Culture, author Stefanie K. Dunning considers both popular and literary texts that range from Beyonce's Lemonade to Jesmyn Ward's Salvage the Bones. These key works restage Black women in relation to nature. Dunning argues that depictions of protagonists who return to pastoral settings contest the violent and racist history that incentivized Black disavowal of the natural world. Dunning offers an original theoretical paradigm for thinking through race and nature by showing that diverse constructions of nature in these texts are deployed as a means of rescrambling the teleology of the Western progress narrative. In a series of fascinating close readings of contemporary Black texts, she reveals how a range of artists evoke nature to suggest that interbeing with nature signals a call for what Jared Sexton calls ""the dream of Black Studies""-abolition. Black to Nature thus offers nuanced readings that advance an emerging body of critical and creative work at the nexus of Blackness, gender, and nature. Written in a clear, approachable, and multilayered style that aims to be as poignant as nature itself, the volume offers a unique combination of theoretical breadth, narrative beauty, and broader perspective that suggests it will be a foundational text in a new critical turn towards framing nature within a cultural studies context.

Rewrites our understanding of the last 50 years of Chicana/o cultural production. Chicana/o Remix casts new light not only on artists-such as Sandra de la Loza, Judy Baca, and David Botello, among others-but on the exhibitions that feature their work, and the collectors, curators, critics, and advocates who engage it. Combining feminist theory, critical ethnic studies, art historical analysis, and extensive archival and field research, Karen Mary Davalos argues that narrow notions of identity, politics, and aesthetics limit our ability to understand the full capacities of Chicana/o art. She employs fresh vernacular concepts such as the "errata exhibit," or the staging of exhibits that critically question mainstream art museums, and the "remix," or the act of bringing new narratives and forgotten histories from the background and into the foreground. These concepts, which emerge out of art practice itself, drive her analysis and reinforce the rejection of familiar narratives that evaluate Chicana/o art in simplistic, traditional terms, such as political versus commercial, or realist versus conceptual. Throughout Chicana/o Remix, Davalos explores undocumented or previously ignored information about artists, their cultural production, and the exhibitions and collections that feature their work. Each chapter exposes and challenges conventions in art history and Chicana/o studies, documenting how Chicana artists were the first to critically challenge exhibitions of Chicana/o art, tracing the origins of the first Chicano arts organizations, and highlighting the influence of Europe and Asia on Chicana/o artists who traveled abroad. As a leading scholar in the study of Chicana/o artists, art spaces, and exhibition practices, Davalos presents her most ambitious project to date in this re-examination of fifty years of Chicana/o art production.