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What effect do heavily fortified national borders have on the natural environments that surround them? In Border Biomes, Emily Celeste Vázquez Enríquez explores this question by analyzing contemporary Mexican, Latinx, and Indigenous literature that has tried to highlight the human and ecological toll of Mexico’s borders with the United States and Guatemala. By challenging the very premise of borders as permanent, immovable boundaries, she shows how novelists and poets in Mexico and the United States have tried to represent and understand the vast social, political, and ecological harm caused by these constructions. She argues that the environmental destruction that borders create is inseparable from state‑sanctioned, anti‑immigrant racial violence. To do this, she structures the book around three main biomes: rivers, deserts, and forests. Within each chapter, Vázquez Enríquez considers how authors such as Dolores Dorantes, Natalie Diaz, and Ofelia Zepeda have drawn upon alternative Indigenous epistemologies and forms of representation to register the sweeping damage of bordering regimes on the Colorado River, the Southwest Desert, and the Selva El Petén, and other biomes. By critically analyzing the work of these US and Mexican writers, she contests traditional interpretations of Mexican literature as nationally bounded and instead proposes an expansive view of “Mexican literature.” More fundamentally, Border Biomes suggests literature's potential to create new ecological realities and challenge the naturalization of borders and the ecological violence that they provoke.

In The Aesthetic Character of Blackness, Jemma DeCristo theorizes the means by which black art liberates the free world but does not and cannot liberate black people. Drawing on Frederick Douglass, W. E. B. Du Bois, and Alain Locke and as well as the aesthetic thought of Immanuel Kant, Friedrich Schiller, Friedrich Nietzsche, and Theodor Adorno, DeCristo critiques the exaltation of black culture and art’s saving power by analyzing the violence underneath aesthetic production. She tracks black music’s representational and anti-representational capacities in projects of black non/humanization from nineteenth-century abolitionism and the founding of the recording industry to the emergence of black queer blues performers and the rise of the Black Arts Movement of the 1960s. Theorizing the contemporary neoliberalization of black audio-visual spectacle, DeCristo ultimately demonstrates that the voluptuous world of black aesthetics beautifies an anti-black world that wields black art and culture as a weapon against black life.

This book is freely available in an open access edition thanks to the generous support of the University of California Libraries.

Contemporary debate on cosmopolitanism routinely refers to Immanuel Kant as its intellectual origin. A group of Chinese and German-speaking thinkers in the early twentieth century, however, used classical Chinese philosophy as an alternative intellectual genealogy to reimagine ethics, politics, society, and modernity for the entire world. Their engagement with Confucianism, Taoism, and Buddhism broadens the scope of global intellectual history to include a non-European origin of concepts and ideas.Due to the differences in their local crises, the Chinese and the European stories are often narrated in separate national and cultural contexts. Bridging the critical divide between China and the West, The Quest for Liberation examines the thinkers’ shared interest in Chinese philosophy and their common effort to envision a world culture other than Western modernity.Breaking with the common logic of either studying the reception and adaptation of Western ideas in the East or critiquing the misrepresentation of the East in the West, Zhang’s book emphasizes entanglements between Chinese and European thinkers and highlights their quest for liberation in a globalizing world. Their visions of an ontological commons for everyone help us imagine a better world community in our time of global crises, beyond the clash of civilizations.

Construction work in 2016 at Sanchez Adobe Park, the site of a historic Spanish mission outpost in the San Francisco Bay Area, led to the surprising discovery of human skeletal remains. This book presents a series of bioarchaeological studies done in collaboration with the Amah Mutsun Tribal Band of Mission San Juan Bautista, the state-appointed Most Likely Descendants of the Ohlone people buried in this cemetery, to explore persistence and change in the lives of Native Californians recruited into the Spanish missions during the late 1700s. This volume presents cutting-edge research techniques used to study the health, diet, social connections, and medicinal practices of these Ohlone individuals. Studies include obsidian and glass bead sourcing, osteological and paleopathological analysis, stable isotope analysis, and proteomic studies of dental calculus. By comparing these findings with historical records, researchers are even able to identify several of the individuals by name and reconstruct their life histories. This volume reveals continuity in some traditional Ohlone behaviors as well as new practices influenced by the Spanish. It offers unique insights into the experiences of Native communities during early colonization on California’s Pacific coast. It also serves as a key example of collaborative bioarchaeological research carried out by a tribal community, a local parks department, and both professional and academic archaeologists.  

Fear of a Dead White Planet asks: How does one study when the planet is on fire? The More Worlds Collective challenges the contemporary rush to planetary technofixes for environmental emergency. Instead, it tracks how such planetary-science frames are enmeshed in the longstanding projects of White Supremacy, settler colonialism, and epistemological violence. Calling for unlearning and joined-up study, the collective reclaims terraforming from off-earth engineering schemes to think through how our more modest efforts to study differently are also world-making and world-breaking. In orienting its work toward terra and formation, the collective commits to a place-based, non universal study scaled at levels both intimate and massive. Through its serious but unruly methods, Fear of a Dead White Planet invites readers to recognize and conjure alternate worlds in and around the university.

Settler Attachments and Asian Diasporic Film is an interdisciplinary examination of the stubborn attachment of Asian diasporas to settler-colonial ideals and of the decolonial possibilities Asian diasporic films imagine. Beenash Jafri uniquely addresses the complexities of Asian–Indigenous relationality through film and visual media, urging film scholars to approach their subjects with an eye to the entanglements of race, diaspora, and Indigeneity.

Highlighting how Asian diasporic attachments to settler colonialism are structural, she explores how they are manifested through melancholic yearning within the figure of the Asian cowboy in films such as Cowgirl and Wild West and through the aesthetic and representational politics of body and land in experimental films by Shani Mootoo and Vivek Shraya. While recognizing the pervasive violence of settler colonialism, Jafri maintains a hopeful outlook, showcasing how Asian diasporic filmmakers persistently work toward decolonial worldmaking. This emerging vision can be seen in the radical friendship between Ali Kazimi and Onondaga artist Jeffrey Thomas in Kazimi’s film Shooting Indians, in the queer relational survivance depicted in films such as This Place and Scarborough, and in the sensory disruptions of Jin-me Yoon’s interactive art project Untunnelling Vision.

From film and media studies to diaspora studies and critical ethnic studies, Indigenous studies to queer theory, Settler Attachments and Asian Diasporic Film provides a critical framework for engaging cinematic media to understand and imagine beyond the entrenched settler-colonial dynamics within Asian diasporic communities.

Although the history of Indonesian music has received much attention from ethnomusicologists and Western composers alike, almost nothing has been written on the interaction of missionaries with local culture. This study represents the first attempt to concentrate on the musical dimension of missionary activities in Indonesia. In fourteen essays, a group of distinguished scholars show the complexity of the topic: while some missionaries did important scholarship on local music, making recordings and attempting to use local music in services, others tried to suppress whatever they found. Many were collaborating closely with anthropologists who admitted freely that they could not have done their work without them. And both parties brought colonial biases into their work. By grappling with these realities and records, this book is a collective effort to decolonize the project of making music histories.

The story of how Mesoamerican food activists faced down Monsanto . . . and wonRight before the 2014 World Cup, US trade interests pressured Guatemala’s legislature into lifting its national ban on genetically modified (GM) crops and criminalizing traditional seed saving practices. Maya elders responded with a campaign of mass civil disobedience, blocking highways until the Guatemalan Congress repealed this “Monsanto Law.” Uniting rural and urban Guatemalans, this uprising spotlighted the existential threat of GM corn to the livelihood, dignity, and cultural heritage of maize-producing milperos (small farmers) throughout Mesoamerica. Ten years later, Mexico is also facing down US trade aggression to defend a 2020 presidential ban on the import of GM corn for human consumption.Liza Grandia chronicles how diverse coalitions in Mexico and Guatemala have defended their sacred maize against corporate threats to privatize it. Rather than just “voting with their forks” like the consumer-driven US food movement, Mesoamerican farmers and their allies have voted with their feet through direct action. In a world of interconnected trade, their victories chart a path that other food movements might follow. They also show how everyday people can demand better regulatory protections for environmental health and forge more climate-resilient agricultural systems with native seed saving.Dramatic and timely, Kernels of Resistance celebrates this Indigenous triumph over corporate greed.

A contemporary defense of conservationist Aldo Leopold’s vision for human interaction with the environment. Informed by his experiences as a hunter, forester, wildlife manager, ecologist, conservationist, and professor, Aldo Leopold developed a view he called the land ethic. In a classic essay, published posthumously in A Sand County Almanac, Leopold advocated for an expansion of our ethical obligations beyond the purely human to include what he variously termed the “land community” or the “biotic community”—communities of interdependent humans, nonhuman animals, plants, soils, and waters, understood collectively. This philosophy has been extremely influential in environmental ethics as well as conservation biology and related fields. Using an approach grounded in environmental ethics and the history and philosophy of science, Roberta L. Millstein reexamines Leopold’s land ethic in light of contemporary ecology. Despite the enormous influence of the land ethic, it has sometimes been dismissed as either empirically out of date or ethically flawed. Millstein argues that these dismissals are based on problematic readings of Leopold’s ideas. In this book, she provides new interpretations of the central concepts underlying the land ethic: interdependence, land community, and land health. She also offers a fresh take on of his argument for extending our ethics to include land communities as well as Leopold-inspired guidelines for how the land ethic can steer conservation and restoration policy.

The Lithic Imagination from More to Milton explores how stones, rocks, and the broader mineral realm play a vital role in early modern England’s religious and cultural systems that in turn informs the period’s poetic and visual imagination. The twin buttresses of a human lifespan and the gyre-like turns of England’s long Reformation provide a broad dome under which to locate the many textual and visual archives this book studies. These texts and images participate in specifically English histories (literary, artistic, political, religious), although Continental influences are frequently in dialogue. The religious orbit tracks the rivalries firstly between Jewish and Christian culture, touches on Christianity’s tension with Islam, but most intently follows the antagonisms of Catholic and variants of Reformed or Protestant belief. The bibliography features canonical names such as Shakespeare, Spenser, Donne, Wroth, Herbert, Milton, and Pulter, but puts them in company with lesser-known religious polemicists, alchemists, anatomists, painters, mothers, and stonemasons. The visual archive attends to biblical illustration, tapestries, church furniture, and paintings, anatomical drawings, as well as statues to form a multimedia archive. Similarly, the lithic embraces a wide continuum of mineral forms from bodily encrustations like the kidney and bezoar stone, to salt, iron, limestone, marble, flint, and silicon. The assemblage of materials speaks to aspirational imperial fantasies, looming colonial conquests, syncretism, and supersession, as well as issues of gender and the race-making category of hue, alongside elitist ideologies of an elect, chosen people. All connect via the storied pathways of stone as densely material and a foundation for the abstract imaginary along the scala naturae. Across these human–stone encounters, stone fascinates and betrays and is equal parts damnation and salvation.