Maid for Television examines race, class, and gender relations as embodied in a long history of television servants from 1950 to the turn of the millennium. Although they reside at the visual peripheries, these figures are integral to the idealized American family. Author L. S. Kim redirects viewers' gaze towards the usually overlooked interface between characters, which is drawn through race, class, and gender positioning. Maid for Television tells the stories of servants and the families they work for, in so doing it investigates how Americans have dealt with difference through television as a medium and a mediator.The book philosophically redirects the gaze of television and its projection of racial discourse.  

Maid for Television examines race, class, and gender relations as embodied in a long history of television servants from 1950 to the turn of the millennium. Although they reside at the visual peripheries, these figures are integral to the idealized American family. Author L. S. Kim redirects viewers' gaze towards the usually overlooked interface between characters, which is drawn through race, class, and gender positioning. Maid for Television tells the stories of servants and the families they work for, in so doing it investigates how Americans have dealt with difference through television as a medium and a mediator.The book philosophically redirects the gaze of television and its projection of racial discourse.  

Exploring why there is so much fecal matter in literary works that matter Cacaphonies takes fecal matter and its place in literature seriously. Readers and critics have too long overlooked excrement's vital role in the twentieth- and twenty-first-century French canon. In a stark challenge to the tendency to view this literature through sanitizing abstractions, Annabel L. Kim undertakes close readings of key authors to argue for feces as a figure of radical equality, both a literary object and a reflection on literature itself, without which literary studies is impoverished and sterile. Following the fecal through line in works by Celine, Beckett, Genet, Sartre, Duras, and Gary and the contemporary authors Anne Garreta and Daniel Pennac, Kim shows that shit, far from vanishing from the canon after the early modern period, remains present in the modern and contemporary French literature that follows. She argues that all the shit in the canon expresses a call to democratize literature, making literature for all, just as shit is for (or of) all. She attends to its presence in this prized element of French identity, treating it as a continually uttered desire to manifest the universality France aspires to-as encapsulated by the slogan Liberte, egalite, fraternite-but fails to realize. In shit there is a concrete universalism that traverses bodies with disregard for embodied differences. Cacaphonies reminds us that literature, and the ideas to be found therein, cannot be separated from the corporeal envelopes that create and receive them. In so doing, it reveals the aesthetic, political, and ethical potential of shit and its capacity to transform literature and life.

Exploring why there is so much fecal matter in literary works that matter Cacaphonies takes fecal matter and its place in literature seriously. Readers and critics have too long overlooked excrement's vital role in the twentieth- and twenty-first-century French canon. In a stark challenge to the tendency to view this literature through sanitizing abstractions, Annabel L. Kim undertakes close readings of key authors to argue for feces as a figure of radical equality, both a literary object and a reflection on literature itself, without which literary studies is impoverished and sterile. Following the fecal through line in works by Celine, Beckett, Genet, Sartre, Duras, and Gary and the contemporary authors Anne Garreta and Daniel Pennac, Kim shows that shit, far from vanishing from the canon after the early modern period, remains present in the modern and contemporary French literature that follows. She argues that all the shit in the canon expresses a call to democratize literature, making literature for all, just as shit is for (or of) all. She attends to its presence in this prized element of French identity, treating it as a continually uttered desire to manifest the universality France aspires to-as encapsulated by the slogan Liberte, egalite, fraternite-but fails to realize. In shit there is a concrete universalism that traverses bodies with disregard for embodied differences. Cacaphonies reminds us that literature, and the ideas to be found therein, cannot be separated from the corporeal envelopes that create and receive them. In so doing, it reveals the aesthetic, political, and ethical potential of shit and its capacity to transform literature and life.

Yale French Studies 142 explores the contemporary relevance of an alternative strand of feminism as theorized by Monique Wittig   This volume of Yale French Studies foregrounds Monique Wittig (1935–2003), a writer who left France to live and teach in the United States, in a diverse range of multidisciplinary conversations—in literary studies, history, and gender and sexuality studies—to demonstrate how Wittig’s theoretical and literary work remains an indispensable resource for thinking and creating in the twenty-first century.   Editors Morgane Cadieu and Annabel L. Kim flip the “materialist lesbianism� that Wittig’s collection of essays, The Straight Mind, centers and describes as being the core of Wittig’s work to deal instead with “lesbian materialism,� thereby making "lesbian" the method and "materialism" the object and allowing Wittig’s work to realize its full range. The volume reinterrogates the official historiography of French materialist feminism; expands the intellectual framework within which Wittig’s work is usually considered; insists on the language-centric materialism that emerges from Wittig’s writing as a way of joining the political with the literary; and attends to the way this literary material inspires material responses and creations within the plastic arts. Underlying the entire volume is a keen sense of the materiality of Wittig’s archives, housed at the Beinecke Rare Book and Manuscript Library at Yale University, as a site of lesbian thought in Wittig’s radical sense of the term: a fugitive positionality.