Since the eighteenth century, European administrators and officers, military men, soldiers, missionaries, doctors, wives, and servants moved back and forth between Britain and its growing imperial territories. The introduction of steam-powered vessels, and deep-docks to accommodate them at London ports, significantly reduced travel time for colonists and imperial servants traveling home to see their families, enjoy a period of study leave, or recuperate from the tropical climate. With their minds enervated by the sun, livers disrupted by the heat, and blood teeming with parasites, these patients brought the empire home and, in doing so, transformed medicine in Britain. With Imperial Bodies in London, Kristin D. Hussey offers a postcolonial history of medicine in London. Following mobile tropical bodies, her book challenges the idea of a uniquely domestic medical practice, arguing instead that British medicine was imperial medicine in the late Victorian era. Using the analytic tools of geography, she interrogates sites of encounter across the imperial metropolis to explore how medical research and practice were transformed and remade at the crossroads of empire.

Through a discussion of texts and practices, the body is introduced into the historical account as an active social principle. Collingham paints a vivid picture of life and manners of the British in India.

At the turn of the twentieth century, Alexandria, Egypt, was a bustling transimperial port city, under nominal Ottoman and unofficial British imperial rule. Thousands of European subjects lived, worked, and died there. And when they died, the machinery of empire had to negotiate for space, resources, and control with the nascent national state. Imperial Bodies shows how the mechanisms of death became a tool for exerting both imperial and national governance. Shana Minkin investigates how French and British power asserted itself in Egypt through local consular claims of belonging manifested within the mundane caring for dead bodies. European communities corralled imperial bodies through the bureaucracies and rituals of death—from hospitals, funerals, and cemeteries to autopsies and death registrations. As they did so, imperial consulates pushed against the workings of both the Egyptian state and each other, expanding their governments' material and performative power. Ultimately, this book reveals how European imperial powers did not so much claim Alexandria as their own, as they maneuvered, manipulated, and cajoled their empires into Egypt.

In the first half of the twentieth century, a pioneering generation of young women exited their homes and entered public space, marking a new era for women's civic participation in northern Sudan. A provocative new public presence, women's civic engagement was at its core a bodily experience. Amid the socio-political upheavals of imperial rule, female students, medical workers, and activists used a careful choreography of body movements and fashion to adapt to imperial mores, claim opportunities for political agency, and shape a new standard of modern, mobile womanhood. Khartoum at Night is the first English-language history of these women's lives, examining how their experiences of the British Empire from 1900–1956 were expressed on and through their bodies. Central to this story is the tobe: a popular, modest form of dress that wrapped around a woman's head and body. Marie Grace Brown shows how northern Sudanese women manipulated the tucks, folds, and social messages of the tobe to deftly negotiate the competing pulls of modernization and cultural authenticity that defined much of the imperial experience. Her analysis weaves together the threads of women's education and activism, medical midwifery, urban life, consumption, and new behaviors of dress and beauty to reconstruct the worlds of politics and pleasure in which early-twentieth-century Sudanese women lived.

How women figured in the expansion of the national body of the Japanese empire

Imperial Leather chronicles the dangerous liaisons between gender, race and class that shaped British imperialism and its bloody dismantling. Spanning the century between Victorian Britain and the current struggle for power in South Africa, the book takes up the complex relationships between race and sexuality, fetishism and money, gender and violence, domesticity and the imperial market, and the gendering of nationalism within the zones of imperial and anti-imperial power.

'Where are you from?' was the question hounding Hazel Carby as a girl in post-World War II London. One of the so-called brown babies of the Windrush generation, born to a Jamaican father and Welsh mother, Carby's place in her home, her neighbourhood, and her country of birth was always in doubt. Emerging from this setting, Carby untangles the threads connecting members of her family to each other in a web woven by the British Empire across the Atlantic. We meet Carby's working-class grandmother Beatrice, a seamstress challenged by poverty and disease. In England, she was thrilled by the cosmopolitan fantasies of empire, by cities built with slave-trade profits, and by street peddlers selling fashionable Jamaican delicacies. In Jamaica, we follow the lives of both the 'white Carbys' and the 'black Carbys', as Mary Ivey, a free woman of colour, whose children are fathered by Lilly Carby, a British soldier who arrived in Jamaica in 1789 to be absorbed into the plantation aristocracy. And we discover the hidden stories of Bridget and Nancy, two women owned by Lilly who survived the Middle Passage from Africa to the Caribbean. Moving between the Jamaican plantations, the hills of Devon, the port cities of Bristol, Cardiff, and Kingston, and the working-class estates of South London, Carby's family story is at once an intimate personal history and a sweeping summation of the violent entanglement of two islands. In charting British empire's interweaving of capital and bodies, public language and private feeling, Carby will find herself reckoning with what she can tell, what she can remember, and what she can bear to know.

Imperial Liquor is a chronicle of melancholy, a reaction to the monotony of racism. These poems concern loneliness, fear, fatigue, rage, and love; they hold fatherhood held against the vulnerability of the black male body, aging, and urban decay. Part remembrance, part swan song for the Compton, California of the 1980s, Johnson examines the limitations of romance to heal broken relationships or rebuild a broken city. Slow Jams, red-lit rooms, cheap liquor, like seduction and betrayal—what’s more American? This book tracks echoes, rides the residue of music “after the love is gone.” Smokey the most dangerous men in my neighborhood only listened to love songs to reach those notes a musicologist told me a man essentially cuts his own throat. some nights even now, i’ll hear a falsetto and think i should run

In 2008, JH Phrydas wrote a story about how bodies talk without words. He wanted the story to not just describe the silent ritual of nonverbal communication but to perform it. The interaction would be visceral - the exchange melancholic, yet full of lust. He wanted words to retain the unsayable: the subtle movements of a body in heat. In the years since, Phrydas kept rewriting this story, using different techniques, different syntaxes and forms, in hopes that he would find a successful method of gestural writing. Imperial Physique is a collection of these attempts. They explore the way our bodies hover between animal and human, civil and wild. The bleakness - and underlying verve - of imagining Western empires in decline serve as a backdrop for a lone figure searching city streets, decaying architecture, and sand dunes for some type of physical connection. What arises is the loss of - and longing for - touch at the edges of imperialism, historical violence, and personal shame.

Winner of the Hugo, Nebula, and Arthur C. Clarke Awards: This record-breaking novel follows a warship trapped in a human body on a quest for revenge. A must read for fans of Ursula K. Le Guin and James S. A. Corey. "There are few who write science fiction like Ann Leckie can. There are few who ever could." -- John Scalzi On a remote, icy planet, the soldier known as Breq is drawing closer to completing her quest. Once, she was the Justice of Toren -- a colossal starship with an artificial intelligence linking thousands of soldiers in the service of the Radch, the empire that conquered the galaxy. Now, an act of treachery has ripped it all away, leaving her with one fragile human body, unanswered questions, and a burning desire for vengeance.