This book deals in different ways with the politics of death, with art and politics and with the politics of refuge and asylum. Cutting across these fields brings to the fore the fluid quality of social life under late capitalism. The elements of time, space and emotion are part of the overall approach adopted. The individual chapters illustrate themes of despair, striving and the politics of hope, and bring out the fluid and unpredictable qualities of social life. The guiding metaphor is fluidity, or what Urry refers to as "waves; continuous flow; pulsing; fluidity and viscosity" characteristic of life, death, refuge and art under the contemporary global system. Between the worlds of culture, political violence and art, the interconnected themes in this study illuminate conditions of 'liminality', or in-betweenness. The study presents a politics of hope under late capitalism, and cuts through more usual boundaries between art and science, harm and help, death and the politics of bare life. Each chapter grapples with issues that help illustrate wider trends in Global Development and International Relations scholarship and teaching. Amidst growing cynicism about human or even humanitarian values, the volume appeals for a politics of hope and social justice, based on the fluid contours of borderless and amorphous processes of self-organising and radical anarchy. Helen Hintjens is Assistant Professor in Development and Social Justice at the International Institute of Social Studies in The Hague, The Netherlands. For more than 30 years she has studied the comparative asylum policies of EU member states in the context of broader post-colonial relationships and ideas. Her particular interests are in pro-asylum advocacy networks and activists, the politics of selective urban surveillance of undocumented rejected asylum seekers, and networks of 'cities of sanctuary', as well as resistance to deterrence-based measures of destitution, detention and forced deportation. Her regional focus is on the countries of the Great Lakes region, especially Rwanda and Eastern DRC, and the relations of francophone Africa with EU member states. She works on peace-building, including through music and the arts, in Rwanda and the wider region.

This book deals in different ways with the politics of death, with art and politics and with the politics of refuge and asylum. Cutting across these fields brings to the fore the fluid quality of social life under late capitalism. The elements of time, space and emotion are part of the overall approach adopted. The individual chapters illustrate themes of despair, striving and the politics of hope, and bring out the fluid and unpredictable qualities of social life. The guiding metaphor is fluidity, or what Urry refers to as “waves; continuous flow; pulsing; fluidity and viscosity” characteristic of life, death, refuge and art under the contemporary global system. Between the worlds of culture, political violence and art, the interconnected themes in this study illuminate conditions of 'liminality', or in-betweenness. The study presents a politics of hope under late capitalism, and cuts through more usual boundaries between art and science, harm and help, death and the politics of bare life. Each chapter grapples with issues that help illustrate wider trends in Global Development and International Relations scholarship and teaching. Amidst growing cynicism about human or even humanitarian values, the volume appeals for a politics of hope and social justice, based on the fluid contours of borderless and amorphous processes of self-organising and radical anarchy.

The canonical work of cultural criticism by the “profoundly influential critic” (Artnet), in a beautiful thirtieth-anniversary edition, featuring a new foreword by esteemed visual artist Mickalene Thomas Called “one of the country’s most influential feminist thinkers” by Artforum, bell hooks and her work have enjoyed a huge resurgence of popularity since her passing in 2021. Her 2018 book All About Love has sold upwards of 700,000 copies, and posthumous tributes have credited her with being “instrumental in cracking open the white, western canon for Black artists” (Artnet). To celebrate the thirtieth anniversary of her groundbreaking essay collection Art on My Mind, The New Press will publish a handsome, celebratory edition, featuring a new foreword by Tony-nominated producer and all-around creative phenom Mickalene Thomas and a new cover featuring original photos of bell hooks shot by African American photojournalist Eli Reed. This classic work, which, as the New York Times wrote, “examines the way race, sex and class shape who makes art, how it sells and who values it,” includes what Artforum calls “incisive essays” on the work of Jean-Michel Basquiat, Isaac Julien, Carrie Mae Weems, and Romare Bearden, among others. Her essays on Black vernacular architecture, representation of the Black male body, and the creative process of women artists, are complemented by conversations with Carrie Mae Weems, Emma Amos, Margo Humphrey, and LaVerne Wells-Bowie, which Kirkus Reviews calls “excellent indeed,” and “a real contribution to our understanding of the situation of black women artists.”

'A vital book for our times' ROBERT MACFARLANE 'Unflinching, complex, provocative' NIKESH SHUKLA 'A work of astonishing, insistent importance' Observer Aged eight, Dina Nayeri fled Iran along with her mother and brother, and lived in the crumbling shell of an Italian hotel-turned-refugee camp. Eventually she was granted asylum in America. Now, Nayeri weaves together her own vivid story with those of other asylum seekers in recent years. In these pages, women gather to prepare the noodles that remind them of home, a closeted queer man tries to make his case truthfully as he seeks asylum and a translator attempts to help new arrivals present their stories to officials. Surprising and provocative, The Ungrateful Refugee recalibrates the conversation around the refugee experience. Here are the real human stories of what it is like to be forced to flee your home, and to journey across borders in the hope of starting afresh.

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. In a world increasingly shaped by displacement and migration, refuge is both a coveted right and an elusive promise for millions. While conventionally understood as legal protection, it also transcends judicial definitions. In Lived Refuge, Vinh Nguyen reconceptualizes refuge as an ongoing affective experience and lived relation rather than a fixed category with legitimacy derived from the state. Focusing on Southeast Asian diasporas in the wake of the Vietnam War, Nguyen examines three affective experiences—gratitude, resentment, and resilience—to reveal the actively lived dimensions of refuge. Through multifaceted analyses of literary and cultural productions, Nguyen argues that the meaning of refuge emerges from how displaced people negotiate the kinds of safety and protection that are offered to (and withheld from) them. In so doing, he lays the framework for an original and compelling understanding of contemporary refugee subjectivity.