In Unseeing Empire Bakirathi Mani examines how empire continues to haunt South Asian American visual cultures. Weaving close readings of fine art together with archival research and ethnographic fieldwork at museums and galleries across South Asia and North America, Mani outlines the visual and affective relationships between South Asian diasporic artists, their photographic work, and their viewers. She notes that the desire for South Asian Americans to see visual representations of themselves is rooted in the use of photography as a form of colonial documentation and surveillance. She examines fine art photography by South Asian diasporic artists who employ aesthetic strategies such as duplication and alteration that run counter to viewers' demands for greater visibility. These works fail to deliver on viewers' desires to see themselves, producing instead feelings of alienation, estrangement, and loss. These feelings, Mani contends, allow viewers to question their own visibility as South Asian Americans in U.S. public culture and to reflect on their desires to be represented.

Suburban Empire takes readers to the US missile base at Kwajalein Atoll in the Marshall Islands, at the matrix of postwar US imperial expansion, the Cold War nuclear arms race, and the tide of anti-colonial struggles rippling across the world. Hirshberg shows that the displacement of indigenous Marshallese within Kwajalein Atoll mirrors the segregation and spatial politics of the mainland US as local and global iterations of US empire took hold. Tracing how Marshall Islanders navigated US military control over their lands, Suburban Empire reveals that Cold War–era suburbanization was perfectly congruent with US colonization, military testing, and nuclear fallout. The structures of suburban segregation cloaked the destructive history of control and militarism under a veil of small-town innocence.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In Intimate Eating Anita Mannur examines how notions of the culinary can create new forms of kinship, intimacy, and social and political belonging. Drawing on critical ethnic studies and queer studies, Mannur traces the ways in which people of color, queer people, and other marginalized subjects create and sustain this belonging through the formation of “intimate eating publics.” These spaces—whether established in online communities or through eating along in a restaurant—blur the line between public and private. In analyses of Julie Powell’s Julie and Julia, Nani Power’s Ginger and Ganesh, Ritesh Batra’s film The Lunchbox, Michael Rakowitz’s performance art installation Enemy Kitchen, and The Great British Bake Off, Mannur focuses on how racialized South Asian and Arab brown bodies become visible in various intimate eating publics. In this way, the culinary becomes central to discourses of race and other social categories of difference. By illuminating how cooking, eating, and distributing food shapes and sustains social worlds, Mannur reconfigures how we think about networks of intimacy beyond the family, heteronormativity, and nation.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from The Unseen Empire: A Peace Play in Four Acts His play, The Unseen Empire, of Atherton Brownell, is a study of the influences com prised in the war system of Europe, and of the way in which gigantic forces assembled in the name of peace actually make for war. It explains how the robber barons of a later time wring from the laboring people as cost for defense the same blood-money the robber barons of three or four centuries ago exacted as ransom or tribute. The weapons of this exaction are still suspicion and fear, the war-scare and the spasm of miscalled patriotism. In the name of Armed Peace, by playing on the vague idealism and the chivalry of common folk, they secure a toll as unscrupulous as any in the Middle Ages and far greater in actual amount. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.