New Books by Dartmouth Authors: Home

A poem is an act of faith because the poet believes in it, contends John Wall Barger in The Elephant of Silence, a collection of essays exploring forms of knowing (and not knowing) that awaken a poetic mind. By considering poetry, film, and the intersections among aesthetic moments and our lives, Barger illuminates the foundations of poetic craft but also probes how to be alive, creative, and open in the world. Each piece investigates unanswerable questions and indefinable words: Lorca's duende, Nabokov's poshlost, Bash's underglimmer, Huizinga's ludic, Tarkovsky's Zona. Influenced by poets such as Glück and Ruefle, and filmmakers such as Kubrick and Lynch, Barger writes--first always sharing his own personal life stories--on the nature of perception, experience, and the human mind. With lyric eloquence and disarming candor, The Elephant of Silence tackles how to live an imaginative life, how to gravitate toward the silence from which art comes, and how the mystical is also the everyday.

A powerful examination of the unsettling history of photography and its fraught relationship to global antiblackness. Since photography's invention, black life has been presented as fraught, short, agonizingly filled with violence, and indifferent to intervention: living death--mortevivum--in a series of still frames that refuse a complex humanity. In Mortevivum, Kimberly Juanita Brown shows us how the visual logic of documentary photography and the cultural legacy of empire have come together to produce the understanding that blackness and suffering--and death--are inextricable. Brown traces this idea from the earliest images of the enslaved to the latest newspaper photographs of black bodies, from the United States and South Africa to Haiti and Rwanda, documenting the enduring, pernicious connection between photography and a global history of antiblackness. Photography's history, inextricably linked to colonialism and white supremacy, is a catalog of othering, surveillance, and the violence of objectification. In the genocide in Rwanda, for instance, photographs after the fact tell viewers that blackness comes with a corresponding violence that no human intervention can abate. In Haiti, the first black republic in the Western Hemisphere, photographic "evidence" of its sovereign failure suggests that the formerly enslaved cannot overthrow their masters and survive to tell the tale. And in South Africa and the United States, a loop of racial violence reminds black subjects of their lower-class status mandated via the state. Illustrating the global nature of antiblackness that pervades photographic archives of the present and the past, Mortevivum reveals how we live in a repetition of imagery signaling who lives and who dies on a gelatin silver print--on a page in a book, on the cover of newspaper, and in the memory of millions. The URL for this publication is https://on-seeing-mortevivum.org/.

An adventurer who knows something’s been calling her, an astronomer who has to learn what family means, a guitarist with nothing left but his guitar, and a bird-boy with the most curious talent. Together, they have to find the bravery to sacrifice themselves for a million of strangers and a world they don’t belong to. No one but a human can kill the Emperor of the Afterglow, and they are the last humans that can cross the horizon. An endangered species, we could say, and a target just because they exist. If Rie, Flann, Sava, and Riaan ever want to be free, they have to do what the Wolves of the Afterglow have been trying to do for seventy years: free the Afterglow from its cruel emperor. But how do you defeat the unbeatable when you’re just a human and he’s the most powerful magician of all time?

In this evocative, insightful memoir, a leading voice in Middle Eastern Studies revisits his childhood in war-torn Lebanon and his family's fascinating history, coming to terms with trauma and desire. Water on Fire tells a story of immigration that starts in a Beirut devastated by the Lebanese Civil War (1975-90), continues with experiences of displacement in Europe and Africa, moves to northeastern American towns battered by lake-effect snow and economic woes, and ends in New York City on 9/11. A story of loss, but also of evolution, it models a kind of resilience inflected with humor, daring, and irreverence. Alternating between his perspective as a child and as an adult, Tarek El-Ariss explores how we live with trauma, poignantly illustrating the profound impact of war on our perception of the world, our fears and longings. His memoir is at once historical and universal, intellectual and introspective, the outcome of a long and painful process of excavation that reveals internal turmoil and the predicament of conflict and separation. A contemporary "interpretation of dreams" dealing with monsters, invisible creatures, skin outbreaks, and the sea, it is a book about objects and elements, like water and fire, and about how encountering these elements triggers associations, connecting present and past, time and space.

Judaism in the twenty-first century has seen the rise of the messianic Third Temple movement, as religious activists based in Israel have worked to realize biblical prophecies, including the restoration of a Jewish theocracy and the construction of the third and final Temple on Jerusalem's Temple Mount. Through groundbreaking ethnographic research, Messianic Zionism in the Digital Age details how Third Temple visions have gained considerable momentum and political support in Israel and abroad .    The role of technology in this movement's globalization has been critical. Feldman skillfully highlights the ways in which the internet and social media have contributed to the movement's growth beyond the streets of Jerusalem into communities of former Christians around the world who now identify as the Children of Noah (Bnei Noah). She charts a path for future research while documenting the intimate effects of political theologies in motion and the birth of a new transnational Judaic faith.  

This book introduces a much-needed theory of tactical air power to explain air power effectiveness in modern warfare with a particular focus on the Vietnam War as the first and largest modern air war. Phil Haun shows how in the Rolling Thunder, Commando Hunt, and Linebacker air campaigns, independently air power repeatedly failed to achieve US military and political objectives. In contrast, air forces in combined arms operations succeeded more often than not. In addition to predicting how armies will react to a lethal air threat, he identifies operational factors of air superiority, air-to-ground capabilities, and friendly ground force capabilities, along with environmental factors of weather, lighting, geography and terrain, and cover and concealment in order to explain air power effectiveness. The book concludes with analysis of modern air warfare since Vietnam along with an assessment of tactical air power relevance now and for the future.

In Against Extraction Matt Hooley traces a modern tradition of Ojibwe invention in Minneapolis and St. Paul from the mid-nineteenth century to the present as that tradition emerges in response to the cultural legacies of US colonialism. Hooley shows how Indigenous literary and visual art modernisms challenge the strictures of everyday life and question the ecological, political, and cultural fantasies that make multivalent US colonialism seem inevitable. Hooley analyzes literature and art by Louise Erdrich, William Whipple Warren, David Treuer, George Morrison, and Gerald Vizenor in relation to histories of Indigenous dispossession and occupation, enslavement and Black life, and environmental harm and care. He shows that historical narratives of these cities are intimately bound up with the violence of colonial systems of extraction and that concepts like Indigeneity and sovereignty extend beyond treaty-granted promises of political control. These works, created in opposition and proximity to the extraction of cultural, political, and territorial resources, demonstrate how Indigenous claims to life and land matter to rethinking and unmaking the social and ecological devastations of the colonial world.

An innovative examination of encounters between humans and lions and representations of these charismatic animals in the visual culture of postrevolutionary France   In artistic traditions that stretch back to antiquity, lions have been associated with strength and authority. The figure of the lion in nineteenth-century France stood at a crossroads between these historical meanings and contemporary developments that recast the animal's significance, such as the literal presence of lions in public menageries.   In this highly original study, Katie Hornstein explores the relationships among animals, spectatorship, and visual production. She examines the fascinating encounters between artists, viewers, and lions that took place--in menageries and circuses, on canvases, and on the pages of books--and out of which, she argues, new perceptions of power, empire, and the natural world emerged.   Myth and Menagerie considers a range of visual objects, bringing into dialogue photographs of circus animals, hunting manuals, and zoo guidebooks with sculptures, drawings, and paintings by artists such as Théodore Géricault, Eugène Delacroix, Édouard Manet, and Rosa Bonheur. Illuminating the lives of individual lions against the backdrop of societal change and colonial expansion, Hornstein constructs a fresh theoretical framework for thinking about animals as more than symbols or passive subjects and for acknowledging a history in which both humans and animals had a stake.

A boy wakes up surrounded by corpses. Unable to move, he is assaulted by vultures who stop pecking at him only when he speaks. To survive this nightmarish ordeal, he tells them the story of how he ended up on their menu… What follows is the wild tale of the young gardener Khurafa, coping with the aftermath of the Mongol invasion of Baghdad and the death of his parents amidst the bloodshed. After a vivid dream and several supernatural encounters, he becomes convinced that an ancient group of nine sorcerers called the Servants are bent on world domination. Accompanied by his scholarly mentor Shaykh Nariman, and the sly, uncannily perceptive Zakiyya, he seeks saintly help against the Servants, but finds mostly monsters instead.

Iran's prison system is a foundational institution of Iranian political modernity. The Incarcerated Modern traces the transformation of Iran from a decentralized empire with few imprisoned persons at the turn of the twentieth century into a modern nation-state with over a quarter million prisoners today. In policing the line between "bad criminal" and "good citizen," the carceral system has shaped and reshaped Iranian understandings of citizenship, freedom, and political belonging. Golnar Nikpour explores the interplay between the concrete space of the Iranian prison and the role of prisons in producing new public cultures and political languages in Iran. From prison writings of 1920s leftist prisoners and communiqués of 1950s militant Islamists, to paintings of 1970s revolutionary guerrillas and mapping projects organized by contemporary dissident prisoners, carceral confinement has shaped modern Iranian political movements. Today, mass incarceration is a global phenomenon. The Incarcerated Modern connects Iranian history to transnational carceral histories to illuminate the shared architectures, economies, and techniques of modern punishment.