The refusal to recognize kinship relations among slaves, interracial couples, and same-sex partners is steeped in historical and cultural taboos. In Kindred Specters, Christopher Peterson explores the ways in which non-normative relationships bear the stigma of death that American culture vehemently denies. Probing Derrida’s notion of spectrality as well as Orlando Patterson’s concept of “social death,” Peterson examines how death, mourning, and violence condition all kinship relations. Through Charles Chesnutt’s The Conjure Woman, Peterson lays bare concepts of self-possession and dispossession, freedom and slavery. He reads Toni Morrison’s Beloved against theoretical and historical accounts of ethics, kinship, and violence in order to ask what it means to claim one’s kin as property. Using William Faulkner’s Absalom, Absalom! he considers the political and ethical implications of comparing bans on miscegenation and gay marriage. Tracing the connections between kinship and mourning in American literature and culture, Peterson demonstrates how racial, sexual, and gender minorities often resist their social death by adopting patterns of affinity that are strikingly similar to those that govern normative relationships. He concludes that socially dead “others” can be reanimated only if we avow the mortality and mourning that lie at the root of all kinship relations. Christopher Peterson is visiting assistant professor of literature at Claremont McKenna College.

The Afterlives of Specimens explores the space between science and sentiment, the historical moment when the human cadaver became both lost love object and subject of anatomical violence. Walt Whitman witnessed rapid changes in relations between the living and the dead. In the space of a few decades, dissection evolved from a posthumous punishment inflicted on criminals to an element of preservationist technology worthy of the presidential corpse of Abraham Lincoln. Whitman transitioned from a fervent opponent of medical bodysnatching to a literary celebrity who left behind instructions for his own autopsy, including the removal of his brain for scientific study. Grounded in archival discoveries, Afterlives traces the origins of nineteenth-century America’s preservation compulsion, illuminating the influences of botanical, medical, spiritualist, and sentimental discourses on Whitman’s work. Tuggle unveils previously unrecognized connections between Whitman and the leading “medical men” of his era, such as the surgeon John H. Brinton, founding curator of the Army Medical Museum, and Silas Weir Mitchell, the neurologist who discovered phantom limb syndrome. Remains from several amputee soldiers whom Whitman nursed in the Washington hospitals became specimens in the Army Medical Museum. Tuggle is the first scholar to analyze Whitman’s role in medically memorializing the human cadaver and its abandoned parts.

Pulitzer Prize Finalist Winner of the John Brinckerhoff Jackson Book Prize Winner of the Sharon Harris Book Award Finalist, Jefferson Davis Award of the American Civil War Museum Arlington National Cemetery is one of America’s most sacred shrines, a destination for millions who tour its grounds to honor the men and women of the armed forces who serve and sacrifice. It commemorates their heroism, yet it has always been a place of struggle over the meaning of honor and love of country. Once a showcase plantation, Arlington was transformed by the Civil War, first into a settlement for the once enslaved, and then into a memorial for Union dead. Later wars broadened its significance, as did the creation of its iconic monument to universal military sacrifice: the Tomb of the Unknown Soldier. As Arlington took its place at the center of the American story, inclusion within its gates became a prerequisite for claims to national belonging. This deeply moving book reminds us that many brave patriots who fought for America abroad struggled to be recognized at home, and that remembering the past and reckoning with it do not always go hand in hand. “Perhaps it is cliché to observe that in the cities of the dead we find meaning for the living. But, as McElya has so gracefully shown, such a cliché is certainly fitting of Arlington.” —American Historical Review “A wonderful history of Arlington National Cemetery, detailing the political and emotional background to this high-profile burial ground.” —Choice

In Specters of God, John D. Caputo returns to the original impulse of his work, the "mystical element" in things, here under the name of an "anxious apophatics," as distinct from an "edifying apophatics" anchored in unity with God. In dialogue with Schelling, a new turn for him and the lynchpin of this argument, Caputo addresses the nocturnal powers in being, the specters that haunt our being and bring us up short. The result is an erudite and insightful analysis—in his usual lively and masterful style—of several key "spectral" figures from medieval angelology and Eckhart's Gottheit, through Luther's deus absconditus and Schelling's "Satanology," to the spectralization and virtualization of the world in the "posthuman" age. Arguing that the name of God is not the master name of a super-being who is going to save us but a placeholder for sources deep in our apophatic imaginary, he asks, Has "God" become a (holy) ghost of the past? A passing spectral effect of the ancient harmonies of the spheres? Does radical thinking culminate in a cosmopoetics beyond theism and its theology, in a doxology to the transient glory of the world, whatever it was in the beginning, however eerie its end, world without why?

At first glance, Beloved would appear to be the only “ghost story” among Toni Morrison’s nine novels, but as this provocative new study shows, spectral presences and places abound in the celebrated author’s fiction. Melanie R. Anderson explores how Morrison uses specters to bring the traumas of African American life to the forefront, highlighting histories and experiences, both cultural and personal, that society at large too frequently ignores. Working against the background of magical realism, while simultaneously expanding notions of the supernatural within American and African American writing, Morrison peoples her novels with what Anderson identifies as two distinctive types of ghosts: spectral figures and social ghosts. Deconstructing Western binaries, Morrison uses the spectral to indicate power through its transcendence of corporality, temporality, and explication, and she employs the ghostly as a metaphor of erasure for living characters who are marginalized and haunt the edges of their communities. The interaction of these social ghosts with the spectral presences functions as a transformative healing process that draws the marginalized figure out of the shadows and creates links across ruptures between generations and between past and present, life and death. This book examines how these relationships become increasingly more prominent in the novelist’s canon—from their beginnings in The Bluest Eye and Sula, to their flowering in the trilogy that comprises Beloved, Jazz, and Paradise, and onward into A Mercy. An important contribution to the understanding of one of America’s premier fiction writers, Spectrality in the Novels of Toni Morrison demonstrates how the Nobel laureate’s powerful and challenging works give presence to the invisible, voice to the previously silenced, and agency to the oppressed outsiders who are refused a space in which to narrate their stories. Melanie R. Anderson is an Instructional Assistant Professor of American Literature at the University of Mississippi.

Modernist Mysteries: Perséphone is a landmark study that will move the field of musicology in important new directions. The book presents a microhistorical analysis of the premiere of the melodrama Perséphone at the Paris Opera on April 30th, 1934, engaging with the collaborative, transnational nature of the production. Author Tamara Levitz demonstrates how these collaborators-- Igor Stravinsky, André Gide, Jacques Copeau, and Ida Rubinstein, among others-used the myth of Persephone to perform and articulate their most deeply held beliefs about four topics significant to modernism: religion, sexuality, death, and historical memory in art. In investigating the aesthetic and political consequences of the artists' diverging perspectives, and the fall-out of their titanic clash on the theater stage, Levitz dismantles myths about neoclassicism as a musical style. The result is a revisionary account of modernism in music in the 1930s. As a result of its focus on the collaborative performance, this book differs from traditional accounts of musical modernism and neoclassicism in several ways. First and foremost, it centers on the performance of modernism, highlighting the theatrical, performative, and sensual. Levitz places Christianity in the center of the discussion, and questions the national distinctions common in modernist research by involving a transnational team of collaborators. She further breaks new ground in shifting the focus from "history" to "memory" by emphasizing the commemorative nature of neoclassic listening rituals over the historicist stylization of its scores, and contends that modernists captured on stage and in philosophical argument their simultaneous need and inability to mourn the past. The book as a whole counters the common criticism that neoclassicism was a "reactionary" musical style by suggesting a more pluralistic, ambivalent, and sometimes even progressive politics, and reconnects musical neoclassicism with a queer classicist tradition extending from Winckelmann through Walter Pater to Gide. Modernist Mysteries concludes that 1930s modernists understood neoclassicism not as formalist compositional approaches but rather as a vitalist art haunted by ghosts of the past and promissory visions of the future.

A Companion to Lesbian, Gay, Bisexual, Transgender, and Queer Studies is the first single volume survey of current discussions taking place in this rapidly developing area of study. Recognizing the multidisciplinary nature of the field, the editors gather new essays by an international team of established and emerging scholars Addresses the politics, economics, history, and cultural impact of sexuality Engages the future of queer studies by asking what sexuality stands for, what work it does, and how it continues to structure discussions in various academic disciplines as well as contemporary politics

History of cavalry from horses to tanks and helicopters.

How Black women’s reproduction became integral to white supremacy, capitalism, and heteropatriarchy—and remains key to their dismantling In the United States, slavery relied on the reproduction and other labors of unfree Black women. Nearly four centuries later, Black reproductivity remains a vital technology for the creation, negotiation, and transformation of sexualized and gendered racial categories. Yet even as Black reproduction has been deployed to resolve the conflicting demands of white supremacy, capitalism, and heteropatriarchy, Sara Clarke Kaplan argues that it also holds the potential to destabilize the oppressive systems it is supposed to maintain. The Black Reproductive convenes Black literary and cultural studies with feminist and queer theory to read twentieth- and twenty-first-century texts and images alongside their pre-emancipation counterparts. These provocative, unexpected couplings include how Toni Morrison’s depiction of infanticide regenders Orlando Patterson’s theory of social death, and how Mary Prince’s eighteenth-century fugitive slave narrative is resignified through the representational paradoxes of Gayl Jones’s blues novel Corregidora. Throughout, Kaplan offers new perspectives on Black motherhood and gendered labor, from debates over the relationship between President Thomas Jefferson and Sally Hemings, to the demise of racist icon Aunt Jemima, to discussions of Black reproductive freedom and abortion. The Black Reproductive gives vital insight into the historic and ongoing conditions of Black unfreedom, and points to the possibilities for a Black feminist practice of individual and collective freedom.